#i don't really have no where else to go?

[egophiliac]

do skully have pokemon?

Pumpkaboo is the obvious one, but y'know, sometimes the obvious one is the right one! (we'll say SUPER SIZE Pumpkaboo, just for fun. big pumpkin for big skeleton boy.) and another person actually also suggested Greavard, which I somehow hadn't considered, but feels so perfect that I feel like I should have. dangit.

(they can also have little Nightmare Suit costumes :D)

[thekittyokat]

you ever just have a lot, a LOT of feelings all at once about a character and not even remotely enough words or brainpower to FORM the words to describe everything you're feeling. so it feels like you may explode. yeah

[beaft]

funny to think that when i was a kid i was all "i REFUSE to ever work an office job, i am a wild creature, my spirit is free and tempestuous and cannot be contained within cubicle walls" and now at the age of [REDACTED] i'm like please. please give me an office job. please give me a sensible office job where all i have to do is get up at the same time each day and clock in and send emails and clock out again. i am on my knees begging.

[kettlefire]

A Panic in Time (DP x DC)

This is all thanks to the awesome @tkiesai for basically being the foundation of this idea! This is probably going to be long, and probably won't delve that deep into my ideas about this idea. Largely so it's not insanely long. But here I go!

°•°•°•°

Bruce's head felt like it had been shoved through a straw and spit out on the other side. The throbbing was annoying, but it wasn't anything the man couldn't handle.

His mind was muddled, memories of what happened prior to him awaking was blurry and unsure. Bruce knew it wasn't something good.

He vaguely remembered a league meeting, a threat, something looming. It wasn't world ending, or at least that's what Bruce remembered. It should have been something they could handle.

But now, here was Bruce. Waking up in the grass of some random park. He was dressed in casual attire, something he'd wear in public as Bruce. Although last he remembered he was in the Batsuit.

The sun felt too bright in the sky. The sound of families filled the air and children's laughter. No one seemed to blink twice at Bruce as he pulled himself together.

It took a moment to steel himself, to gain composer again. It took a few sweet lines, and a charming smile for a nice mother to slide him a few painkillers. The lies rolling off his tongue like second nature.

To his luck there was a newspaper at the top of the trashcan. He was in some town called Amity Park, and the year... the year was the problem.

It was 1996. Whatever had happened had sent Bruce back in time. There was a few suspects Bruce can think were the cause of this. But something in his gut kept drawing his train of thought to the Flash.

It seemed like each time the League had any time related problems, Barry was in the center of it. Which also leaves Bruce with the question if he was the only one sent back in time.

God, he could only imagine the nightmare if the others were sent back in time. Yes, they can be professional. They understand the risk of changing things in the past.

But Bruce also understands that his team can be less than... intelligent at times.

Despite that, Bruce needed to find a way to get back to Gotham. He might not know for sure where everyone was right now, but he knew Alfred was the safest bet.

A plan laid out in Bruce's mind, a list of people he knew wouldn't be a risk to approach. He just needed to find a way to get to them. He had barely made it to the gates of the park before a shrill cry pierced the air.

There was just one loud outcry, before it quieted down. Bruce glance around the space, spotting a young boy curled on the ground. Tears streamed down the boy's chubby cheeks.

And no one even moved to the boy's aid. Not a single mother spared more than one glance in the kid's directions. No parents came rushing over to the boy's side.

Bruce almost walked away, he really did. This wasn't his time, anything he does can cause immense damage to the timeline. But when Bruce caught sight of blood bubbling from a scrape on the boy's knee, Bruce couldn't ignore him.

Maybe it's just the father in him, but Bruce barely even notices when he's crossing the small distance. His mind zeroing in on a hurt child that needed help. Kneeling before the small boy with a gentle smile, and pulling his handkerchief free from his pocket.

"You're alright there, buddy. It looks like you took a bit of a tumble there." Bruce slipped into the same tone he used to use when his kids were young. Gentle and understanding, as he pressed the handkerchief to the small scrape.

The boy sniffled, tears slipping from his eyes. Bruce was more focused on the way the kid was looking at him. Like he couldn't fathom someone coming to his aid.

That look had Bruce's heart breaking slightly. He's seen a similar look before. The few times he's come to the aid of a hurt child that wasn't used to getting help.

Something no child should ever feel or experience.

"Where's your parents, kiddo?" Bruce asked after a moment of silence from the boy. He had waited until the kid's breathing settled down when the boy's chest stopped pumping so quickly.

Except his question only seemed to bring a new wave of tears to the boy's eyes. The small child just seemed to curl into himself further, ducking his gaze away from Bruce.

And as much as Bruce didn't want it to be true, it was clear the kid didn't have the support he needed. It might not as be as far as some of Bruce's kids have had in the past.

But it was clearly not good.

"That's okay, it's alright. What's your name?" Bruce tried again. The boy's silence was leaving an uncomfortable pit in Bruce's stomach.

"D-Danny..." The boy spoke out his name between sniffles, and Bruce felt a wave of relief hearing the boy speak.

In hindsight, Bruce can see how strange the scene might look. A slightly disheveled man comforting a lone young boy in a park. It wasn't exactly perfect.

But with the lack of reactions from the parents around, Bruce had a feeling the town had an idea who this boy was. The whole situation just didn't feel that right for him.

It took a few more comments before Bruce managed to get the boy to crack a smile. A laugh had felt like breaking a massive wall.

Before long, Bruce had Danny actually like any other boy he's known. Carefree and happy, just like a child should be.

"You didn't tell me your name, mister." Danny had suddenly cut down the relaxed moment they were in. A pout laced the boy's lips as he looked up at Bruce, almost accusatory.

"I'm Bruce. Bruce Wayne." Bruce responded without missing a beat. He knew this might cause problems in the future. He wasn't supposed to be here.

But when his gut is telling him something, he can't just ignore it. He checked his pockets, finding no business cards anywhere. So, Bruce fell back in plan B.

"No matter how long it's been from now, you can come to me for help. Just look for Bruce Wayne in Gotham City, and when you find me... just say Fairbanks sent you."

Bruce wasn't sure if he'll ever see Danny again when he goes back to his own time. Wasn't even sure if this was the same universe as his own. But he couldn't walk away without at least offering the boy help in some way.

When Danny's eyes filled up with tears again, Bruce thought he said something wrong at first. That was until the boy was suddenly clinging to his shoulders in a tight embrace, muttering 'thank you' over and over again.

Bruce felt himself almost close to tears just from that alone. His heart was aching for the small boy. Even if Bruce couldn't help Danny anymore than this, he was hoping the boy would have a better life.

One where he wasn't clinging to a stranger for comfort that family should be providing him.

THWAMP

It didn't hurt, but it did cut their hug short as Bruce suddenly pulled away. Turning his head to see a young girl wielding a wiffle bat, and another young boy standing behind her.

Her purple eyes glared at Bruce like he had done the worst thing in the world. Her grip on the bat was threatening and ready to swing again. Her knuckles white from the tight grip alone.

Maybe leaving this time era might not be as easy as Bruce thought as the young girl probbed him with angry and scolding questions. Not that Bruce could blame her.

He just hoped this hiccup didn't get back to the league. They'd have a field day hearing about how Batman got scolded by a child with a wiffle bat.

°•°•°•°•°•°

Danny wasn't sure if this was the best idea. It's been years since he met Bruce Wayne. So many years. Danny had just been a kid, not even ten, when Bruce had introduced himself.

When he had an adult, actually check in on him. Yet, it was a memory Danny couldn't forget. Maybe it was just the kindness that Bruce radiated.

Or maybe it was when Sam came to his "rescue" near the end. Regardless, it was cemented in his mind. A core memory that Danny cared with him through the years.

Now, here he was, roughly seven years later. Standing in front of a manor that put even Sam's place to shame.

It took a lot of courage for Danny to knock. Barely a second later, an old man answered the door, an accent Danny was certain Bruce hadn't had.

A stuttered explaination of being here to see Bruce Wayne, that the man knew him, barely left Danny's mouth before the old man ushered him inside.

The man, Alfred, told Danny to wait by the door before vanishing further into the manor. It took a lot for Danny to not just vanish.

Being half ghost nowadays had its quirks, Danny could just vanish, and no one but Alfred would know. But he couldn't.

It had taken a lot for Danny to make the journey to Gotham City. He hadn't even thought to look up a current picture of Bruce either. Which was probably a big mistake on his end.

Danny didn't even know if Bruce was offering this kind of help. But Danny didn't have many allies to turn to. He needed help.

Not just for himself but for his family. For Amity Park. He couldn't be afforded the ability to run away. Not now.

Danny felt all the air leave his lungs when Bruce entered the area. The man didn't look a day older than what Danny remembered. Bruce looked a bit more put together, not like he had just jumped out of a moving car, but it was Bruce.

"Uhm... I don't know if you remember me. But my name's Danny... we met when I was a kid." Danny started trying to explain himself before Bruce could speak. He recognized that confused look anywhere, and Danny didn't have the guts to go through with this if Bruce asked any questions.

"You told me if I ever needed help, to come find you. Bruce Wayne in Gotham City... you, uh, told me to tell you Fairbanks sent me?"

That came out more like a question than Danny would have liked. But it did ease his nerves a bit as he watched Bruce's slightly confused expression turn to alarm and surprise.

Danny wasn't sure what this would do. If Bruce could truly help him. But he was out of options. Just seeing Bruce recognize something he said was enough to calm the teen's anxiety slightly.

"I'm sorry, Danny... I don't remember you. But I believe you and I want to help you. Come inside, have a seat, and tell me what's going on."

That response was enough to have Danny's eyes fill with tears. His chest filling with a sense of hope he hadn't felt in weeks now.

Maybe, just maybe, everything would be okay.

[dollsome-does-tumblr]

do you think it's weird or unfounded to not want to use chat gpt due to the environmental cost? i feel really strongly that i want to completely avoid it (and, like, recreational/work related ai in general) for that reason, but people seem to think this is really weird when i express that as a reason. but i feel like i should be able to make this call if i want to and that's a good reason to not use it. i don't know?!?!?! i don't get anything anymore?!?!?!

[meanderingstream]

Eliot at peace with being Damned

One of the things that makes Eliot hard to write for in-character (but also such an interesting character to explore) is that he believes he is damned to Hell and he is at peace with that. He has a lot of guilt, oceans of guilt, but it's not so much the tortured, anguished catholic guilt à la Nate or like, Daredevil. 

He has done monstrous, unforgivable things. But, on his own, he came to a realization of what he had done, and pulled away from that world. On his own, he left the worst person he ever worked for, and stopped using guns, and stopped killing. On his own, he switched from wetwork to retrievals. This all occurs before we ever meet him, so while there are many hints and inferences, the specifics of how that happened, how he came to those decisions, are left up to the audience’s imagination. 

Eliot wants to make the world a better place, and he works everyday with the team to help people, and he genuinely enjoys helping people and the work he does on the job. But he does not believe that he can be redeemed. (Not my own personal belief about him, but it is what he thinks). When he dies, he will go to Hell for his sins, and there is nothing that can possibly be done to change that. He doesn't need to angst over it, because it’s just a fact. It is what it is. There is no point agonizing over whether his soul can be saved, because he knows it cannot. This is both a keystone of his character, and also something he doesn't spend a lot of time thinking about day-to-day, because it’s a settled matter. 

And as much as we love Eliot the character, he has a point that lives are not tradable for equivalent exchange. If he killed a specific family 25 years ago, that was snuffing out the light and potential and future of those particular parents and children. The surviving extended family lost those particular relatives. Saving a family now does not balance that ledger, because each person is a unique life and not interchangeable for another. While I may have different beliefs about Hell and redemption than Eliot, I still want to acknowledge that he has a point. That changing now doesn't necessarily help the people he hurt in the past, and unlike Harry, he can’t work down a list of making amends, because almost all of his victims are dead. There is no atonement to the dead. 

Eliot’s redemption is in seeing the light at the end of the tunnel, and helping others get to it. Particularly the team, and particularly the pair he’s going to protect until his dying day. He will stay down there in the dark forever (he believes), but getting the others out is his redemption. 

I do not believe that Eliot will actually go to Hell when he dies, but his belief that he is damned is fundamental to who he is as a character, and he is going to believe that for the rest of his life. It can be really challenging to balance that when writing his POV, particularly when delving into events that dredge this stuff up for him (which we writers love to do because it’s so delicious). Eliot doesn’t exactly have a low self-esteem. He knows he has many skills and is exceptional at them (cooking, fighting, grifting, guitar, sports, etc). He pretty much knows his teammates love him, and care about him, and want him to stay alive for them, and spend the rest of his life with them. He has professional pride, and he will argue when he wants something. He is certainly not a doormat. However, he also believes he is fundamentally and irrevocably a bad person. Balancing between him not being too self-deprecating in normal situations / about his usefulness to the team, with his inherent belief in his own moral depravity can be a thin blade to walk without falling to one side or another. But it is also one of the biggest aspects of his psyche that makes him such a fascinating and complex character to explore.

[gingermintpepper]

For the longest time, the quintessential song describing Apollo's wrath and consequent murder of Coronis for me was Marah in the Mainsail's 'Your Work isn't Done'.

It's dark. It's seething. Its image of Fate pushing the scorned speaker to complete his foul, terrible work of killing the man who stole his lover away from him is particularly powerful and it's always evoked this gruesomely tragic evolution of a glassy eyed Apollo stumbling through the streets, weak-legged and trembling from the betrayal growning more and more wrathful 'til he can think of no other course than to aim his bow and shoot. The price of betraying his trust is death and Coronis betrayed so much more than just his trust by taking Ischys as her lover.

The song itself captures that sensation of building wrath so well too. From the lonely guitar and vocals at the beginning which evoke this lonely, stripped back but distant grief to the way the singer is practically screaming his refrain of "Your work here isn't done" by the end, accompanied by the full blasting of instruments and an omnious chorus at his side, everything about this song is centered around building stakes, building realisations, building tensions and it creates this feeling of the speaker growing closer and closer with each new verse and chorus that adds to his anger.

There's also the absolute treasure trove of lyrics that work so well for specifically this tale. A brief overview of some of my favourites include;

- There's a crow overhead singing "Oh, Death is my friend."

- And though you think your time has come, the wheels of Fate have spun. Death has declared your work here isn't done.

- There's a girl on my heart safe ashore in her lover's arms

There's just such a vivid image to be drawn here - of Apollo's emotions being swallowed by his rage, of his resolve to end everything the more he bears witness to Coronis' brazen affair. There's even a strong female voice in the first two verses which seem to egg the speaker on in his spiral - a perfect opening to include Artemis who wishes for her brother to hunt that which brought him such pain alongside her. An Artemis who reinforces just what Coronis has done, an Artemis who does not want her brother to repress his anger after such grave an insult just because love was once there.

To me, it was perfect. Apollo's killing of Coronis was a crime of passion, an execution he sometimes cannot even bring himself to commit according to who is telling the tale. It's a wretched situation, harrowing, suffocating and cruel but if not by Apollo's hands, Coronis would simply die by another's. She cannot live after what she has done. The gods simply would not allow it.

AND THEN MY BIAS WAS COMPLETELY WRECKED BY LORD HURON.

Now, let it be known, I am a huge Lord Huron fan. Strange Trails is perhaps the most Apollo-coded album I've ever heard and songs like Yawning Grave and The Balancer's Eye capture such a visceral, gorgeous portrait of cosmic grief and anger that they haven't really left my brain since I first listened to them. Still, 'Setting Sun' from their Lonesome Dream album completely flew under my radar. Maybe it's because the commercial version is so much snappier than the Alive from Whispering Pines recording, maybe it's because I just hadn't listened to Lord Huron's discography in a while but my god. My god.

This song has it all; a quiet menace in its music, a strong male singer who sounds only barely restrained, an absolute HOST of lyrics that are so wonderfully perfect for the scenario -- after getting over how wonderful the song itself is, I immediately dethroned Your Work isn't Done because ultimately, 'Setting Sun' has something in abundance that 'Your Work isn't Done' minimised in order to focus on the wrath driving the song forward.

And that's love.

Setting Sun is so powerful because it's not just a revenge ballad - it's a dirge, a breakup song, a lament, a regret manifesto. So many times during the song, the speaker wonders when his lover stopped loving him. He recounts intimate moments and wonders if his lover was thinking of the other man when she was enjoying herself, wonders if anything she'd said was even real. And I love that so, so much.

Ultimately, Apollo adored Coronis. As inevitable as her death was, he regretted every second of it. No matter how angry, no matter how betrayed, no matter how intensely he was shamed, he still loved her. He weeps for her when she dies, he screams and grieves and cries when he's faced with her corpse. In some tales, no matter the cocktail of emotion driving him, he simply cannot bring himself to kill her. He'd rather cry in Artemis' arms and take his anger out on his own servant than hurt her. His own father has to dispatch Ischys since Apollo can't even bring himself to hurt that which Coronis once loved. Of course, in this case, Apollo's going to kill someone but the point is, it's not a decision of pure anger so much as its this complicated, horrible mix of resolve and lost love.

And my god does Setting Sun capture this conflict, passion, grief and love so well. UGH, I'm vibrating just thinking about it -- there are so many points where I hear its lyrics and can vividly picture Apollo, jaw clenched looking Coronis in her eyes and quietly confronting her.

Coronis, returning home at twilight after spending the day with Ischys to Apollo stringing his bow, "Oh? Is he ready to die for you baby? No, but you know I would."

Coronis lying to him about who she's spent her time with and Apollo's soft, near pained, "Does it hurt when you lie to me? If you asked, I would set you free."

I even really love the image of a Coronis who runs away from Apollo upon realising what will soon happen, not to escape his arrows but to warn Ischys who does not know what will happen. Of Apollo getting into his stance, taking aim at them and gathering his strength as the final refrains rings out "I know I'll never reclaim your love and that's as hard as it gets, so I'll be taking a life when the sun sets."

Other favourite lines of mine include;

- Oh, is he ready to die for you baby, now that the deed is done?

- Tell me when did I lose your love? Was it him you were thinking of?

- And I could never betray your love, you had me heart and soul. You might never have known it girl, but I was all yours.

And ultimately, I just like this conflicted portrait of premeditated murder much more than the crime of passion 'Your Work isn't Done' paints. Crimes of passion - especially when Apollo is concerned - are tragic in their own right, but in Coronis' case, I think I prefer it so much more when there's no way for Apollo's action to be misconstrued for anything other than what it is, especially since he goes on to cut Asclepius from his mother's corpse then carry on with building her funeral pyre. I think there's something so much more impacting about Apollo being unable to hide away from Coronis' blood on his hands and him having to raise Asclepius with those selfsame hands.

Love of the mortal does not supercede the responsibility of the divine. If Coronis' sentence no matter what is death, who better to lead her gently to the knife than he who still loves her?

[somegrumpynerd]

Does anyone else hc that Nightmare can like, absorb his tentacles back into his body sometimes? Like the way Stitch does with his extra arms?

[icewindandboringhorror]

At what temperature INDOORS (not outdoor weather) do you start to become noticeably uncomfortable (sweaty, heavy, don't feel like doing anything, etc.) and begin trying to cool off yourself or your environment?

(Like, at what point do you start putting out fans, turning on the AC, getting ice water, etc. because the indoor room temperature has gotten too high for you?)

It's starting to get warmer weather where I live, so I was thinking about it/curious how this might vary :0

(sorry if the celsius conversions aren't entirely accurate, I just used a website to look them up/am not familiar with measuring things that way myself lol)

[bluespiritshonour]

here's 18-19 year old aang sketches. been hearing aang is ugly discourse—no he ain't. he was just 12.

[camellcat]

saw someone ask where the joy is in s7. what? the whole.... it's everywhere?

it's willow being reassured she's still just as loved and important despite what she'd done. it's anya and xander not getting back together but knowing they still care deeply about one another and will still have each other's backs when it comes down to it. it's spike and buffy learning how to communicate with each other better, or at the least stop lying to each other. it's buffy going out monster hunting with xander and having a good grumble about it. it's dawn and anya being friends again after anya was betrayed by dawn's klepto habits. it's andrew slowly becoming one of their own. it's buffy finding a job that she enjoys, that makes her feel like she's doing something good outside of slaying and doesn't run her down into the dirt. it's willow building a healthy relationship with magic for the first time. it's spike on the journey to accepting himself, both the man and the monster rather than just trying to play one or the other. it's buffy willow and xander being as close as they've ever been again since the early days. it's dawn being integrated into the group properly and proudly showing off how good she is at research. it's xander and spike finally figuring out how to coexist. it's faith and buffy accepting one another. it's anya and andrew having fun just before the end of the world. it's dawn having her own outcast of friends in school just like buffy did. it's buffy choosing spike, loudly, over and over and over again. it's buffy staring down at the crater that was sunnydale and tearfully smiling at everything it meant to her then and everything it represents now

I feel like the majority of s7 is about how you can come back from misery. I think a lot of it is quieter, not always outright stated but shown if you're willing to notice it, and sometimes it's literally telling you to your face. and it says that there is a life after devastation. there will be joy again if you can work for it, if you're willing to try. or this is what I took away from s7 anyhow

[lyxchen]

You know I really love how Squid Game pushes it's scenes so far that it makes you feel that sense of urgency and distress that the characters feel. It can easily happen that if a scene goes on for too long for the purpose of keeping you in suspense that it then gets boring or annoying. But that never happens in Squid Game. Some scenes are incredibly long, especially the games, I know I got so stressed out watching Dalgona for the first time because the scene just would not end. But that's exactly what the length of that scene is supposed to do for you. Often when you are feeling a lot of anxiety or are in a moment of intense stress everything around you can feel slower. Like time takes longer to pass. Especially when you have a time limit and still need to concentrate and not make any mistakes. And in my opinion Squid Game conveys that perfectly. The games, they drag on even though a game itself is often not that long. Red Light, Green Light has a timelimit of 5 minutes. That's so little!! But they make you feel every damn second of it while watching. I'm not sure if the actual scene was longer than 5 minutes, but it probably was. But they don't cut out stuff. Often when things happen over a span of time in shows and movies they don't add in parts where not much happens and just cut to the part that's interesting again. But in Squid Game because it is life or death and because of how anxiety can make you feel like time is passing slower every moment for the players feels so long and every moment is important. And that's what I really love in how they made the show. Because yes scenes may be going on for a long time. But they're showing you in the most realistic way possible how the players experience these moments. Add to that that there's almost no added in music like pop songs and in general there's not that much background music either. Because it would just take you out of the intensity of the scene, seperate you from the character's point of view. So a lot of scenes are very quiet in the way that every sound you hear is also a sound that a character inside the show is hearing too. Squid Game, just in the way it's made and filmed and in how long scenes take, is made to be so realistic and wants you to feel as closely as possible to what the characters themselves are feeling too. I really love this way of making a show

Btw I made this post because I realized that this doesn't just happen in the games but also outside of them. When Gi-hun is searching for the recruiter we get a montage of all of them searching, the days passing and Gi-hun ripping off pages from his calendar, but even here that montage takes longer than a montage to show the passage of time usually takes. Because it is long. They can't show us every day of Gi-hun just searching again and again but they can sure make us feel like we've just watched that. And you start out watching it thinking "oh they're gonna show us them finding him in like the next 30 second" but they don't. And there's one point where you think the montage is over but then it isn't. And you get frustrated watching it because "why can't they find the recruiter already?? This is taking so long" and that's Exactly how Gi-hun is feeling in that moment. They drag it out, they show you so much of everybody just searching and days passing and they Want you to be annoyed, because then you're really getting it. You're really getting how fucking long it took to find the Recruiter and what a painfully and annoyingly slow and exhausting process it was. And that's just another way that this show is so damn amazing!!! Because it's so fucking good at making you feel exactly what a character is feeling!! They're not just telling you "oh yeah this took long but they did it", no. They're Showing you exactly how long it took.

And suddenly we've arrived at one of my favorite story telling rules which is "show, don't tell" and I think Squid Game applies this rule really really well

(I have more rambly thoughts under the cut that have a little bit to do with this post but focus on another part of it. Also if the structure of this post feels weird that's probably because I had many different thoughts and just kinda put them where I felt they fit in best so idk, I have a hard time rereading stuff I've written so sorry if the flow of it feels off)

Tbh I think it might also be a little bit why the show appeals to so many people and why so many people go and participate in Squid Game the Challenge or that Mr Beast shit. With the way Squid Game is made and filmed to be so immersive it has the power to give the viewer that same rush of adrenaline that the players inside the show feel. But us viewers sit at home and we know we are safe and so we want more of that adrenaline. It's maybe kind of like Bungee Jumping. You get that rush, that thrill of "holy shit I'm Falling", but you know you're safe. You're doing something you would otherwise only experience right before death. And obviously that is what Squid Game the Challenge is like, because being in it you know if this was real, as in real the way it is real in the show, then you'd be very close to death at any given moment. But you're not. Because you don't die if you fail. But you still get that thrill because of that association with death without actually having to be afraid of it. And that's when it gets fun. And while I don't think that this was intended the show is partly also as popular as it is, Because just by watching it you get a little bit of that adrenaline that's fun for you because you know you're safe

Also another thought about the 'show, don't tell' point of it all. There's not that much talking happening in Squid Game. Like people obviously speak to each other but often there are also long periods of time where nobody is speaking at all. But that doesn't matter because this show is so good at showing us everything that is important without much words needed. I'm pretty sure you could watch it without sound or subtitles and still get most of the plot of it. And that's really impressive

[asmodeusamaryllis]

I fear nishi may have accidentally wrote iruma as aroace and only just remembered that she has a main ship she was meant to push

[juney-blues]

amazing digital circus would be so alright if it was good

[angelsdean]

don't know how people multi-fandom. dipped my toe into another one and immediately backed out bc everyone there was insufferable.

[deoidesign]

Wait wait wait, I saw in your tags that's Time and Time Again is ending soon? But I've only just found it! (through the animation you did, it and your comic are so well done)

Ah, yeah.

So by "soon" I really mean "sooner than I think I would like" and it feels much sooner to me as the writer than I think it will to you all as the readers.

But, Time and Time Again is pretty much exactly 2/3 of the way through right now. Webtoon gave me the end date before I even finished my first season, and I've been trying to fit in all the things I wanted to get into the story before it ends...

It's why my hiatus has been taking so long, I'm trying to write to get as many moments and as much development as I possibly can, with really limited time! And... also admittedly to prolong how much longer it's sort of "around" in my life.

Because I know once it is over, I'll move on to the next comic! and 3 years just doesn't feel long enough to have Adam and Steve in my life haha

But, yeah. it's getting "close" in a way that it's starting to make me sad. like this time next year it'll probably be over.

It's okay of course, it's the nature of stories that they will end. I'm working really hard to make it satisfying despite Everything, and I'm really proud of everything I've done so far.

And my next comic will be even better for what I've learned here!

So, sorry to everyone, but I promise I'm gonna make it worth it.