#its been a while since I posted fan art

[hazelnootnut]

ED 13A - Hired Puppet It's all that you have ever wanted! Pray that you will never come to regret this decision.

(based on @youneedthisjob's current portrayal of protag that you should totally go interact/ send asks/ follow/ give love to because holy shit i've been going insane by fortune's characterisation of him. and protag's in a newly started arc akin to ED 13 so go send asks and get blasted with lore and pain)

((also also under the cut is a monochrome version without the pixel-esque overlay because he's too colourful. i want my grey tones.))

[hellsite-detective]

Yooo! I drew you some fanart on class instead of doing workkkk

(ignore the feet idk how to draw shoes just pretend it's steel toes boots)

WOAH OMG IM SO COOOL

the feet genuinely look really good honestly!!! i personally wanna imagine that i’m just wearing socks

but i look so good omg this is amazing thank you!!!!

[floralovebot]

on flora's whitewashing: is it possible that flora has been whitewashed in the show/movies with her artwork (illustrations) being fairly consistent with her skin tone, even prior to the reboots/nick era? like in season 1 and the movies iirc

examples: s1e3, and the movies like secret of the lost kingdom? i remember thinking she looked lighter in several scenes of lost kingdom and in that episode of season 1

i wonder if this is something that happened with flora in s1, with it not being or less a problem in s2 and 3, with the movie having a similar skintone to the reboot pictures. i swear that this has happened but i dont really see any discussions on rainbow lighting her skin other than in newer media (where it is more prevalent and more obvious) so if you have any thoughts? maybe also slightly on the merchandise/doll side of things if youre interested?

Rainbow whitewashing characters like Flora and Aisha has absolutely been an issue for a very long time. Unfortunately, a lot of white fans don't notice unless it's more of an extreme example (like Flora being stark white or Aisha looking like Bloom).

In the first three seasons, it's really not seen as a big issue because it's genuinely innocent on their part. Those seasons were hand drawn so every now and then you get a scene where the skin is too light or too dark and doesn't actually make sense with the lighting. Usually, it's an innocent mistake due to multiple artists, not understanding lighting, and things just slipping past them because they're looking at these scenes for hours and they get used to it.

Here are some examples from the first four seasons where their skin is too light even with the lighting happening around them.

And for reference, this is what their normal skin tone is (and what they look like in most scenes).

Again, people don't usually talk about these because it (most likely) wasn't racist or malicious intent from Rainbow. They just didn't understand lighting ajdhglad This actually happens with all of the winx! Just go through some episodes and you'll notice that even the white characters get lightened in ways that don't make sense.

As for the movies, Flora was 100% whitewashed in the first movie.

Flora got the brunt of it in sotlk - she's whitewashed for the entire movie, while Aisha is only whitewashed in certain scenes. There are scenes where both of them look normal and aren't whitewashed so maybe some fans just didn't realize, but if you watch the movie, you'll notice that Flora is whitewashed completely and only looks right when they're in super dark places which,, yikes ahdgalhg

The dolls were also a problem! The whitewashing in the doll lines heavily depended on the manufacturer though so it's very hit or miss.

A lot of the early dolls are perfect or almost perfect but some of them are whitewashed like in these examples. It's the later dolls that have the most whitewashing though so they tend to get more criticism (plus the early dolls are no longer being made).

Most of the other early (s1-s3) merchandising (like the magazines, bags, stickers, etc) didn't whitewash either of them.

I'd say almost all of the promotional art for the first three seasons was consistent and didn't whitewash any of the characters. It's hard to believe now of course but Iginio was initially really excited to make winx diverse (like he intentionally changed Flora to latina instead of white to make it more diverse). Rainbow intentionally whitewashing them really started with the first movie and then snowballed into what we have now. Unfortunately, I think so many white fans are so used to the whitewashing, that they've started to no longer even notice it unless it's super extreme. Like with the recent s9 promo art, most people weren't noticing Flora at all (and not ignoring her, specifically not noticing), and in a lot of fanart, they do not notice unless they're literally white.

Whitewashing has been a big issue in winx for years but I think there are a lot of fans who look at the early seasons with so much love and nostalgia that they don't want to admit it, or they don't understand how lighting affects skin, or their favorite character isn't Flora or Aisha so they just never pay attention to them (blorbo hyperbeam is very real). I'd still say that a lot of the early whitewashing was due to innocent mistakes regarding lighting and manufacturing, but the first movie was extremely on purpose (and so is everything after that).

[bowtiestash]

i’m going to try to be more active on tumblr because of the way twitter’s going, just a heads up

[robsheridan]

Hard to believe Nine Inch Nails' classic The Downward Spiral is 30 years old today! Here is some detail photography I took of the original album cover painting by Russell Mills for the 10th anniversary deluxe edition release, which I had the unique honor of designing, and somehow that is now 20 year old.

Everyone has that one album that hit at just the right moment of adolescence to change their perspective on music and get them through their teenage angst. The Downward Spiral was that album for me, released as it was in 1994, when I was a freshman in high school (and an absolute banner year for music/films/games all around). I must have stared at the artwork for hours over those years, without even much detail to draw from on its tiny 5” CD slip case. So five years later, when I found myself inexplicably working for Nine Inch Nails, it was surreal to see the actual original painting in the flesh, hanging as it was at the time in Trent Reznor’s office at Nothing Studios, New Orleans.

I was struck by how much dimension and texture there was in the artwork that never translated on that tiny slipcase printing, how much detail was happening in the physical materials of the art: Flies, moths, wires, blood… I had been staring at this “painting” for so long, yet suddenly it was like I had never seen it before. I also noticed that it had aged - the wires had wilted over the years, drooping down from their original position as captured in the original album cover (interestingly, judging by the photo posted today by NIN, the piece has since been restored); a tooth was missing from the other main piece.

That experience stuck with me and it was the first thing I thought about when the task of re-imagining the album package fell upon me in 2004. I wanted to re-photograph the artwork, subtly updating the cover to show that ten years had changed it physically, much like our perceptions of art and music and memories change over time with perspective. I also wanted to dig into the previously unseen details of the work and explore it with my macro lens, so that fans like me, old and new, could have new layers of texture to pore over for hours while listening to a legendary album.

Happy birthday, old friend.

[dughole]

radiohead’s complicity in israeli-occupied palestine

my feelings on radiohead are complicated these days, as i’m sure they are for many. i'm using this post as a method of sorting out my own thoughts & to provide sources.

for me, the bottom line is this: radiohead is both a brand & a musical group. the brand of radiohead has always had deep roots in the israeli colonial project - they have played many, many shows there throughout their career. their breakout single - creep, was intially only a hit in israel (x, x) & the personal choices of some of radiohead's members remain just as involved. jonny greenwood met his future wife - the israeli artist, antivaxxer & vehement zionist (x) sharona katan - at a show radiohead played in israel in 1993 (x). jonny consistently collaborated with zionist musician shye ben tzur & his projects continue to tour in tel aviv as recently as last september. as for jonny himself - his only statement in regards to the war on gaza has been in mourning for the israeli concert goers on october 10th - w no such empathy spared to the 100,000 palestinians dead, injured, or missing. as for thom, while he’s thrown a few bitchfits (x) through the years abt criticism of radiohead’s shows in israel, he has imo - only paid lipservice to the criticism, saying “playing in a country isn’t the same as endorsing its government” going against the pleas of his peers & coworkers in the music industry. as well as the pro-palestine activism undertaken by his long term friend micheal stipe (x & x). (note: stipe stood by radiohead’s performance in israel in 2017, but his current political choices suggest his understanding of the situation has evolved). even his own son - noah yorke, a fellow working musician, has voiced his opposition to the genocide in gaza via instagram stories. as for the other members, rhythm guitarist ed o'brien has called for a ceasefire, as well as making a few tweets about "solidarity with palestinians & israeli peacemakers". while bassist colin greenwood reportedly refused to accept letters of dialogue from the fan-run organization radiohead fans for palestine. drummer phillip selway's commentary is similarly brief but defensive, saying radiohead's 2017 tel aviv concert "felt right"

to me, this paints a picture of a band who's members stances on israel range from abhorrent to simply not enough. & as a brand, their particular combination of action & inaction amounts to a fundamentally zionist perspective. you cannot separate radiohead as artists from radiohead as a brand name.

i've loved radiohead since i was 14. i was brought into it by another longtime fan. i cried & danced when i saw them live back in 2017 - it was, & remains, a moment that allowed me to live through the hardest parts of my life. i felt for the longest time, that radiohead's music & political positions encouraged my empathy - my questioning of conservative political authority. & while all celebrities are failures in some sense - it is still heartbreaking to know how wrong i was.

i don't think it's possible to disconnect the decade of connection & love i have for their music - I won't ask that of myself or anyone else. & the idea of scrubbing one's taste of the "morally impure" is useless effort & an inappropriate simplification of both art & our conceptions of what makes someone "bad". but i can say with certainty - i will not be giving them any more of my money, whether that be streaming their music or buying their merch - & i encourage you to do the same. silence is complicity - this is beyond silence.

in the words of nina simone - "an artist's duty, as far as i'm concerned, is to reflect the times. how can you be an artist and not reflect the times? that to me is the definition of an artist."

[edwin-paynes-bowtie]

Do you think there is a way to ethically watch Sandman and Good Omens? What about Dead Boy Detectives?

Andddd this was why I originally turned off anons. I knew this was coming eventually, but I guess I'll respond just this once so everyone knows where I stand.

I don't love that I feel the need to disclose this, but I have personally experienced grooming and sexual assault in the past. So this post is coming from someone who has Been There and understands the importance of supporting victims. I also love all of the efforts NG-related fandoms have been putting into raising money for sexual assault charities. It's wonderful to see people rallying behind the survivors and supporting them so vocally.

- DEAD BOY DETECTIVES: NOT A GAIMAN WORK

I do not think that there is a world where Dead Boy Detectives would be unethical to stream. It has virtually nothing to do with Neil Gaiman, by his own admission, and is the brain-child of Steve Yockey.

Besides the first chapter where Charles and Edwin were introduced (with no development), he didn't even write the comics! Several artists did, including Toby Litt and Mark Buckingham - whose run the show is based on and who the sprites are named after.

Yockey was the sole person to pitch DBDA to Warner Brothers. Gaiman did not do that.

Streaming Dead Boy Detectives primarily supports its writers, cast, and crew - Gaiman, who only wrote 2 scenes, is getting essentially nothing in terms of royalties.

Someone on Twitter did a really good job of unpacking why Dead Boy Detectives shouldn't be lumped in with Gaiman stuff - I'll link it here.

But this leads me to the next section.

- HANDLING GOOD OMENS AND SANDMAN

I think that there are a lot of valid reactions to the way people handle the consumption of Gaiman's shows after what he has done.

Some people are going to be unable to stomach anything he has written, and that is okay. Others whose lives have been massively impacted by his work aren't going to be able to let go since - and I know people like to deny this, but it's true - the art you love more than love itself is going to have a serious material impact on your personality.

Both of these approaches are alright! The only incorrect approach is to harass those who disagree with your personal choices.

It also is, in my opinion, Bad to give Gaiman money. Purchasing his books and buying Good Omens official merch puts cash in his pocket.

Streaming the shows, though, is a little more nuanced to me.

I'm going to use Good Omens as an example here. I personally will not be continuing with Good Omens. It gives me a Yucky Feeling. I may one day change my mind and stream a pirated version, but I don't think so.

However, I don't think Sheen and Tenant's fans are wrong to stream it in support of the actors who have brought their favourite characters to life.

But this leads me into my next point, and the point that will probably get me Canceled.

- THE IMPACT OF SHOWS ON PEOPLE

The way that people handle their favourite shows post-allegations is going to depend on the impact that the show had on their life.

I like Good Omens. It's a fun show. I enjoyed it while watching it, and think (see: thought) positively of it. But it had no real deep impact on my life - it's not part of me. When I look at Good Omens now, I see Gaiman's work above the finished product. It puts a sour taste in my mouth.

But in a hypothetical world, if Dead Boy Detectives were a Gaiman production? I have the self-awareness to know that I probably would still stream it to support the cast and crew. I am attached enough to it that I think I would divorce it entirely from Gaiman (if he were the creator, which he is not.) My point is that other people who are still streaming Sandman and GO probably don't look at it and see Gaiman. They see something that they have absorbed into themselves.

The part that's going to get me canceled is that if George cameos in Sandman, I will stream that one (1) episode to support George Rexstrew (Edwin Payne's actor). This is because Edwin has had a material impact on my life (hilariously, because I am a sexual violence survivor who did not get justice, and Edwin did not get justice for his murder and fights for that.) I feel that Edwin is part of me and my life, because Edwin (and George's work as Edwin) has made me feel less alone.

A lot of people feel that way about Crowley and Aziraphale.

I think that asking people to ditch a show, characters, and performers that have had a deep impact on their lives is unfair to them. Like, yes, Neil Gaiman is a bag of shit! Anyone who defends him is also a bag of shit! But I don't think that it's fair to stop people from supporting works that have had big material impacts on their own lives.

- HOW TO PROCEED

TL;DR

My personal ideal outcome here would be:

Wrap up Good Omens with the 90-minute movie and nothing else.

Wrap up Sandman with season 2, and do not renew.

Revive Dead Boy Detectives WITH THE CAVEAT that Gaiman gets his name removed from it, even if he currently isn't making much money off it. Take the Sandman characters and references from DBDA and let it become its own standalone thing.

Cancel all future Gaiman productions and never hire him to work on television or anything else again.

Let Gaiman's career die entirely and let him fade into obscurity.

Arrest Gaiman, which will never happen but it should.

I think people should:

Stop giving Neil Gaiman money through books or merch.

Make their own decisions about whether or not to officially stream the shows in support of the actors and crew members who have worked hard on it.

Not harass anyone for either their decision to stream the show, not stream the show, or stream a pirated version of the show.

Engage as much as they want with fandom and fanworks, as they are divorced from the source material's creator.

Vocally speak up against Neil Gaiman. Amplify the voices of the survivors, and don't let fear for the future of your show get in the way of that. At the end of the day, real women were put through the most traumatic and horrifying experience of their lives, and that's what matters most.

[sunny-knight]

What Kind Of Monster Was He?

A @forgettable-au fan (colored) animatic

MINOR BLOOD WARNING!

*Was he the kind to do too much, or not enough?

…OK, SO WHAT HAD HAPPENED WAS-

I had planned to finish this into a full fledged animation, but a lot of the parts I did end up finishing just didnt live up to what I imagined…I waited for more motivation to happen, but it just didnt so HERES THE COLORED ANIMATIC CAUSE IM REALLLY HAPPY WITH WHAT I HAVE and ive sat on posting this for like a 2 weeks 😭 which is an eternity in my time

Im gonna post the unfinished “finished” part on my side account @o-sunny-day though! and probably have people yell at me cause it actually isnt that bad AND IT TOTALLY ISNT I just… art. You get it. ENOUGH YAPPING! ITS TIME TO YAP!

except not yet, MORE BACKGROUND INFO HUCDHUC- but its background info on explaining the lore…

The explaining is much less expansive than in Dear My Dear just because I didnt work on it long enough to think every bit of it through. This is just a clean, nicer looking, and colored version of the very first storyboard.

I usually think about and put more effort into the little stuff while making the FINISHED bits since ive had so much more time to think about that in all the preppin n sketching.

BUT I liked the explaining format I did for Dear My Dear so im sticking with it!

The main idea for this was to do a study of Wingdings’ character from what we’ve been given, mainly focusing in on the expectations he puts on himself because holy shit the lyrics for this works so stupidly well it makes me mad LOOK AT THIS???

its ridiculous. i love it. I didnt know Jack Stauber helped write Forgettable AU???? woww!!! ANYWHO thats the gist of it, not much context is needed past that. Onto the sillies!!!! (per usual excuse the shitty quality of the pngs idk why Tumblr does that-)

Did you know love? Will you rest in peace?

Wingdings and Sans holding hands as kids, before turning to a casket like appearance for adult WD. The flowers hes holding are pretty important too, Marigolds to represent grief, Lilys, new life, and Forget Me Nots for this lovely little line I found when looking up good flowers to use-

“a promise to always remember” ….stop that.

That actually also has a double meaning in this case too. 1, ofc the forgetting of Wingdings. But ALSO Wingdings forgetting something himself. Forgetting who he is. Almost like a Zuko ATLA situation.

Did you have a family?

Who knows where theyre parents are, but this is HAPPY TIME and we’re gonna assume they were so awesome and very kind but had to leave or went to a farm in the sky for whatever reason.

The colors here I had a lot of fun with. Their parents had warm colors but the boys have cold, still with warm accents. Its said they more or less raised each other being very independent as shown in the second part with them running out the door by themselves.

How was the view from the shelf? Did you ever believe in yourself?

Before, we started with the beginnings. The good things, the only thing Wingdings cares to even recall. Now we’re seeing his life really start to turn upside down- making first contact with The Player :D

He’s hesitant to reach out, but is intrigued, before getting a rushing revelation of his reality and how it isnt “real”

Rather than feeling crushing existential dread, he more feels pressured to be BETTER, to figure a solution, to do something. Thats what white represents here

WHAT KIND OF MILK WERE YOU?

We then switch to more examples of how Wingdings is taking this pressure (not well) The soft tones of yellow that were shown before, turn to way brighter, intensifying that feeling that he should be fine, he should be happy, drowning in success of being the Royal Scientist.

But he just desperately wants to just go back to a time of nice coldness.

The warm vs cold tones in this I had so much fun with, coldness is supposed to represent hostility usually, while warm is nice and happy. (same with Black and white. Scary, relieving,) But these points often contradict each other, its hard to tell what you’re feeling vs what you’re supposed to be feeling. Just like Wingdings!

WHAT KIND OF LIFE DID YOU LIVE THROUGH?

The white lab coats, the expectations, theyre on all of them. But Wingdings has essentially become his expectations.

He questions what life he wants to live, one being himself and alone (speaking in wingdings) or not himself and with company (speaking in a “normal” font) Still, he frames it in past tense as he believes theres no going back now, based on what he knows.

“One of the last happy moments they had together” stop that. (i cant find a link to when that was said but I know it was once, about them taking a photo together….)

DID YOUR LIFE RUN RICH WITH CALCIUM?

Calcium….bonesss :3 Hehehehdhehfhehehheheheh still dont know why he has holes in his hands so we’re movin on

DID THEY LAUGH AT YOU OR DID YOU LAUGH AT THEM?

Compared to the childhood Wingdings remembered, heres the sadder, bleaker, more realistic version. He always thought they were laughing at him but… maybe they werent.

DAIRY BELOVED. YOUR DAYS ARE GONE,

It doesnt matter now though. Because in the NOW, Wingdings has become consumed by his expectations of himself, seeing this has the “only option” to do the only thing that he feels will give his life meaning and purpose, establishing connection with THE PLAYER

But the grocery list goes on…

And yet life continues on without him, and his room is transformed into a more livable space now that someone is…living in it. Always hurts so much making the differences between Wingdings and Papyrus’ room. It feels like making something out of the man Wingdings COULD HAVE been. Because honestly thats just what Papyrus is,

Thank you to my bestie @fruitytrip for helping me with all of my art in general but especially the storyboarding on this :3 <3

[kamehamehamlet]

The Tumblr reblog sensation is returning. But like the Sayians or Shakespeare’s folios, it has the potential to develop in many forms.

Visit kamehamehamlet.com to be notified when we have more details.

Follow this blog for a peak behind the curtain.

And read on to learn more about the show, how we got here, and where we’re going.

Thank you for waiting just a little bit longer.

Revival Project FAQ

Who are you?

Hi! I’m Daniel Cole Mauleón (@writepictures), the writer of Kamehamehamlet. In 2015 I co-founded the theatre company Play-Dot Productions with KHH’s director Shalee Mae Cole Mauleón.

What is Kamehamehamlet?

Kamehamehamlet: Good Night Saiyan Prince, was an hour-long one act play, performed during the 2015 Minnesota Fringe Festival. It’s a staged retelling of Vegeta and Freeza’s battle on the planet Namek. Marketed as a Dragon Ball Z and Hamlet mash-up, the parody quickly shuffled off its weighted gi, revealing it was actually a Waiting for Godot spoof. After five performances, Vegeta hung up his helmet of spiky hair. Seven years later, K (@amokslime) wrote this incredibly gracious post on Tumblr, which inspired two people to reach out to me via Reddit to ask if I had a script or a recording of the performance.

I want to pause the semi-marketing voice and say a heartfelt thanks to K. Kamehamehamlet was brought to life by an incredible team of artists during a summer I’ll never forget. We got laughs at jokes, gasps at fight choreography, and we broke even on the budget (a Fringe miracle TBH). K’s post gave me the chance to revisit that show through someone else’s eyes. The mix of pride and humility it stirs up is truly indescribable.

If there is art which has changed you, and especially if the artist is still alive I encourage you to non-intrusively share that with the artist.

Is there a copy of the script?

Yes, I’ll speak more about that at below.

Is there a recording of the performance?

There was, but I genuinely lost the files. And that’s for the best, honestly. It was a last-second attempt, filmed from two cheap cameras (with different qualities and resolutions!), both at bad angles and with truly awful audio. Trust me. It’s better this way.

That said, I do have other archival footage from rehearsal's, tech, etc. that I look forward to sharing for those curious.

What’s next?

This is the question I’ve been asking myself over the past year and the reason it took so long to post anything. Especially since one thing I want to do differently this time is make sure that any artists involved are meaningfully compensated for their time and skill. However, I can’t plan without a better estimate of what kind of support we would have, and I didn’t want to share our intentions without concrete details. Right now, the best way you can support this project is by signing up for the announcement on kamehamehamlet.com and following us on Tumblr and YouTube!

The second best thing you can do is to share with others about this project, if I’ve learned anything reading through the comments on K’s post, it is that there’s a much bigger audience for KHH than I could have ever imagined, and you likely know at least one more person who would be interested.

And while I don’t want to promise anything I can’t deliver on, I will share that I’m planning on making the script available this year and I’ll be writing a separate post about that in near future.

Update 5/21/24: We've announced a staged reading for later this year! (Click to learn more) Update 6/11/24: We're going live on YouTube every Saturday through June to rally fans and talk about the project. This link will always take you to the upcoming stream. And this link will take you past recordings.

If you’ve read this far thank you so much.

Photography by Ann B. Erickson. Vegeta is played by McKenzie Shappell. Freeza is played by Cayla Marie Wolpers. Costumes by Sarah Noel Simon.

[yuurei20]

I see you mention Magical Archives a lot. Is that like an official artbook? Can I get it in English somewhere?

Hello hello! Thank you so much for this question, I have been hoping to write about this for weeks 🥳

The Magical Archives Game Guide vol. 1 (full name: 『ディズニー ツイステッドワンダーランド』公式ガイド＋設定資料集 Magical Archives ) is maybe the single-most informative Twisted Wonderland resource available!

It includes a huge amount of extremely detailed information, from gameplay to the characters to early-stage development illustrations to a multi-page interview with Toboso Yana herself, only one of two that she has ever given on Twisted Wonderland.

While it may be described as an artbook it is also much, much more, and if you are only capable of purchasing one piece of Twst merchandise in your life, it is absolutely the #1 thing I would recommend.

First published in 2020 it is still available for purchase from outlets such as Square Enix's Online Store, Amazon, Rakuten, Animate and more.

It is not currently available in English, but for a brief while Aniplex USA was releasing "Player Guides" for free via social media:

These were multi-page PDFs that were, visually, quite similar to the first 1/3rd of the Magical Archives game guide, but with updated gameplay information.

These game-guide-inspired PDFs combined with how out of date the gameplay information in the original guide has since become makes me wonder if maybe there not are any plans for any official translation of the original Magical Archives :<

There has since been a second volume of the Magical Archives released (in September 2024), but it is not quite as detailed as its predecessor, including gameplay information and a huge library of game sprites but very few sketches from Yana and no interviews.

On the subject of translated art books, there actually is an official English-language book being released in December!

While its English-language title is "The Official Artbook," this is actually one of four books of a series called "Visual Books!"

Much like the magical archives the first volume is the most detailed, including pre-colored base art and the occasional messages from Yana to the colorist (re: a comment that there is no need to put any light in Rook's eyes for his labwear vignette groovy ww).

The Visual Book Series is not really comparable to the Magical Archives, consisting of pre- and post-groovy card art.

The "Design Note" might be the closest to the usual definition of "artbook," consisting of insight into event outfits worn by various characters and even including a few sketches of unused designs.

Unlike the Magical Archives, however, there are no behind-the-scenes notes such as "He has a black-hearted side, so he may laugh with a hint of that often" (about Trey) and "He has vertically-slit pupils that become round in dark places" (about Leona), which can only be found in the game guide.

There are also volumes 1 and 2 of the Art Gallery! These are collections of artwork by artists that are unaffiliated with Twisted Wonderland, depicting Twst's characters, much like Square-Enix-branded fan art (no contribution from Yana involved).

Lastly, there are the fanbooks! Contrary to their titles they do not consist of any fan-made content.

Volume 1 of the Fanbook mostly consists of character/story overview, but it also has some fascinating etymology information and exclusive interviews with several members of the voice cast!

The second fanbook focuses moreso on events, and also includes detailed recipes of Master Chef cuisine, a report on the since-concluded Twisted Wonderland Exhibition, a look into a Twst-themed hotel room in Tokyo Disneyland's Ambassador Hotel, and more.

And a third fanbook was just recently listed 🥳 (Amazon link), said to include event, card and story content from the 2nd to the 4th anniversaries.

I hope this helps! ^^

[reallyromealone]

I think this is it.

Aight, thank you. Here's my request: So Pro-hero Bakugou has a husband (reader) and a son who didn't inherit his quirk. Instead, he got m readers' "weak" healing quirk. The kid hates/dislikes reader for getting his "useless" quirk instead. Meek reader doesn't want tell Bakugou that the son has a crappy teen ego, but Bakugou comes home early to see son berating reader. And Bakugo just scolds the son and explains why the the healing quirk is useful and how reader is amazing. Its a bit angsty, but can we have some fluff comfort at the end pls? Thank you again. :)

I got this

🪐🪐🪐🪐🪐🪐🪐🪐🪐🪐🪐🪐🪐🪐🪐🪐🪐🪐🪐

One thing no one in U.A expected was for Bakugo to get with Recovery girls grandson, the Omegas quirk being "healing aura" the ability to create a healing must up to 12 feet.

The two teens didn't get along initially, Bakugo crass and rude and (name) very much no nonsense and stubborn, the two constantly butted heads during their stay at U.A.

It was a surprise towards the end of their high school career for the two to move in together with an upcoming engagement "when did they even start dating?" Some would ask only to realize those arguments and comments were actually the two flirting.

(Name) ended up much like his grandmother and travelling agency to agency and helping out post villain attacks and doing what he could, gaining adoration and fans through how much he helped.

They almost forgot he was an Omega till he went on maternity leave.

(Sons name) was very much like Katsuki, a spitfire who had many little options and though Katsuki calmed down considerably there was no denying they were practically clones.

And because of this, it devastated (sons name) when he didn't get his sires "heroic" quirk but instead got (name)s quirk, the boy over time developing a resentment to his Dam.

Due to (name) only being called for emergencies, he ended up taking his late grandmother's place at U.As Medical wing.

And because of these hours, he was often left to care for his son alone while Katsuki did hero work, and because of this missed his son developing into a mythic asshole.

(Name) was exhausted after work, needing to use his quirk a lot today along with quirkless medical practice as many students didn't need his quirk but a simple bandage and such.

The house was a mess, whenever (sons name) came home he always made a mess, deeming it "Omega work" as the teen scrolled his phone "arent you supposed to be studying for the written exam?"

"Why should I? Dad got me in on recommendation, thank god since all you gave me was a shitty quirk" the teen snapped and (name) looked absolutely heartbroken at this as the teen continued "thank god dad's been teaching me martial arts since it's so useless-- seriously why did I have to get stuck with something as useless as your quirk, I'm amazed dad settled for someone as useless as you"

"The fuck you say?" The two turned to see Katsuki Bakugo walk in, out of uniform after finishing work at his agency "d-dad..." (sons name) looked sick and (name) on the verge of tears "your dad's "useless quirk" literally saved countless lives and your dad hauled ass saving countless People from villains" his voice cold as he dropped his duffle bag "why's the house a mess? You not fucking helping your Dam? I know he just got home so I know this ain't his mess" he laughed without any humor "disrespectful little shit, get up and clean this mess, after we train and get ready because it's gonna be hell" Katsuki promised coldly and the teen got up not wanting to piss off his dad more as the pro led (name) to their room.

"How long?" He said pulling the exhausted Omega into his lap, only soft for his mate "honestly since he found out his quirk, it's just been coming out the past few months..." Katsuki was shocked at this, how did he miss this?! "Why didn't you say anything?"

"... You were busy... You were working so hard on building your agency and I wanted to lift some weight off your shoulders" he wanted to cry as his husband held him close "stop being stupid" his voice loving despite the harsh words "I'll whip I'm straight, rely on me idiot"

(Name) was left to relax in the bedroom as Bakugo handled his son, calling a few hero friends to help especially the teens uncle Izuku and uncle Aizawa-- the teen spending his break at his uncle Aizawas and subsequently with uncle Shinsou who was visiting.

By the written exam he was kicked into shape and Bakugo made sure his mate was reminded over and over again how loved he was.

[farfromstrange]

Fictober Day 31: Shibari Ropes

Fictober Masterlist | Main Masterlist

Pairing: Matt Murdock x F!Reader

Prompt: Shibari Ropes (✨)

Summary: Matt ties you up and he has you for dinner.

Warnings: SMUT (18+), dom!Matt, use of ropes (hands tied behind the back; also, the knots are implied to be very tight and not easily to get out of) implied pain kink, mentions of nipple play, use of "good girl", oral f!receiving

Word Count: 900

A/n: This is the last Fictober 2024 fic. This should have been posted on Halloween and I had something more naughty planned, but life happened, so now you get this Matt Murdock going down on you while you're bound, and that's also pretty hot, no? Enjoy, and thank you all for reading and bearing with me since October. I love you!

Read Me On AO3! (coming soon)

He kneels before you, illuminated by the red light that consumes the room like a hungry whale.

His cock weeps against his stomach. The same nimble fingers that worked the delicate knots of the red robe along your neck, your wrists, your chest, and your stomach are now clenched around the armrests of the leather chair you’re perched on.

Your skin burns from the rough material as it slides across your skin with every breath. The knot sits between your breasts, your nipples hard and swollen from the earlier assault of his lips on them. They’re trapped between those thick pieces of red rope, and you’re completely exposed to him. A work of art, tied up without a ribbon but nevertheless a gift to him—a gift to be devoured. 

You have nowhere to hide, nowhere to run, your hands behind your back and your legs spread over the armrests. Your cunt is on full display, glistening and throbbing with the need that courses through your veins like lava. 

Matt observes you in a way someone with functioning eyes could never. It’s more intense that way, and you find yourself running hot with the blood rushing to your head. Even without seeing you, he sees you. All of you, not just the bare skin that’s on display but the person that’s hiding underneath. 

He senses the air brushing over your bare skin, those hardened nipples poking out of the gap in the rope, your muscles straining against your confinement and your toes curling whenever his breath fans across your pussy. The anticipation is setting your nerves alight. He can hear the very thoughts running through your mind at a speed that is beyond inhuman. 

Matt rests a hand on your thigh, comforting, warm. To him, you’re a silhouette on a burning canvas flickering to the symphony of your pulse, and God has never created a more divine masterpiece. 

“How’re you feeling?” he asks. 

You nod quietly, not trusting your voice to come out quite right. 

“Use your words, baby.”

“I’m okay,” you breathe out. 

“Good girl.” He smiles, but it lasts only a moment before his hazel eyes turn black, and he tugs at the rope around your chest; he tugs and drags it across, tightening it and loosening it all the same. 

The almost painful burn settles in your core like the starting flame of an inferno. The wetness travels down your thigh and leaves a mess on the leather beneath you. His fingers feel so good on your heated skin, but that is not where you want them. That is not where you need them. 

Matt pushes his palms against your thighs, spreading them impossibly further and up against your torso. A shiver runs down your spine. 

“You’re so wet already,” he growls. “I barely even touched you.”

You whimper, “Matt…”

“Hm?” He runs his thumb higher. 

You try to form a coherent sentence, but it turns into a moan when he circles the skin closest to your cunt. 

“What is it, sweetheart?” his voice drips with the sweetness of honey, and he bleeds it into a gentle kiss against your left knee. “What do you need?” 

He’s so strong you don’t stand a chance against the death grip he has on you, not to mention the rope that has its iron fist wrapped around your wrists. The cold of the leather against your bare skin is your only reminder that you’re still alive, that this isn’t some dream you could wake up from at any moment. This is beyond real, and you need him like you need the air you breathe. 

“Please,” you beg at the cost of your self-respect, “I need you.”

One little plea and he melts.

“Where?” he asks. His face inches closer to your cunt. 

The words feel foreign on your tongue when you answer, “My pussy.”

And it does something to him, too. His cock twitches against his stomach, precum leaking from his tip and getting tangled in the hairs of his happy trail, and he buries his nose right where you said you needed him. 

“Your pussy,” he echoes, correcting himself a second later as he utters, “Mine.”

And then his mouth is on your pussy, his lips close around your clit, and you cry out into the hue of the neon lights, not praying to God but the man worshipping between your thighs. 

Matt tastes you inside and out, playing you like a delicate instrument only he knows how to play. He eats your pussy just right. Never too much, never not enough. He devours his favorite meal with the eagerness of a man starved, and you fall freely through the clouds into the storm that is Matt Murdock. 

Your moans are his favorite sound. They bounce off the walls and echo in his ears. They sing to him like angels or sirens or God himself. The wave builds and builds, his cock straining with the sensory overload of all that is you and the throes of pleasure he puts you in, but it would be utterly selfish not to give your pussy all the love he can possibly give before allowing himself to succumb to an orgasm. If you don’t come first, what is he even living for? 

When it finally does happen—when you finally fall over the edge with your body screaming—he takes all of you in, drowning in your sweet, sweet cum as he spurts all over himself.

And he won’t stop consuming you until you tell him to. 

@ebathory997 @the-b33skn33s @scoliobean @drmeghanjones @lanae111 @steve-chandler @lucienofthelakes @xnatyx @gpenguin666 @linamarr @mcugeekposts @itwasthereaminuteago @norestfortheshelbywicked @yarrystyleeza @littlenerdyravenclaw @etanordoesbullsh1t @thychuvaluswife @harleycao @schneeflocky @imjustcal @pipsqueakkitten @merlinbtch @sya-skies @amberritonicole @ravenclaw617 @pigeonmama @bohemianrhapsody86 @a-gir1-has-n0-name @callsign-ember @chittaphonstar @buckyyyismahhlife @trublu2u @zomtart @ethereal-blaze

[kokushibitch]

my dmmd au where mink is actually a brown guy instead of being vaguely yellow and grey. left edit is just a skintone edit while the right contains more natural looking feathers. i also gave him a stronger face

i spent a while trying to pinpoint his nation. unfortunately his design contradicted itself a bit and the slapping of random feathers and dreamcatchers everywhere pisses me awf. i wish that the artists had chosen to stick with one specific nation, and the closer i looked it actually wasn't as bad as i initially thought, but there were still some pretty egregious errors made with his design that could be avoided with CURSORY research, and for a company like n+c, big as they are with the resources to do better research, is unacceptable. to be quite honest, i almost hesitate to even make this post because i really don't want people to run with the information ill be discussing. while i am a native dude that enjoys DMMD, i know so many others that dislike mink, his design, and story because he falls into quite a few racist tropes. also, just because i can kind of glean some information about mink's culture based on his character design/home design, does not mean that it's a 100% accurate portrayal of said culture.

TL;DR: i used to think he was supposed to be ojibwe, but upon further inspection i headcanon mink as navajo/dine and afronative, my reasoning below the cut. im gonna make a later post discussing the nuances of his route and the meta racism in DMMD cause its been a loooooooong time since ive played his route. while im not navajo myself (im tsalagi) i at least have the life experience to tell the goddamn difference between nations lol. i also love the inclusion of a rainbow in his design as a fellow indigenous rainbow enjoyer

note: dine and navajo are the same thing, but im gonna use navajo because thats what more people are familiar with.

the easiest way to start would be with his most obviously unique feature, his locced hair. loccing among NA nations wasn't super common, but it did happen due to the culture & rituals around hair (no cutting unless under specific circumstances, braids/plaits end up "locced" from saltwater, etc etc). to me, however, his locced hair didn't feel like a purposeful design choice. meaning, i dont think the artist chose the locced hair because they wanted to convey something traditional about mink's culture, i think they chose it just because it looks cool, or because mink kind of just falls into the "vaguely brown" category. i'd also be okay with interpreting him as black/native, which i think im gonna do because i know that there are (or was, dead fandom) plenty of black dmmd fans that identify with him

his second most unique cultural indicator is his dreamcatcher. unfortunately, dreamcatchers have kind fallen into that "vague native design" bullshit, but they do have a tribal origin: aanishinabe. again though, due to the sheer abundance of people slapping dreamcatchers onto vaguely native characters, i cant say that this is a strong enough point for me to say definitively that he's aanishinabe. also, you dont fuckin wear dreamcatchers. end of, they're not supposed to be on your body.

THEN there are even more important indicators to me that denote exactly which nation he's from.

just judging base on the patterns used on his traditional tapestries, blankets, and runners, would denote some sort of southwestern nation. now they're not accurate designs necessarily, but i can understand and see clearly where they took inspiration from.

the peace pipe on the wall in both his home and his hideout immediately indicate navajo, a southwestern nation. the fact that he has a strong religious orientation to smoking herbs (im assuming in place of tobacco) is also very navajo to me. the pottery in his home & hideout are also very strongly southwestern, as pottery was a very common art in the southwest. the fact that he has an altar at all is unique because altars are actually not common practice and are usually only found in the southwest, which is actually a good detail point whether it was intentional or not. ignore the dreamcatchers which were, again, thrown in randomly

and of course his homeland contains mountains and more importantly, cliffs and canyons which is another southwest feature. there's also his fuckass cowboy boots which are VERY southwestern

IGNORING the dreamcatcher in his hair AGAIN, he's also flexin beaded jewelry. to me, these are just like regular beads, but you could interpret them as turquoise if you wanted. traditional turquoise jewelry is usually inlayed onto silver bands or pieces as well as strung together like so. his white belt also contains a very southwestern design.

as much as some elements of his design annoy the fuck out of me, i love, love, love, love the inclusion of the rainbow in mink's character design. the rainbow is so important to so many different nations, and mink being a religious person, it actually makes a lot of sense for him to have this sort of draw to rainbows or rainbow colored items. specifically in navajo culture, rainbows are used as Bridges between The Navajo and The Holy People, basically communicating with a higher power. a rainbow is also a symbol of the 7 sacred rituals in navajo culture, one color per ritual. here's a youtube video about it, learn something

i do have some thoughts on mink de-loccing his hair in his good ending, but i think i will have to save that for another post further down the line

anways, ive made my case. mink is navajo

[dorothylarouge]

Comic Book Review: Runaways by Rainbow Rowell

Hello, all. Today I will be taking some time to discuss a comic book I enjoy. This is the first in what will hopefully become a series of long-form comic book reviews I'll be writing for this blog as I continue working through my backlog of unread comics as well as ones I'm rereading, both on my own and through me and @bimboficationblues' book club.

I first read the original run of Runaways in digest trade paperback format at my local library when I was in middle school, and the book hit me at the exact right time, since I was pretty firmly the book's target demographic - young, restless, and beginning to grow resentful of the adult authorities in my life. I never read the 2017 revival, as I was not reading comics when I was in high school and college, but I was at my local library - a different one, I don't live in Texas anymore - while waiting for the power in my apartment to come back on due to an outage, and discovered that they carried the full series in trade paperback. I decided to check it out and see how it held up to the original run, and found myself pleasantly surprised by how much I liked it - enough, clearly, to make this post. I'll get into more detail about the 2017 book later in this post, but I'd like to first give an overview of the original series to provide some context for how this book came to be, since it's quite a niche, cult-classic book as far as Marvel titles go.

Part One: Born to Run

At the turn of the century, comic books faced a number of problems. The bottom had fallen out of the industry in the early 1990s due to the burst of the speculator bubble, sending shockwaves that continued to reverberate into the early 2000s. Marvel Comics had nearly been bankrupted and stripped for parts, surviving only by the skin of its teeth, and was only just getting back on its feet. But now, another threat was looming: anime and manga. Imported comics from Japan were beginning to capture a larger and larger market share of comics sold in the United States, fueled by the popularity of Dragon Ball, Sailor Moon, and others on television. Marvel sought to fight back by producing books which would appeal to young fans of these Japanese imports and act as gateway drugs into more standard Marvel fare. Their first effort came in 2000 with the utterly embarrassing Marvel Mangaverse, a group of books which copied superficial and stereotypical aesthetics of manga, without any of the substance.

Just look at this shit, man. Anyway, in 2003, Marvel tried a different approach with their Tsunami imprint. The books in this imprint would also employ art styles that reflected the influence of anime and manga, but would feature character-driven, in-continuity storylines aimed at a variety of age ranges. Among the titles Tsunami would publish was a book written by Brian K. Vaughn (known at the time mainly for his work at DC's Vertigo imprint, including a run on Swamp Thing and his own Y: The Last Man) and illustrated by Adrian Alphona (who would go on to co-develop Kamala Khan with G. Willow Wilson) titled Runaways.

The initial premise of Runaways was really quite brilliant in its simplicity: Alex Wilder, Nico Minoru, Chase Stein, Gertrude Yorkes, Molly Hayes, and Karolina Dean are casual friends bound together mainly because their parents are all friends - actors, engineers, lawyers, and influential people in the Los Angeles area - who gather once a year for a charity event.

As the kids are left bored and alone while their parents meet at Alex's house in Malibu, they find a secret passage and are able to observe their parents at the meeting, learning that, in truth, their parents are a group of supervillains known as the Pride, who control crime and vice in Los Angeles, and who conduct human sacrifices in arcane rituals.

As the kids attempt to discover more about their parents in order to find evidence to bring to the police, they each begin to discover unique powers and abilities: Gertrude has a psychic link with a genetically-engineered deinonychus, Karolina is a light-powered alien with the ability to fly, Molly is a super-strong, super-tough mutant, Chase gains access to powerful technology created by his parents, and Nico is able to summon a magical focus known as the Staff of One when she bleeds, which she can use to cast powerful magical spells, with the catch that she can never cast the same spell twice. Alex, with a genius strategic mind, becomes the group's leader, and with the group learning that the police in LA belong to the Pride, they run away from home and drop off the grid in order to find a way to put a stop to them.

The first volume of Runaways chronicles the kids' conflict with their parents, as well as run-ins with a vampire named Topher and Marvel's original runaway teen superheroes, Cloak and Dagger. Eventually, they learn that their parents were gathered to serve godlike giants called the Gibborim and conduct a ritual which would wipe out all life on Earth, save for six of the Pride - or more specifically, their heirs, the children. The volume ends with the team's climactic confrontation with their parents, as they begin the ritual to end the world, with Alex revealing himself to be a mole in the group and having secretly been on the side of the Pride all along. After Molly disrupts the ritual, the Gibborim arrive and vaporize Alex and kill the Pride, with the kids barely managing to escape. In the aftermath, the kids are placed into foster care, which they promptly run away from, becoming teenage fugitives once again.

The first volume of Runaways lasted only 18 issues, but sales of the digest format trade paperbacks (another thing copied from how manga is distributed in the US) proved so strong that a second volume began publication in 2005, featuring the same creative team. This volume saw the kids continue to evade the police, adult superheroes, and social services. Along the way, they recruit a few new runaways, including Victor Mancha, a cyborg built by the Avengers villain Ultron, and Xavin, a shapeshifting, genderfluid Skrull who imposes themself upon the group as Karolina's fiancee due to a marriage arranged by her parents. They also take a trip to New York City to help clear Cloak's name when he's accused of attempting to murder Dagger. There, they come into conflict with the Avengers, and get sushi with Spider-Man.

Over the course of the second volume, Gertrude is killed in a fight with a reformed Pride made up of a time-displaced version of Alex's father and his MMO friends, and Vaughn's run on the title ends with a story in which Chase, who is grief-stricken after her death, makes a deal with the Gibborim in order to bring her back in exchange for a sacrifice. The deal falls through, and the kids are forced to fight the gods that their parents once served, ultimately managing to defeat and erase the Gibborim from existence.

After Vaughn left the book, unfortunately, Runaways started a long period of decline. He was replaced as writer on the book by Joss Whedon, who penned a couple middling stories, including one where the kids fight the Punisher and the Kingpin, and another where they're flung back in time to 1907 New York, where they recruit the final member of the team, a young mutant and child bride named Klara Prast who can make the flowers grow. Yawn. Volume 2 of Runaways ended with issue 30, and the book was relaunched with a new #1 in 2008, this time with the creative team of Terry Moore (best known for his indie book Strangers in Paradise) and Humberto Ramos (a veritable workhorse whose portfolio speaks for itself, particularly his work on Spider-Man). This brief, forgettable run was followed by a fill-in issue or two by Christopher Yost, and then a final, mediocre arc by Kathryn Immonen which ended the series abruptly on a cliffhanger.

After this, the wilderness years. Characters from Runaways appeared with some regularity - Nico, Chase, and Victor all played major roles in various Avengers spinoff books, none of which suited them particularly well - although in the pages of Avengers AI, Victor would forge a friendship with a reprogrammed Doombot which would play a role later. Mostly, though, it became clear over the years that these characters did not work in normal superhero books, because they were not normal superheroes - they were Runaways. Part of the problem the book had come to face in the later years was a failure to understand that point. The Vaughn run had proven the potential of the characters and concept of the Runaways - they needed a writer who understood that potential, and how to bring it out - and they could have a renaissance.

Then, in 2017, a Runaways TV show premiered on Hulu, to tie into the Marvel Cinematic Universe, and Marvel, for the most cynical and synergistic of reasons, decided to give them that renaissance.

Part Two: It's Only Teenage Wasteland

Runaways volume 5 (volume 4 was an unrelated Secret Wars tie-in) is written throughought by Rainbow Rowell. Rowell's background is in contemporary young adult fiction, which isn't usually my cup of tea, but translates very well to this comic. Runaways, at its core, is not a superhero book- a point which will be made more explicitly later in the series - it is a teen drama with superpowers. Angst, sexual tension, and resentment of authority are all key elements of the series, which Rowell employs effectively throughout. Joining her on art for the initial run of the volume is Kris Anka, who would later go on to be the lead character designer for Spider-Man: Across the Spider-Verse. Anka's art is colorful and expressive and complements the tone of the series brilliantly. It's probably the best Runaways has ever looked. Of particular note are the outfits Anka designs for the characters, which change from issue to issue and help to characterize each Runaway visually.

The book picks up with the Runaways having split up, with Molly living with her grandmother, Victor having been reduced to an inert, deactivated head following his apparent death in Avengers AI, Karolina in college and dating Julie Power of Power Pack, Klara in foster care, Xavin in space, and Nico in a shitty LA apartment after a brief stint with the all-female A-Force. The inciting incident of the book occurs when Chase appears with a time machine, having recovered the dying Gert from the events of volume 2. Nico is able to use her magic to save Gert's life, and she wastes little time pushing to get the rest of the gang back together.

Of course, two years have passed since Gert died in-universe. Karolina, Nico, and Chase are all adults now, and Molly is a teenager now, happily living with her grandmother. Things changed while Gert was away, and there's no way to go back to the way things used to be.

The first arc of the book establishes some core themes which will continue to be relevant for the rest of its run: change, growing up, and family bonds. Gert is the heart of the book, despite her vociferous denials of that being her role. She is the driving force behind reuniting the Runaways, and her character is explored in this book more than it ever was in the Vaughn run - her negative self-image, which she hides behind an acid tongue, is a recurring focus. Of note is a scene where she discovers that her purple hair, which had previously set her apart and helped her to feel as if there was something special about her, has become a common fashion statement in the time she spent being dead. Her relationship with Chase is also examined - the age gap that now exists between them precludes any resumption of dating, and she eventually gets together with Victor - but Chase still loves her despite himself, and holds out hope that things can change when Gert gets older and the age gap is less of an issue. It's a little creepy, but psychologically understandable, as is his giving into temptation when a future version of Gert appears and practically throws herself at him.

Rowell's focus on character is central to what makes the book work. There are few titanic threats and fewer supervillains; the drama in Rowell's Runaways is driven by the characters and their relationships to one another, which are given a fresh perspective due to the characters having aged and grown since the previous volume of the series. Molly struggles with the idea of growing up and having to face adult fears and responsibilities, especially when her best friend in middle school offers her a way to stay young forever. Nico struggles with the feelings she's realized for Karolina - picking back up a plot thread from Xavin's introductory arc - as Karolina struggles balancing university, supporting the Runaways, and being a good girlfriend, failing at the latter as Julie breaks up with her - but in the process allowing her and Nico to finally have the right timing.

Also complicating matters are Victor's Doombot friend, who becomes a recurring character and joins the main cast in the back half of the series, and Alex Wilder, who has returned as a living corpse, with the children of the Gibborim on his heels. Rowell's portrayal of Alex is one of the series' most interesting aspects, as a young man burdened by his past mistakes and whose inability to acknowledge or account for them prevents any reconciliation with his one-time friends, and leads him to continue making the same mistakes over again. The only bond with the group he is able to maintain is with Molly, the only other Runaway who still misses her parents, and they have some very sweet interactions in a spotlight issue which serves as a look at what things could be like if Alex was willing to own up and atone for how he's hurt the others. His arc is left unresolved, though, for reasons we'll get more into in a bit. Doombot, meanwhile, has a brief storyline in which he comes to grips with his sense of individuality separate from the programming he was given by Doctor Doom, but other than that his primary role in the series is to serve as a caretaker, of sorts, to the kids, as well as a source of consistent comic relief.

That's another thing about this series: it's very funny! Much of the humor is character- and interaction-based, which is very much my style of humor in comics, but there's also some really nice sight gags and creative use of lettering and sound effects to create jokes. A lot of the humor in the original series can be hit-or-miss, in particular a lot of the more dated references, so the humor in this volume is a refreshing change of pace.

Following the fight with the children of the Gibborim - one of whom, Gib, sides with the group and becomes their newest member - the series enters its midpoint, in which Karolina drops out of college and begins moonlighting as a superhero as an unhealthy outlet for her anxiety, which ultimately ends up dragging the other Runaways into the orbit of Doc Justice, one of Los Angeles' premier superheroes, who outfits and equips the group as his new J-Team. I'm conflicted on this arc for a few reasons. The first is that it interrupts what I felt was an interesting arc for Karolina using superheroics as a coping mechanism, which I felt wasn't explored fully before Doc Justice showed up. On the other hand, though, the arc really gives Gert the spotlight after some time of having it off of her, and she's really able to shine as the one Runaway excluded by Doc Justice due to her weight and lack of powers, both key elements of her own negative self-image which haven't gotten a lot of focus since the early arcs of the series. Further, the arc serves to drive home the point that the Runaways are not superheroes and that Runaways is not a superhero book in the traditional sense. Seeing everyone in spandex and responding to distress calls just feels wrong. And Doc Justice is a great villain for the series: a conceited superhero obsessed with fame and media attention, who has systematically arranged the deaths of various teammates over the years in order to maximize sympathy and publicity. It's all very Hollywood. The ultimate downside of the Doc Justice arc, I think, is that after it's done, the series only has seven issues left. The eternal curse of Runaways, to have each volume cut too short, rears its head once again, and in using one of its final arcs to make a meta-commentary on the series as a whole, it sacrifices some opportunities for the character interactions and interpersonal drama that really make the book shine.

The final arc makes an effort to pivot back to that interpersonal drama, including a delightfully fucked-up romance between Chase and a future version of Gert who has traveled back in time to supposedly save him from himself, which blows up as you might it imagine it would once present Gert and Victor stumble across them. There's also a plot thread of Molly, Chase, and Nico helping a visiting Wolverine and Pixie track down a mutant who sent a distress message, in which Nico very nearly kisses Pixie due to her established character flaw of getting caught up in the moment, and it seems like she and Karolina are going to have an honest conversation about it - only for the conversation to instead be about the frankly much less interesting conflict Nico has been facing about the evil sorcerer whose spirit is housed in the Staff of One, and who is taking a piece of her soul every time she casts a spell. It's a conflict that could be interesting if more focus was placed upon it, but it's the subject of one issue prior to this and the end of the series means that it ends up going nowhere beyond Nico entrusting Karolina with the staff in the end. That's a major flaw in this run, though one that isn't entirely its own fault - its abrupt end means plot threads, like future Gert's abduction of Chase, Nico's conflict with the spirit of the Staff of One, and Alex's usurpation of the Doc Justice mantle, are left hanging.

It really is unfortunate, and makes the time spent on the Doc Justice arc, which probably could have taken four issues instead of a frankly indulgent seven, feel even more egregious and unnecessary with hindsight. This series has a leisurely pace, which is good when it allows character interactions and dynamics to stretch out and have maximum impact, but it also means that at the end, when everything has to wrap up relatively quickly due to the amount of time taken in previous arcs, there's a disorienting and frantic energy, like trying to get your room cleaned five minutes before your parents get home. In particular, the last issue crams a ton of stuff in, to an exhausting degree - Karolina summons her people to take her into space and treat her for injuries she sustained in Doc Justice's efforts to martyr her, future Gert enacts her plan to kidnap Chase into the timestream, Gert's time traveling parents show up for some reason, Alex is surveilling the team for reasons unknown, Xavin is now a general of Karolina's people... it's a lot to leave on a cliffhanger.

Rowell's Runaways is a good book, and I do recommend it, either on its own or, preferably, after reading the original 2000s run. It does a great job of moving the characters forward, maturing them, and giving them more adult problems to deal with, while maintaining the series' core themes of identity, questioning authority, and anxiety towards adulthood. It simply doesn't have enough issues left at the end to resolve all of its plot threads, and that is what ultimately holds it back from being great. 38 issues is a good run, better than any volume of Runaways before it was able to achieve, but its pacing choices and the number of plates it attempts to keep in the air leave the reader wanting more.

But, to its credit, it succeeds in making me really care about what that "more" could be.

Part Three: Run Away With Me

Volume 5 of Runaways ended with issue 38, cover date October 2021. It outlasted the TV show it was meant to tie in with by two years - a TV show that was eventually pulled from streaming as a cost-cutting measure. In the years since the series concluded, not much has been happening in that corner of the Marvel Universe. The characters have made few, if any, appearances, and there's been no talk of a sixth volume, despite the plot threads left hanging.

Well, that sucks, you know? Runaways is such a unique series with such a special voice and perspective in superhero comics, and it deserves a place in Marvel's publication roster as much as the millionth Spider-Man or X-Men spinoff does. It has never sold spectacularly, but it has an audience and, crucially, has always been good for its originally intended purpose: giving Marvel a backdoor into the teen and young adult market that has for decades now largely eschewed comic books. Manga sales now account for nearly half of all comics sold in the United States, and while Marvel now mainly serves as an IP farm for adaptation into the much more lucrative MCU, I think there's value in a series like Runaways that's able to tap into that YA market in a way Marvel's other books aren't able to.

I think with the right creative team, Runaways could easily become a solid seller that is able to have a respectable run of issues. Volume 3, as well as the original Vaughn run, prove that this is possible. I would seek out a writer like Mark Waid, whose bread and butter is character work and who was able to revitalize Archie's comic line to appeal to YA readers, or Ryan North, whose Fantastic Four is one of Marvel's best titles right now primarily on the strength of its character dynamics, or David Willis of Dumbing of Age, whose work for the past decade has entirely centered on young adults finding themselves, to take over the reins of a revival, someone with established chops in the genre. Pair them with a quality artist - think Chris Samnee or Todd Nauck, and I think there's a recipe there for a hit.

I hope we see Runaways come back again, sooner rather than later. Another eight year hiatus would be unbearable.

G-d help me, I wanna see these crazy kids again, and see where the road takes them.

FINAL SCORE: 3.5/5. A good comic.

[madamspellmans-met-tet]

✨Polycoven Headcanons ✨

Lilia is essentially the High Priestess of the Coven and everyone worships her (read that however you prefer in terms of sfw/nsfw). Every single one of the coven members holds love for her, admires her, respects her. They all think her incredibly powerful due to the nature of her magic and that in itself is attractive to them. Then of course most of them have mommy issues and who is Lilia if not mama? She gives them a sense of comfort and nurtures their emotional needs since each of them has some sort of lack there. They will do anything for her.

Even Agatha listens to her after Lilia manages to tame her to a degree (again: read however you wish). Agatha is her little brat and Lilia accepts her just as she is in complete contrast to her mother, which leads to Agatha trusting her like she does no other. Agatha gets jealous when Rio spends too much time with Lilia/in her proximity, but on a deeper level it’s the fear of Rio taking Lilia.

Rio and Lilia have a similar dynamic since Rio is mostly seen as destructive and evil, but Lilia knows that what she does serves to maintain the cosmic balance and that she is not only the end of life but also its beginning. Their bond results in Rio being extremely possessive of Lilia.

Alice is Lilia’s little baby. She feels incredibly protective of her, which is something Alice needs because she’s always been the one to protect others but desperately needs security and stability herself. They’re always found snuggled up on the couch together when they have the time.

Jen and Lilia have a sort of besties relationship with lots of playful bickering but also Jen is a rock for Lilia. She’s the one Lilia confides in when she needs advice or just someone to listen herself. They do arts and crafts and cook together! They’re the only ones allowed in the kitchen. Jen just makes Lilia feel very grounded.

Sharon sleeps in Lilia’s bed. It’s her comfort person. She doesn’t know much about what’s going on but she’s happy to be there.

Billy is grandson. He’s the one Lilia goes to when she wants to have a laugh and banter and gossip. He tells her all the hot tea and teaches her pop culture. He made a fan account centred around her and regularly shows her what people are saying about her (only the nice things of course because that’s his nana!) Lilia is quite flattered by all the compliments and interest. It boosts her ego and helps her feel sexy.

Overtime, the coven expands as more and more covenless witches join them and it turns into a sort of cult with Lilia as the centre figure (without that ever having been anyone’s intention). But the original coven remain the only ones in the inner circle and with the privilege to touch (and more) with Lilia. To be spoken to by Lilia is like a blessing to her followers and to be invited into her room and rest their head in her lap while she tells them what time holds for them is a spiritual experience. (give me a shoutout if you use this concept:))

Bonus: NSFW!

Orgies. Everyone wants to get into Lilia’s pants. Her scent is like an aphrodisiac to them. They’re all over her at any given time if she lets them. All she has to do is spread out in the middle of the bed and she will be taken care of. Agatha and Rio fight over who gets her breasts and Lilia will tell them to each take one and if they can’t behave, Alice gets both. Jen is her fav to prepare her because she’s the most sensual. Alice is her fav to make her come because she always puts her pleasure first and understands her body well. Though everyone gets their turn and they won’t stop until Lilia tells them she’s fully satisfied. She never has to do anything in return but if she feels like it, she will give back—but no one is able to speak afterwards.

(started this post bc I just wanted to say that I’m obsessed with the idea of Lilia being worshipped by everyone and treated like a goddess and it escalated)

[cosmiischillin]

Cosmi’s Fan Series Asks are…OPEN!!

(Boundaries + Alternative version of the image are below the cut)

I’ve been wanting to get back to working on Asks again, especially since I wanted to do so for ENAF and Twilight Town but now Rayman and Welcome Hell has been introduced! So I decided to make this a full on post to explain all 4 Asks! I wanted to do this to showcase more lore and things about these universes

Welcome Hell: Send questions to your favorite puppets acting on Hell’s most wholesome show! You ask about character lore any of the such, (just don’t ask about anything relating to Hellaverse. I base the world on its own universe of Hell)

Twilight Town: Ruby’s Good N’ Gloom blog now has a full on podcast with her friends! Ask away to learn what it’s like on the bright side of the dark side

Rayman Heroes: Heroes got fans so QnAs aren’t too far off! These Heroes of the Glade of Dreams have aplenty to say about each other and their jobs (plus they sorta gotta pay rent)

ENAF: Wether it is the main series or the FNAF World variant, ask away for these characters! (Please refrain from asking about Mimic though Tales of the Pizzaplex and Ruin are currently noncanon to ENAF, please check my boundary list)

I hope you have a ball asking these different AUs questions! (I will make links for showing characters in each one I promise)

My Ask Rules!

1. I do have the right to refuse certain asks, whether it is for the reasons I might list below or if it’s already answered.

2. I’m gonna be doing art for my posts as much as I could. If your ask isn’t given art. It might just be because I was burnt out or didn’t have the energy to drawn. I apologize for this.

3. I won’t be drawing others OCs (except for events I plan in the future)

4. No NSFW asks. My content is Teens and Young Adults orientated and I personally am not comfortable answering that stuff.

5a. If there’s a QNA on ENAF, please refrain from asking about events that take place in Ruin, Tales of the Pizzaplex, and any other FNAF media that came out after base game Security Breach (ENAF’s canon only goes up to that game of the og’s canon)

5b. Please refrain from asking about Hazbin Hotel/Helluva Boss/Hellaverse when it comes to Welcome Hell. While it was inspired by it early on, I have since made my own original version of Hell.

6. Try to be as brief as possible (1-4) sentences with ask. Paragraphs usually overwhelm me (sorry!)