#its not the aspect of not getting what i want its the fact that its my wedding and shes saying this

[hollaforlyla]

Happy late Valentine's day!! could you write for Shadow x reader and they're already in an established relationship but reader is still new to relationships and is also REALLY touchstarved? Have a good day/night!

" LEARNING TO BE LOVED " ── shadow x gn!reader

so like, reader is me fr 🫶🏻 no warnings, i think, very detailed ── maybe too detailed 💀 but i love shadow, i love this concept, so im not complaining 💗 plz enjoy!!

pairing: shadow x reader

genre: fluff, hurt/comfort

Being with Shadow was the best thing that had ever happened to you. But even after months of dating, you still struggled with certain aspects of your relationship—mainly, touch.

It wasn’t that you didn’t want to be close to him. In fact, you craved it. Your entire body longed for warmth, for comfort, for the feeling of being held. But years of going without it had made you hesitant, unsure. The idea of simply taking what you wanted felt foreign, like it was something you hadn’t quite earned.

Shadow had never pressured you. He wasn’t overly affectionate himself, but he was perceptive, and you knew he noticed your hesitations. He always let you take the lead when it came to touch, but that was part of the problem—you didn’t know how to take the lead. You didn’t know how to ask.

Tonight, you were curled up on the couch beside him, a movie playing in the background, though neither of you were truly watching it. The flickering screen cast dim light over the room, making the atmosphere feel warmer, softer. Shadow sat beside you, his usual rigid posture slightly relaxed as he rested one arm on the back of the couch.

Your fingers twitched slightly in your lap, a silent war waging in your mind. You wanted to lean against him. You wanted to feel his warmth. But every time you worked up the courage, doubt would creep in.

Would he think you were being needy? Would he get annoyed?

“…Something wrong?”

Shadow’s voice broke the silence, his tone low but not unkind. You looked up at him, startled. His crimson eyes were focused on you, analyzing, waiting.

“I…” You hesitated, your fingers gripping the hem of your sleeve. “No. I just…”

Shadow’s eyes flicked downward, catching the way your hands clenched. He was silent for a moment before exhaling softly.

“You don’t have to ask,” he said simply.

Your breath caught in your throat.

“I can tell you want something,” he continued. “If you need… anything, just say it.”

His voice was calm, patient—so utterly Shadow. The words were simple, but to you, they felt like permission. Like a safety net.

Swallowing hard, you hesitantly inched closer, pressing against his side. You half-expected him to tense up or pull away, but he didn’t. Instead, he adjusted ever so slightly, allowing you to settle comfortably against him. Your heart pounded as you carefully rested your head against his shoulder, his fur soft and warm against your cheek.

And then, slowly—hesitantly—Shadow lifted his arm from the couch and wrapped it around you.

The moment his hand settled against your back, something inside you cracked.

Warmth spread through your chest, overwhelming in its gentleness. You had spent so long aching for this kind of comfort, and now that you had it, it almost felt unreal. Your throat tightened, and before you could stop yourself, you squeezed your eyes shut and gripped the fabric of Shadow’s furred chest, as if afraid he might disappear.

His arm tightened around you in response. Not enough to smother, but enough to ground you.

A shaky breath escaped you.

“…Thank you,” you whispered, barely able to get the words out.

Shadow didn’t reply right away. He didn’t need to. Instead, his hand moved in slow, careful strokes along your back, his touch firm yet cautious—like he was trying to memorize you just as much as you were memorizing him.

“You don’t have to thank me,” he finally murmured. “You deserve this.”

Your breath hitched.

You had never thought about it that way before. You had always felt like affection was something you had to earn—something fragile that could be taken away if you weren’t careful. But here Shadow was, holding you like it was the most natural thing in the world.

Like you deserved to be held.

The weight of that realization made your eyes sting, and before you could stop yourself, you nuzzled further into his chest. Shadow let out a small breath—something between a sigh and a chuckle—but he didn’t pull away. If anything, he held you closer.

Neither of you spoke after that. You didn’t need to.

Because in that moment, wrapped in Shadow’s warmth, you finally felt safe.

And for once, you let yourself believe you were worthy of it.

RAAAHHHH IM GOING MENTAL

[viradahlen]

Some scattered thoughts about Wesker's character and STARS

Your worst sin is that you've destroyed and betrayed yourself for nothing" - Fyodor Dostoevsky.

Wesker grew up in an environment controlled by Umbrella. I like to think of it as an institute or orphanage. He must have felt lonely. He must have been alone.

This fact is not trivial because loneliness is thematic and yet ambivalent when it comes to Wesker's character. His relationship with other people and humanity as a whole is complex but fundamental to understanding his motivations. We know for a fact that he is not averse to being alone and even enjoys walking through the Arklay forest. He also talks a lot to himself. But is his relation to aloneness one-dimensional?

To understand the character, we must not forget that he was human, and so alterity interplay necessarily shaped his identity, even if he himself went so far as to cast away his humanity, deemed a weakness. This credo does not pertain only to Wesker. Alex Wesker, Dr. Marcus, Spencer, William Birkin, Sergei Vladimir... Umbrella's executives and higher-ups regard humanity as a dead end to be overcome with the help of science.

But unlike them, Wesker managed a small family team for almost 3 years. And unlike them, even after his rebirth, Wesker never really works alone.

I like to imagine how much inner conflict and cognitive dissonance the STARS era must have triggered. Can you really select people that you find highly capable, train with them, earn their respect and trust, and not care at all ?

Is it truly possible that he was but a cold monster, conditioned by Umbrella to destroy the world and embody the future of humanity ? An efficient tool that was taught how to identify valuable people and exploit their abilities ? Is Wesker just repeating with others what Spencer did with him ?

It’s an interpretation of the character. I find it a little too plain for my tastes. Wesker is a man of contradictions. He values freedom, is brilliant, and yet he is never able to think outside Umbrella's conceptual box. He values efficiency and yet seems unable to get rid of Chris and Jill. He obviously wants to be in control and seems wary and distrustful, which is probably a result of Umbrella's smothering grasp on him since childhood, and yet he trusts Ada, Krauser, Excella and other people to carry out his plans, increasing the risk of betrayal. Wesker is multifaceted, and so is his relationship with humanity.

Wesker's education is undoubtedly orchestrated by Umbrella/Spencer. Conceived and planned by Lord Spencer and his colleague Dr Wesker, Albert’s education was designed to make him an active defender of utilitarian philosophy, though devoid of its moral aspect. 

I believe the STARS, its inability to let go of the past, particularly Chris, reveals something else.

Even if "little piggies" sounds provocative and unflattering, and even if he evokes "a family reunion" in an ironic way, there is still something along the lines of possessiveness that manifests itself. When it comes to Chris, Wesker is the most ambivalent, helping him during the events of RE1, lamenting why he "cannot understand" his vision in RE5 and expressing his pride at every encounter.

The point is, Wesker almost never made a choice that wasn't designed by Umbrella in his life. Even his suicide and following rebirth, that he saw as a way out to escape Umbrella's shadow (he symbolically steps on his glasses branded with "property of Umbrella"), was overseen by Spencer. But he chose the STARS members.

And yet, when he was given full latitude to build up a team from scratch, he selected talented people, sure, though displaying an unconventional profile and a sense of honor and justice. Chris was kicked out of the USAF, Jill's father is a notorious thief (and herself is suspiciously good at picking locks), Kenneth is a chemist, Richard Aiken lost his sister and wanted to protect others at all cost... etc. Wesker's targeted people who were courageous, empathetic, and strong-willed. And yet, at this point, he didn't know what Umbrella's planned to do with them. He just did as he was told, and he chose them freely without Umbrella interfering.

He willingly chose to surround himself with people who absolutely did not share his beliefs. He did NOT choose meek people. He COULD have found competent AND cynical, less idealistic, less intelligent, policemen. But he chose them, introducing a risk factor as he was actually reporting to Umbrella. He chose people who have a strong moral compass, though they are less likely to be manipulated, are more difficult to lie to, and would rather not compromise. People with a sense of justice are often fierce and eager to defend their beliefs even though it's not in their best interest. They could have put Wesker in a delicate position, and, as a matter of fact, Chris, Forest, and Joseph were hated by Brian Irons.

So, why did he do that ?

If you listen attentively to Wesker's soliloquy in RE5, while he tries to pursue Chris as a clumsy octopus-like monster, I believe it makes sense if you consider he sees himself as a Messiah of sorts and a Creator.

Wesker hates humanity. But before his experience with STARS, humanity was actually comprising his colleagues within Umbrella. Umbrella taught him that people are worth less than nothing. (Though ironically, Umbrella's executives and accomplices, such as Brian Irons, probably reinforced Wesker's belief that humans were to be punished and corrected).

And so, when he loses his mind, he does not ramble, like a classic comic book villain, that humans are stupid or a lost cause. No. He laments that he sees "war and pestilence" whenever he goes. He wants peace. He relishes on being a Creator, a Demiurge. He wants to punish humanity AND start anew. That's precisely what Uroboros, a never ending circle of life and destruction, encompasses.

Wesker doesn't ONLY want to punish humanity. He wants humanity to do better, even though his method is totally irrational (as you could argue that he was the one bringing up War and Pestilence at its climax in their universe...).

He hasn't killed Chris, nor Jill, AND he EVEN confesses that he should have killed him YEARS ago. But why does he want his former pointman to understand ? Why is he OBSESSED about Chris "not understanding", if he isn't supposed to survive ?

I think that in Wesker's twisted mind, Chris represents what humanity should be at his best. Wesker fawned over his Tyrant, because it was his Creation. A new Human, created by him, the first step to his new world. But Tyrant is soulless. Chris, and Jill and every member of STARS he chose, trained and teamed up with, embodied values that he regards as worthy, honorable. They had a soul. And they were his.

There is something so enticingly complex about a character who implicitely confess that the world would be a better place if people were all as good and pure as the STARS members were, while he killed them all.

This man is hautingly complex your honor. He is Frankenstein's beast and a coward and a nerd that loves his action men and women.

But alas, he suffers from chronic backstabber disorder and delusions of grandeur.

Wesker, who blamed "loathsome humans" for turning the world into a cesspool, was actually one of these humans he so despise, partly because he never really abandoned Umbrella's mindset ("you're just another one of Umbrella's leftover" ie : a thing that belongs to them and doesn't think for himself which is TRUE).

And paradoxically, ironically, he betrayed and murdered in cold blood people that would have helped him make the world a better place.

[dragonfoxgirl]

6: Rare Pairs or Mainstream?

Both, but I lean more to “mainstream” in the sense that I like having canon material to inspire myself from it.

7: Polyamory or Monogamy?

Monogamy. I’m territorial and do not like to share. A special person is special in their relationship with their significant other. Of course this is a deeply personal take. Not to be taken as a generalized thought about the real life complexity of relationships.

8: If the ship is physical, reversible or not?

I’m not sure what “reversible” means in this context. But at the end of the day I do not require sexual physicality to love a ship. Physical affection both platonic or romantic fuels my soul though.

9: Do you always have romantic ships for fandoms?

Yes, almost always. Whether it’s a deep romance or a queer platonic relationship. At the core, what I love it’s the special affection shared between two characters. It doesn’t exactly have to be labeled. But it definitely needs to be special.

10: How important is the sexual part (if any) of your ship?

It’s not the main aspect for me. More like the “outer layers” that surround the act. The intensity of the relationship can be portrayed in the physical affection without really getting to “the main act” and I would still feel like it’s a genuine relationship. I would take cuddling in their lap/taking a bath together/laying in bed resting scenarios over the sexual ones any day.

11: Opinion on Platonic Ships.

Sometimes I think they’re even more genuine than romantic ones. Platonic love is free of the “roles” of lovers. Therefore the interactions are more genuine in my eyes. The characters don’t try to woo each other or act in a certain way to obtain something from the other. It’s pure in its chemistry. That’s why I’m a sucker for platonic love that evolves to romantic love.

12: List 3 ships that you currently love:

Charlastor: It’s classic in the tropes I like but it has a certain “controversial” edge that feeds my more “mature” taste. It can be dark and it can be silly and light. It all depends on the artist.

Radiojoy/AngelicSmile: Another Hazbin Hotel ship. One that I’m mostly responsible for fueling LOL. It’s a complete crackship. But it’s the contrast of nature and personality that attracted me to putting them together in the first place. Also, the fact of not having much information on Emily makes her easy to put in different scenarios and not having it seem too OOC.

RadioStatic: I would say I’m a bit of a masochist. Because it’s the “doomed from the start” feel to it that makes me like it so much. It’s realistic and personal for me as an Ace myself. The idea of having to break a relationship with a friend because you both want different things hits a bit too close to home.

13: List 5 OTPs from past fandoms

Naruto x Hinata (Naruto)

Star Butterfly x Tom (Star vs the Forces of Evil)

Hordak x Entrapta (Shera and the Princesses of Power 2018) 

I'm pumped. let's go.

[superkirbylover]

peppino and noise character studies

in this essay i will explain why i am the only one to understand these characters

[dykedvonte]

You ever just see a Mouthwashing take that makes you want to bang your head into a wall? I literally just saw someone claim Curly couldn't have been emotionally abused by Jimmy before the crash because he was in a higher position of power than Jimmy.

-Shrimp Anon

The mouthwashing fandom has shown me that people genuinely do believe that certain types of abuse are not as detrimental as other types especially when they deem those immune/resistant, ergo, believing one is objectively worse no matter how it affects the person nor the intersections of power, history and dynamics at play.

Get ready cause this is a yap session:

Cause like it's heavily implied that Curly and Jimmy's friendship was toxic and abusive, pointedly in the direction of how Jimmy uses Curly's belief/comfort in him. Curly wasn't forced to enable Jimmy but he was emotional and mentally on edge around him in almost every scene in some way. Mental and emotional abuse are not contingent on what positions you have at work. Yeah, he's Jimmy's boss but he was Jimmy's friend first and it's like getting into Psych discussion to talk about how social power tends to overshadow any perceived organizational power in the human mind. People are concerned about their jobs ofc but they tend to hang onto and put more value/investment into their personal relationships, hence why there tends to be laws and restrictions around mixing the two.

I always see the sentiments that "Curly is a grown ass man", "Curly is bigger than Jimmy", "Curly is Jimmy's boss", "He just needed a backbone" as criticisms of Curly and while I do agree that on the surface level all of these to be true and viable ways Curly could've taken more control of the situation, I often look at the parallels of Anya and Curly as victims of Jimmy pre/post crash.

The way Jimmy talks to Anya post crash is how he talked to Curly in the pre-crash segments. It's hard to pin-point mainly because we know he hates and wants nothing to do with Anya compared to his contrary but similarly handled obsessions with Curly. It's a weird sort of "honey-moon" effect of abuse Jimmy does in terms of emotional and mental victimization. He is always horrid to Anya, always talking down or questioning her abilities and thoughts in a situation, this of course includes the harassment and assault. However, he has a moment of attempted gentleness/conditioning when he question her about the mouthwash when she's contemplating drinking it at the table. The key difference is he has no personal investment in Jimmy outside wanting nothing to do with him, meaning there is no sort of romanticized version of him that he can condition her off of. He knows this, hence, why he always reverts to trying to make her to scared to oppose him.

This sort of give and take of "kindness" doesn't work on her because she knows he is just doing it to take more from her than whatever he could possibly give but it reflects even the "softer" scenes between him and Curly where he always rewords or rephrases Curly's sentiments and concerns to sound more shallow. He is feigning a deeper understanding by reworking Curly's emotions into something bad and needing to be hidden. Everything is laced with envy and resentment, an outburst just around the corner, I mean he even slams the table in the birthday party scene, a tactic in emotional manipulation to set the victim on edge and cloud their ability to respond. Even if Curly knows Jimmy won't get physical in that moment, the physical actions is intended to make him back down in the confrontation in case it does. This is something that is just not person specific. It ingrains itself into how you interact with the world and life and it shows in major and minor ways with Curly.

Post-crash, the abusive nature is more in tandem to the physical victimization Anya went through and the stripping of voice and autonomy we see take place. Like the parasite in HFIM, Jimmy speaks for Curly most of the time and puts words in his mouth, similarly to how he takes Anya's plans as his own. He very commonly, with the both of them mind you, supplements the worst aspects of himself into them; pettiness, selfishness, lack of understanding... And tries to cover himself with their best qualities; kindness, planning, initiative, etc...

These parallel are just to say that positional power has little to do with if a person can be abused and how it can even be flipped to further the abuse. There is no doubt that Curly could've picked up on Jimmy's envy of his position hence another reason he never confronted him as a Captain but as a friend as doing so would immediately put Jimmy in a space to be confrontational/combative.

I think the disdain some people have when they talk about the heavily implied if not implicitly stated emotional/mental abuse Curly experienced being Jimmy's friend is when treating it as an excuse to why he didn't do more. I can understand that completely because it is not an excuse to why he didn't do more but is a very real reason people in his position in these scenarios can experience whether in the context of a work or social environment. However, I also think the way people talk about it really does demonstrate a bigger problem when talking about abuse when somehow who is/was abused is either part of the issue or enabled it.

Harkening back to the sentiments about Curly's inaction regarding Jimmy, I think the exact phrases I used/have seen show how there is an inherent belief that it is easier to overpower the effects of emotional/mental abuse that go in tandem with the perception of Curly as someone who should be able to. There is not an age you suddenly stop being susceptible to abuse nor a set point or low where you realize how it has affected you. You don't suddenly know to stand up or put a face on to face your abuser nor admit that you inadvertently enabled them to subjugate someone else to the same treatment. Maybe it's my psych brain but their is this growing belief that direct action is somehow easy or always the best method with the game shows you instances where it is not always the case. In real life that rings true too. He should have done more, but it's not impossible to see why he struggled to find a way or didn't even if it makes us mad.

It's not easy to suddenly gain a "back-bone". You don't immediately want to resort to aggression, especially if it mirrors the type you were a victim to. You don't want to believe you allowed yourself to be treated this bad, let it get that bad or allowed something bad to happen to someone else. It is easy to be in denial, to retreat to your thoughts or make excuses to avoid the painful truth. It's frustrating but in a way we know is relatable. It why we both hate and love Curly for it. We know we'd be better, we think we'd be better, we like to think we wouldn't falter in the same ways but it's always easier to say that from the outside looking in. It's easy to see what he was doing wrong because we are seeing it, not him, but the game really does make you picture what you would do if this was your raw reality and it's why this debate about Curly seems so never ending/contradictory. We can all say what we'd do but bottom line is that's much different when you're in the moment with all the emotions and human feelings attached.

I personally think Mouthwashing tackles the themes of rape culture, enabling, toxic masculinity, types of abuse and patriarchy in ways that are meant to deconstruct the typical straightforward views we mostly have of these concepts and how little subtilities of them are just as, if not more, detrimental than the overt/obvious parts. The game deals with the idea of little details and bigger picture in a way to show that sometimes the bigger picture is not the issue but the little details that make it up. It's why I have a personal dislike of depictions of Jimmy as the typical horrible person who would of course do something like this because the game is about noticing the little warning signs, the foreshadowing and foresight.

It's why I dislike the typical discussion of "bro code" and "boys will be boys" for the game because the game makes a point to avoid the standard depictions of such. It is about the type of men who still enable despite not condoning, agreeing or even perpetuating harmful beliefs because they can't see the little details or the ways it seeps into their everyday. The severity is not obvious to them as it was not obvious to Curly, Swansea or even Daisuke the way it was to a woman like Anya. There are little details about Jimmy that should ring alarms but if you are too naive like Daisuke, too distant like Swansea or too conditioned like Curly, they are just off markers.

There is 100% more constructive/concise ways to say "Curly was a victim of Jimmy's abuse on an emotional and mental aspect that clouded his judgements and perceptions in the scenario" while also critiquing on the side of "Curly still had a responsibility to protect Anya as a crew mate and Captain that he failed to do due to biases and stigma's he failed to surpass" without the weird condemnation people give him about should've knowing better than to let himself be manipulated by a person he considered a close, if not family/best-friend and had his own reasons to trust initially. Also stop being weird about victims of abuse in general with this fandom, like sorry not everyone has a like social epiphany the moment someone's nasty to them. People are treating it like you immediately know when you are in a toxic relationship immediately or comprehend when a person is actively dangerous and either it's your fault for not knowing how to leave/cut them off or you deserve it. Like the hypocrisy of people believing how certain fans treat the story reflect their irl views but not their own is crazy.

End statement is: I honestly don't even know man, I've been writing this too long and just like no man on that ship was perfect or really helped Anya when it mattered and I feel like pitting them against each other in discussion on who did the least or most or how it was justified sucks cause in the end Anya always did the most and best thing for herself.

[retaurd]

I love :) my mom butting her head into my wedding planning :) and taking it over :) and basically trying to tell me what I can and cannot do or have at my wedding :) even though it is mine :) and the thing i want is not unreasonable :)

[transgenderbuffoonery]

i love when my nervous system can’t tell the difference between waiting for an appointment and being chased by a man with a gun and a flamethrower

[quadrantadvisor]

I'm trying so hard not to be a hater but the more I learn about other ttrpgs the more the way that people talk about dnd annoys me

[hotsugarbyglassanimals]

i know im not breaking new ground for saying legend of korra is disappointing but so much of the series is genuinely off putting to me. the setting, the tone, how the narrative tortures korra it feels like

which is a shame because I love korra as a character (even if her writing isn't The best at times). but there are so many aspects of the show I don't like. fuck there's so many characters in the show I dont even like either

[cinnabeat]

sometimes you read something and youre like why am i reading this what is the point and sometimes you read something and its like there is virtually no plot but i am simply reading to see this one guy completely fail at everything

[cosmik-homo]

Honestly i really do know im being annoying with this but the logistics of swapping out Avon and Raistlin and watching what theh do is the greatest form of Playing With Dolls I've ever ever had. Its a serotonin treadmill. You've heard of watching a brilliant, dark tortured genius asshole slowly create his own downfall what about landing in the middle of such a slipperyslope and starting to turn it into an entirely different one. AND THERE'S PVP ALLOWED, one of my main options rn is Avon-as-Raistlin starts planning how to re-open the connection and either undo this or pass some more things between the worlds- and Raistlin-as-Avon is like FINDERS KEEPERS BITCH. Paying It (The Lichdom Curse) Forewards, im staying in your life and im winning at it, fuck off. And Avon's like, ex-fucking-scuse me?

[broke-on-books]

☕

The live action Scooby-Doo movies?

I did not see this ask until RIGHT now (first time on desktop since crab day, second time since Nov 5 2020 [which was DOUBLY experience since I got my phone taken the same day]) so I'm going to assume this ask got eaten on mobile because tumblr, HOWEVER you poked a bear with this ask anon (as I'm sure you knew when asking) SO without further ado: my Scooby Doo live action opinions

So when you say 'live action Scooby-Doo movies' I'm assuming you're talking about the James Gunn films, starting with Scooby-Doo (2002) followed by Scooby-Doo 2: Monsters Unleashed, just due to like, generally popularity and also the fact that I have actually seen those films. However shoot another ask if you wanted me to include Curse of the Lake Monster in this (because I will if anyone cares and turn this into a live-action scooby dissertation, i'd just need to like. watch the movie first) But anyways where I'm going with this is that this post is about the Gunn movies aka the ones with SMG, Freddie Prinze Jr., Linda Cardellini, and ofc our #1 man, Matthew Lilliard.

Okay so my take on these movies is... complicated. I wouldn't say it's as complicated as my feelings towards SDMI, because I watched the live actions way less as a kid and generally care less about them, but still no matter how much shit I throw at these two movies there are parts that I generally like (even love) that stops me from totally condemning them wholesale. Like the fact that these movies are FUNNY! There's so many moments from this duology that are just beyond iconic "like, that's one of my favorite names!" the whole thing with Scooby in the dress at the airport, ET. CETERA (like I can go on!)

The Gunn movies are genuinely SO fun and I can 100% see and understand how they've stood so well in the public view as a representation of Scooby. HOWEVER, this is where you start to see my problems with them. For the general American, (because that is the audience I'm familiar with) ESPECIALLY millennials and younger, who happen to make up the majority of both people on this site AND people I talk about Scooby with in real life, these movies, and the elements they introduced as "quintessential scooby tropes" are the base of their understanding of the Scooby franchise, along with likely some miscellaneous WAY episodes and maybe SDMI.

Which is where I get pissed off. In the pushing of the narrative of "breaking away" from the Scooby norm, Gunn basically invents (aka totally makes up) an idea of what classic era Scooby was like, cementing an idea of classic Scooby into the public mind that is totally disingenuous and just straight up false. For example, in attempting to portray Daphne as having taken strides to be seen more seriously in solving mysteries and defending herself, it pushes the narrative that in the classic era she WASN'T taken seriously, and only existed as a damsel-in-distress prop of a character, which is just not true??? Like yes, Daphne is clumsy, that's a part of her character, and her friends (because, fun fact, the gang ARE friends) joke about it sometimes because that's what friends DO. Framing that in some kind of sexist "that's all she does" lens is just total bull, especially as gang members fall into secret passageways/get lost etc. in WAY ALL THE DAMN TIME because that's how the plot functions! Like are we calling Velma ditzy for losing her glasses every other episode? Of course not, and Fred falls into passageways all the time, not to MENTION Shaggy and Scooby and all they get up to. Also one last thing on the topic of Daphne, like this idea of her mystery solving skills not being respected by the gang is just so supremely bullshit it amazes me sometimes, especially when she was the LEADER (or leader adjacent) through pretty much all of her appearances in the 1980s [Not that James Gunn could look at '80s era Scooby without spitting on it, but I digress]

AND THIS IS JUST DAPHNE! Like the perceptions pushed towards Fred (and Velma, but mostly Fred) through these movies are just as bad! Like okay, with Fred---In these movies Fred is just an asshole. I hate Gunn Movies!Fred. I mean yeah he can be funny but it's almost always so mean! Almost nothing makes me madder than a mean Fred by the way. If he's putting other gang members down (even halfway, like with his whole "dorky chicks like you turn me on too" line, which... ew) then to me something has gone very, very, VERY, wrong in your basic understanding of Frederick Herman Jones as a character. Like he's the cheerleader! He puts himself in between his friends and danger! He loves nets, and traps, and Elvis impressions, and wrestling, and the trapeze, and cars, and most of all he LOVES sharing the things he loves with his friends! (Sometimes to a bit of an extreme. No one wants to hear about your net facts, Fred) And the live action movies just don't understand that at all. And I know there's maybe something to say I suppose in that some of those aspects of his characterization hadn't been "established yet" by the time "Scooby-Doo" came out in 2002. But it's there if you look. For Fred Jones, being the leader means being the caretaker, (he's the Mom friend what can I say) and any version where he's cruel and arrogant and just DOESN'T CARE about his friends in the way he's shown to in the Gunn movies is just so far from Fred to me it's not even funny. And what makes it even worse for me is that this (or at least something similar) is the idea of Fred that has really spread to the popular culture. Just the "leader", the jock that makes the rules, the one that [insert X adaptation here] finally gave a personality and made interesting (something that has been said more times than I can count for pretty much every gang member, save Shaggy and Scooby).

And I haven't even touched on Velma, and how they gave her a bit of a early 2000s smart superiority girl complex against Daphne, plus the whole makeover thing and etc. etc. The Gunn Movies are pretty much what would happen if you took someone who hadn't seen Scooby since they were 7 years old (and honestly had a pretty negative outlook against it then) and tried to "fix" it, only his memory was so bad he just made up problems (and threw in a good helping of early 2000s style sexism with it) convincing pretty much the entirety of the popular culture that said problems exist and that Gunn was absolutely brilliant for fixing them (and then bringing up said "problems" whenever anyone wants to talk about Scooby) and this entire rant has been without even fucking MENTIONING what is probably the reason you, anonymous tumblr user sent this ask in the first place, to I, Swishy "Scrappy Doo Redemption Arc" Broke-on-books (dot tumblr dot com), which is his HIGHLY SUCESSFUL and utterly sadistic character assassination of my number one man, Scrappy Doo.

And I am going to try my damnedest here not to get totally into my highly passionate opinions over what James Gunn did to Scrappy in the first of his Scooby movies and how thoroughly it has pissed me the fuck off because I have been writing this post for over an hour now and if we start to really get into my feelings on this topic it will certainly be a couple of hours more but like. That Fucking Bitch. I give James Gunn personally a solid eighty-five percent of the blame for making my life as a Scrappy Doo fan UTTERLY unbearable with this stupid fucking movie alone, and just his Scrappy crimes would honestly be enough for me to say that I hate this movie, not even considering the numerous Scooby crimes I've been talking about here for the past million paragraphs, but the part about this movie that makes me the MOST mad the most pissed off is that it's actually a good fucking movie. James Gunn wrote two hilarious and entertaining movies that have become beloved in the popular culture for their successes in that arena, while at the same time pissing all over the core themes and messages of the franchise of which it was based, that of friendship.

TLDR; The Live Action Scooby Doo movies (written by James Gunn) are highly entertaining and fun pieces of media to watch, and are widely loved by the general public and looked at with fondness and nostalgia because of that. However, as a hardcore Scooby Doo fan (writing that phrase sounds so ridiculous but oh well) the existence of these movies and their impact on the popular culture can be extremely frustrating (despite any personal nostalgia said fan may have) due to their spreading of a misinformed picture of what "typical Scooby Doo" looks like. This picture is especially frustrating due to the fabrication or exaggeration of problems present in classic Scooby (such as sexism in regards to the girls), as well as giving more ammunition to other problems in Scooby fandom (such as oversexualization, and sexualization in general, which no one wants to see in regards to their children's cartoons, like HONESTLY.) Discussions of sexism and sexualization in Scooby (both of which ARE present and are issues, although not at their worst in WAY) can often lead to an overlooking of the issues that are very present and clear in WAY and have continued since then with far too little resistance (I'm 100% talking about the racism here) HOWEVER that topic deserves at least a dozen posts of its own that I am no way informed or qualified enough to even begin to think about writing. The Gunn Movies are frustrating to many longtime Scooby fans because of these reasons, but for me, and fellow Scrappy Doo fans there is also the added aspect of the demonization of Scrappy Doo in the live action movies and the affects that has had on the popular culture as well, making it uniquely inhospitable to like or enjoy the character of Scrappy. End post.

[jankillbride]

everyday i wake up and think about what dc vs vampires could've been

[beastking-golion]

Finished my run of Mortum’s romance and.

[aeide-thea]

dipping my toe into fandom discourse here, which is never a great idea, but—i really am baffled by the contingent of fans who apparently want AO3 to not only denounce but ban AI-generated works, as if there were any reliable way to distinguish between mediocre writing produced by a human and mediocre writing produced by an AI…?

[waywardsalt]

thinking abt linebeck’s coat. something very alluring about it for some reason. so im just gonna ramble about it here instead of in the tags for once

you can probably start a fight between the people who think it’s a coat and people who think it’s a jacket but i think it’s a coat moving on

the character designs are interesting to look at due to the proportions and art style so it is hard to imagine how long his coat would be but i think it would go down to a bit above ankles because i think that’s good. it’s a bit more dramatic a bit more impressive(?) that way and would probably lead to problems tbh

based on some of the official art i imagine that the stripe at the bottom might’ve been a late addition since it’s missing in the bit of official art most used to represent linebeck. tbh linebeck is inconsistent in very tiny ways in the official art but that’s mostly if you’re gonna be nit-picky or bored enough to notice

his coat is so good it’s simple but very recognizable and stands out among the other character designs in ph and its just. yknow good character design

its also surprisingly good for headcanons and stuff and because i mostly take a lot of canon as suggestion i have a good handful of headcanons tagged specifically onto his coat (one of which is the length of it ig)

i like to imagine that he made it himself. i’ve seen stuff where people write linebeck as being able to fix link’s tunic when it gets torn and i feel like the logical extreme of that is that he made his own coat. i think that adds a layer of. importance to it? it’s unique it’s solely linebeck’s it’s tied to him because he made it with his own hands and maybe it can represent something about him that way?

i like to imagine that in addition to the normal pockets one the outside he’s got a whole lot of little pockets on the inside of the coat, like so many pockets that he hides little trinkets or tools or things he steals in either to keep or to take back to his ship for whatever reason. some of the pockets have little flaps of whatever they’re called that can be secured in place with a small button to keep stuff in

he’s got like pencils and a compass and little notes and tiny figurines and cool rocks and feathers and all kinds of little things he thought was worth keeping around and due to that his coat is uncomfortable sometimes but if he knows for certain he’s going to be busy doing stuff he’ll empty out all of the pockets and only leave the important stuff so that it’s lighter and less uncomfortable. link finds his coat lying around at some point and is caught so badly off-guard by how surprisingly heavy it is with all of the bullshit he keeps in all of his pockets

i also imagine he values it a lot, maybe to the point of being really possessive and protective of it, not letting link touch it and if it gets torn or stained he shuts down and has to fix it before he can move on to anything else, and if he can’t fix it at the time it leave him kind of overwhelmed or upset until he can fix it. he has a lot stocked-up materials specifically for his coat to avoid a situation where he has to go for while with his coat damaged

backing away from headcanon territory, his coat is just a cool bit of character design and has just been lodged in my mind for a while. its cool and never brought up within the game (obviously) and i guess a last little closing thought is that in the cutscene where oshus teleports link above linebeck it kinda looks like his coat moves when he tries to catch link and i think that’s cool