#miss working tho..

[asbatstos]

so glad this quarter is over and i'm unemployed.... now i can focus on my decaydance presentation!

[hinamie]

i loved the colours in this scene too much not to do a redraw

[ew-selfish-art]

Dp x dc AU - If the Internation Space Station orbits the Earth 16 times a day, then so does the Watchtower.

Danny’s on track to move out of his parent’s house and move to Gotham for college (He swears that Sam bribed the board to let him in- and she wasn’t even going to that university!) but the dorms don’t open for another three days and he cannot wait to escape. Seeing his parents try to perfect yet another weapon to use against him while he changed out the ecto filters on the portal was too much. He’s completely over the idea of staying when he already has everything packed and ready to go.

The solution? Take all his boxes into his haunt in the Ghost Zone, leave them there and then spend some time in camping in space. He’s already explored the Infinite Realms enough to be bored of it for a minute (not to mention he wants to avoid getting more ‘favors’ to do from Clockwork) and hell, he just wants to see some stars.

He grabs his tent, a sleeping bag and all the food and things he could need and brings it into the atmosphere with him. Keeping it all tethered to him, Danny stays in a fixed position above Gotham (Cause that’s where he’s going next, duh) and treats himself to some quality Me-time.

Only problem is that several times a day he has to make himself intangible while he lets satellites and things pass through. Easy enough and honestly pretty interesting to observe as a wannabe engineering student.

He doesn’t know when exactly it happened the first time- but it turns out the Heroes of Earth all congregated in a satelite office building? It was bigger than the ISS! What the heck!?

Going intangible but not invisible, the JL spot Danny and are incredibly confused how an ‘Alien’ teen just happens to appear in their meeting rooms disappearing at the rate (slowly but surely) of the Watchtower moving through space. Was that camping gear? How was he roasting a marshmallow? Did propane camping stoves even work in space??

16 times a day they get the opportunity to ask Danny a few questions. He mostly ignores them or gives them joke answers. Eventually Martian Manhunter phases through the Watchtower to join him.

They talk about how hard transition periods in life can be and having strained relationships with family. J’ohn returns to the watchtower on its next cycle and reports that the kid is just fine, being an adult is just a hard thing to do.

[rystiel]

idk what we’re all calling the concept of fiddlestan working together but i’m calling my version the portal partners AU 🙏🏼

[attyrocious]

replacement pen just got cleared in customs so im gonna be drawing like a medieval scribe til it arrives

wips + side paracetamols bc im still sick

[xxplastic-cubexx]

the way u tuck charles hair behind his ear like a dainty elf princess whenever u draw him sends me every time, i know erik would agree 🙏🏻

i fear im adopting 'dainty elf princess' into my vocabulary here on out thank you for this wonderful gift anon

might you accept my small gift in turn ... i was inspired ...

[kathonyy]

KATE & ANTHONY BRIDGERTON + kisses 💋 in BRIDGERTON Season 3

[ex0rin]

Hughie Campbell | The Boys S01E02: Cherry

[lotus-pear]

bsd rewatch w my friend means obligatory art of my fav found family ever

[forgetful-nerd]

What do you mean turtles are highly trained ninjas? They’re just silly little goobers!

[ickyguts]

doodled some goods today >:]

[beannoss]

Something I think about a lot and wonder if maybe gets overlooked in Twilight’s story and as vitally indicative of his character is actually in the very first chapter:

Anya isn’t needed for Strix. Twilight decides to adopt her anyway.

[Spoiler warning: Mostly this post deals with early chapters already in the anime but there is reference to chapter 62, which has not yet been animated and will be in season 3]

Twilight decides it — “I’m going to rework the mission so it doesn’t involve a child because that’s too dangerous” and he’s 100% right! Donovan Desmond is canonically a far right warmonger with fascistic authoritarian aims. His government made liberal use of the SSS — a group to mirror the Stasi — who continue to operate in morally dubious ways (much more likely they’re actively morally reprehensible, though we’ve mostly only had rumours of that so far). From what we can tell, Desmond is at best an absent father and likely actually worse than that: if that's how he treats his own children, imagine how he might treat others. And the timeline seems to indicate that the experimentation performed on Anya was done under Desmond's government — even if Twilight isn't aware of experimentation on children, he is aware of both human and animal experimentation under Desmond's government. Taking all that and also the complexity of Strix's aims, undoubtedly there were other things that could be done, more straightforward if not necessarily easier.

So. Why? Why entertain the change at all? And then, having entertained it, why go back when the reasoning is indisputable?

On the Doylist level, I think Endo wanted to ensure that Anya had some agency within the set up — Endo also does this with Yor. It would be much harder to be on Twilight’s side fully, or to trust him on an ethical level/take him as any sort of moral authority, if he were just straightforwardly using these two people. To have them be active and consenting participants (arguably to actually be affirming the arrangement: Twilight sets it up, but Anya and Yor actually make it happen) even if the audience only knows the depth of their knowledge/motivations/etc currently, shifts the power dynamic in important ways.

But it also the set up tells us important things about Twilight. He is largely impatient, cold, detached in chapter one. His overarching feelings towards Anya are, I think, real annoyance, real confusion, and real impatience. He just doesn’t understand this damn kid and it turns out she’s a person which is frankly unacceptable — he’d needed and anticipated an automaton, ideally of himself in miniature form. (Though I think one could ponder whether Twilight was, in many ways, an automaton himself at this point, but that's maybe for another meta 🙃)

He’s not entirely unmoved of course — we're given to understand he’s affected when Franky tells him how many times Anya’s been adopted and returned, and isn't amused by Franky's joke about names. Franky's comment — "Just don't get attached" — reinforces this. The prospect of “the future” perturbs Twilight when he’s reading the parenting books. His initial reaction to Anya’s kidnap is horror. All these are true too.

Then there’s also this, from earlier in the chapter:

It’s exposition, yeah, and it’s also exposing. "Hopes" and "joys" are very specific words to describe those events. It could simply have been "A marriage? An ordinary life?" but describing them as such — hope for marriage; joy in ordinary life — expose something of what Twilight feels about those two experiences and, on the flipside, they expose what he deems he's lacking. No hopes of intimacy; no joy in (an ordinary) life. There's an argument as well, of course, that he's being ironic but I don't think that actually invalidates the above analysis. Drawing attention to 'hope' and 'joy' at all are revealing, regardless of Twilight's tone in thinking of them. I think it's also interesting this panel, taken in conjunction with a pair of panels in chapter 62, Twilight's backstory. The above is almost a pulled out version of this below panel of Twilight's recollection of his childhood, and of course the returning image of not just a rubbish bin but a rubbish bin on fire when it comes to disposing of his identity:

Back to Strix. Both his final interaction with Karen and the whole everything of the framing of Strix is making Twilight think (and feel, ahem) things that he hasn't for some time. Twilight decides, I’m reworking this. It can’t proceed this way. Not because Anya is a pain in his ass, not because she’s not as (apparently) intellectually advanced as he’d originally thought, not even because he thinks he can find another child who would better be exactly what mission parameters called for. No:

And what changes his mind is Anya asking to come home.

One of the important parts of this to me is this:

He seeks consent.

This moment is a keystone, I think, to understanding Twilight. It’s also more telling than he maybe realises. Twilight is decisive — we all laugh because he spirals at the drop of a hat when his daughter or wife look even mildly upset but outside those (also very telling) scenarios, he makes decisions and he pursues them. Often he makes decisions quickly. He’s a dab hand at it; it’s a large part of why he’s as good a spy as he is.

He’d decided to change Strix.

Anya asks him, in essence, not to.

So, he doesn't.

But it's wild that he entertains keeping her request at all — why? Why even entertain it? It’s dangerous; it’s impractical; there are too many moving parts outside his direct control; Anya isn’t the sort of child he’d wanted for the mission if he’d spent any time thinking about what a child might actually be like; Strix is in many ways an extremely long shot anyway, Desmond could just stop attending for reasons unknown and unrelated; etc.

So, yeah, why? Maybe because of this —

In conjunction, I often think of this moment in the cruise arc:

Twilight first naming the feeling as lonesome, and secondly tacitly conceding that he perceives Yor as a companion and that that relationship is important to him, something to be missed. What makes this for me though is that Anya calls this out "Papa's you're so sappy" and Twilight's reaction is that of someone caught-out. He doesn’t say “nuh-uh!” but he may as well have. Essentially, something landed a bit close to home, hm? Maybe some of that hope for marriage? A soupçon of joy of an ordinary life?

Twilight’s loneliness underpins many of his decisions with his family — probably without him being fully conscious of it. I think he is at least somewhat conscious of it, but also if he looks too closely... Well, best not to. I could fill this post, I think, with images that demonstrate his loneliness throughout the series; that sorrowful/pensive close-up of his eye(s) is one of the abiding motifs for Twilight throughout. I'd probably start with this one from Twilight's backstory arc:

Anya's request plays directly off his loneliness. Still though, he doesn’t immediately capitulate — he emphasises Anya’s choice. Is she sure? The last day has been scary for a child (and for him, but he's ignoring that part) and Twilight, in his increasing recognition that Anya is a person, is probably aware in the back of his mind that he hasn’t exactly been warm or welcoming or at all patient with her. Things that people respond to — he's otherwise excellent at manipulating people, so of course he understands this. So. Given she'd just had this scary experience, given he hasn't exactly been great with her: Is she sure? She wants to come home — with him?

I think the moment may get a little lost because Anya says something riffing off his own earlier thoughts and self-revelation (featuring that shadowed, lonely eye motif again!)

Were this a post about Anya, I’d talk about how it’s an important character moment for her as well by way both of demonstrating her agency/choice and also that she isn’t nearly as dumb as Twilight thinks (and the audience, maybe, also thinks).

But in my view, she didn’t actually need to say anything about it making her cry. I think she could simply have said yes in that moment and Twilight would have agreed.

Twilight’s an unreliable narrator; he’s disconnected from his heart and that shrouds his own motivations from himself — something he actually also concedes in this chapter!

And it shrouds from us just how much he actually understands himself. He’s also a master of deflection. Easy to assume or say that bringing Anya home is just to align with Strix. Nothing more to see here; nothing else going on. But also that ripping off of the mask in the panel above — and the literal 'riiip' sound effects — also indicate to us that this is an unveiling to himself.

In my view, Twilight agreeing to Anya's request, deciding to go back to original mission parameters, actually shifts his motivations, subtly. Now he’s committed not only to the original mission goals, but also to Anya. He needs Anya to succeed at Strix, not only for Strix's sake, but also because otherwise the mission will end and she’ll have to go back to the orphanage, and he’s just agreed with her not to do that (not right away, in any case). I don’t think at this point he’s thinking it’s forever — his thoughts throughout the manga indicate he still expects the Forgers to be temporary. I don't think the shift in motivation is necessarily even conscious, but given the set up, I think something inside Twilight recognises that agreeing to bring Anya home is a compact, jointly engaged. Mostly all this has become subsumed into Strix: he makes decisions. He pursues them. He deflects, even from himself. Of course it's just for the mission; this saved him the trouble of reworking it, of figuring out something else. Nothing more to see; no need to think any more on it. And to be fair to him, Strix is very high stakes, resting pretty solely on his shoulders, so of course that is, objectively, motivation enough. Why even consider beyond that?

But I personally think that to the extent he's aware of it at all, there is something else going on, that he wants to have Anya for as long as it takes him to work something else out for her. If that's the case, then of course, we have Occam’s razor: the simplest solution may be the best one.

Maybe Twilight should just keep Anya himself, eh?

[Image description: gif from Spy x Family season 1, episode 1. Twilight and Anya have just found out Anya passed her entrance exam and are overjoyed. Celebratory, Twilight picks Anya up and swoops her into the air as they smile at one another. End image description]

[doctorsiren]

Today’s textured canvases once again featuring that Legally Mom AU 😁

Miles and Phoenix were never separated, and so they remained best friends through high school and college. They both went to law school, but Phoenix got a BFA and went to law school wanting to defend artistic and creative rights. He also went because he would be bored all day if Miles was still going to school and he wasn’t

Edgeworth actually becomes a lawyer and he works at his mother’s firm

Mia ends up working there instead of at Grossberg’s because it makes more sense that she would work at the firm connected to DL-6 and also uh she would have a woman as her boss lmao (Eleanor ends up becoming like a mother-figure for Mia, and Miles becomes like a younger brother to her)

Since Mia isn’t working at Grossberg’s, she wasn’t involved in the Fawles trial (which was prosecuted by Franziska). Diego was the defense attorney on that one, and he went on a solo mission to investigate Dahlia. He and Mia met and became friends, but Diego kept the Dahlia investigation close to his chest and a secret, partially to protect Mia (since they were friends now and since she was a new attorney and inexperienced). Diego and Mia finally ask each other out one day, and they plan to have a date later that week, but Diego then has to go to a meeting he has…which was with Dahlia…and he got poisoned…and by the time he wakes up, Mia is dead and they never got to go on that first date. He was asleep and unable to protect her, which is why he didn’t tell her about the Dahlia investigation in the first place. He ends up blaming the Edgeworths (Eleanor and Miles) for her death.

Dahlia (Iris) still dates Phoenix since Phoenix and Miles are dummies and have yet to confess their feelings for each other (although Eleanor can tell). Since Mia wasn’t a part of the Dahlia investigation, and since it was handled by a different firm, it didn’t raise any red flags when Phoenix started dating this chick. Phoenix was also in the courthouse library that day because, again, he wanted to go to law school with Miles (subconsciously pulling an Elle Woods).

When the murder of Doug happens, Miles isn’t a lawyer yet since, even though he could have skipped a grade or two, he never did because he didn’t want the increase in social isolation and also didn’t want to get separated from his friends he already had at his grade level. So he’s the same year as Phoenix (senior in college). I think Eleanor would then be the one defending Phoenix (rather than Mia) since she’s also basically a mother to him (he practically lived at the Edgeworth household since his home life wasn’t great, and then he moved in after his mother passed away his senior year of high school. So he’ll call her Mom and such, but he doesn’t refer to Miles as his brother and neither does Eleanor refer to them as brothers since She Knows What They Are [even if they don’t really know yet lmao])

We also figured out that for Turnabout Goodbyes, Eleanor is the one framed for Hammond’s murder since MVK wants to get rid of her as she is still trying to investigate the truth and he can’t have that. Miles has to defend his own mother BUT THEN when Miles starts saying the stuff about how he probably is the one who killed his own father, Eleanor then defends HIM and it’s just…Ough…mother son bonding over murder and death of father 😭😭😭😭

Just some thoughts 😁

[gambeque]

alo srry for my absence, here is what ive been up to as of late

[demaparbat-hp]

Almost

[rip-headphones-users]

More lore, I suppose not from anything ive written, but just some insight into my au or whatever i have for regretevator.

Anyway hey guys i really like reading really far into dialogue in directions that it initially supposed to be taken in.