#or you just find that character hot?

[epickiya722]

Seeing someone say they hope Gege gets hit by a car and others going "good" because he's sick was just... look, hate or love the story but it's extreme to wish harm on some guy over FICTION.

You know, one reason why some people stop creating is because people do shit like that.

Imagine being someone who writes a fic and someone comments how they wish harm on you. OVER WORDS. THAT THEY DIDN'T HAVE TO READ.

Ridiculous, isn't it?

[cozylittleartblog]

here comes the boy ~ hello boy ✨

cleaned up a couple of the vash doodles i did while learning to draw him :)

[rockpaperscissuhs]

BAND OF BROTHERS: EPISODE ONE + my favorite closeup shots

[s0fter-sin]

one of my favourite aspects of supernatural that you very rarely see in paranormal shows is that sam and dean are already versed in the world they live in. there’s no sudden discovery of ghosts and demons and now they have to learn about them along with the audience; they are born into it and already know all about it. it allows the audience to follow their personal story instead of also trying to figure out this new world and its rules

the first season is full of knowledge we never see them learn; “w*ndigoes are in the minnesota woods or- or northern michigan. i’ve never even heard of one this far west.” […] “great. well then this [his gun] is useless.” (1x02), “you don’t break a curse. you get the hell out of its way.” (1x08), d: “it’s a god. a pagan god, anyway.” […] “the annual cycle of its killings? and the fact that the victims are always a man and a woman. like some kind of fertility right.” […] s: “the last meal. given to sacrificial victims. d: “yeah, i’m thinking a ritual sacrifice to appease some pagan god.” (1x11)

almost every episode in the first season is a monster they’ve faced before that they then explain to the audience in a way that should feel patronising; like it’s the same speech given over and over again but instead, the audience almost feels included in the knowledge. it’s stated with such an innate confidence and comfort in said knowledge that it feels like we already knew it too; “spirits and demons don't have to unlock doors. if they want inside, they just go through the walls.” […] “the claws, the speed that it moves; could be a skinwalker, maybe a black dog.” (1x02), “it's biblical numerology. you know noah's ark, it rained for forty days. the number means death.” (1x04), “no no no, not the reaper, a reaper. there's reaper lore in pretty much every culture on earth, it goes by 100 different names.” […] “you said it yourself that the clock stopped, right? reapers stop time. and you can only see 'em when they're coming at you which is why i could see it and you couldn't.” (1x12)

they already know and, at least in the first season, already have what they need to kill whatever they’re hunting; already know to salt and burn bones for spirits, fire for a w*ndigo, exorcisms for demons, a silver bullet to the heart for shapeshifters. there’s only three times in the entire first season that they run into something new to them; 1x14 when sam gets his first vision that leads him to another psychic, 1x16 when dean calls caleb for help on the sigil he put together and he tells him about daevas, and 1x20 when they find out vampires are real- and they only don’t know that bc john thought they were hunted to extinction and not worth mentioning

(there’s also technically two half instances if you count one of them knowing something the other doesn’t - sam figuring out the tulpa in 1x17 and dean already knowing about the shtriga in 1x18 - but those still rely on sam and dean having prior knowledge)

even when they’re uncertain about facing something, it’s not bc they don’t know what it is; it’s precisely bc they know what it is and acknowledge that it’ll be a difficult hunt (“i don't know, man. this isn't our normal gig. i mean, demons, they don't want anything, just death and destruction for its own sake. this is big. and i wish dad was here.” 1x04)

so much of the tension in paranormal shows typically comes from the main character(s) not knowing what is happening to them/the people around them and having to find out how to resolve it. supernatural is unique in that it operates more like a police procedural. the tension comes from solving the clues and identifying patterns to figure out who (what) the killer is and intercepting before they can take another victim

it’s such a different tone to go for when compared to other shows that came both before, during, and after its run. it sets sam and dean on even footing with each other since they both have the same knowledge going in, and it puts them in a place of authority usually reserved for an outside character

the shows i compare spn to most is charmed, buffy and teen wolf; every main character in those shows are brought into the paranormal world knowing nothing, putting them on the same level as the audience, and they have their mc interact with others already knowledgeable about that world in order to overcome their problem/monster of the week. the audience organically learns about this new world as the characters learn about it. it’s a sound writing strategy that prevents “as we already know”-style exposition but something that complicates it is if your world building isn’t unique or intriguing enough, this slow introduction can become boring

we’ve seen shows like these before; sitting through the same tropes of characters learning to use their powers, struggling with no longer feeling normal/relating to the regular world around them, and not knowing how much they can trust the people already involved in this new world gets repetitive. all three shows eventually reach the same level of comfort with their new world that spn starts with but if the characters aren’t enough to draw you in, you can end up dropping it before they reach that point (and often, before the overarching plot can really kick in and evolve the show beyond the villain of the week format)

it’s the superhero origin movie in tv format; dragged out and overplayed. dropping the audience into an established world of course comes with its own problems but you also have the benefit of pre-existing established character dynamics that let the audience slot in like they’ve always been there instead of just getting to know all the characters while the characters also get to know each other

sam and dean already knowing about the supernatural lets the audience immediately get to the core of the story; the conflict between sam and dean, the search for their father, and the mystery of what killed their mother

[maxanor]

so anyway-

[lotus-lamps]

originally just quick doodles but i got carried away gege style LMAO (gege when i catch you gege) not too satisfied with the second one but alas. i apologize to artfight i got distracted by jjk 😭😭😭

anyways. guess my favorite character (i have two sketchbook pages worth of drawings of junpei. i lobe him dearly)

[iloveacronix]

Boutta go sleep cuz my brain be lacking neurons rn but guys PLEASE hear me out

Supportive brothers for life. Also taggin the historyshipping queen @kyokittymeow

[dunmeshistash]

why is senshi so hot?

Hotness is subjective so probably because of your personal concept of what hot is which might or might not be influenced by current trends

Also he's just a cutie

[originalcontent]

I can't find art of my ship anywhere so I GUESS that means I have to make it myself, here are some doodles.

[cait-sith]

Day 14: Haunt

[crobones]

reminding myself that, even though Evan now has a d20 in Magnetism and essentially a huge boost in confidence, he can exude that energy and still get nervous or embarassed or blushing while twirling his hair and kicking his feet or - and this is most important - feel a true calmness in subspace when being just a really good boy. it just maybe takes a little more oomf to get him there.

[lunar-years]

still thinking about the "well henry is boring so ted shouldn't've had to return home and be a parent to him :(" take like kjnqekngk HUH 😭 what kind of exciting depth and backstory did you want them to give Henry? ...He's ten. 😭😭

Also, this isn't a show about children. it's a show about adults, and the children in the narrative exist in order to serve the arcs/characterization of the adult main characters. Henry's purpose in the story is to be the child Ted left in order to take this job, so that Ted can miss him, be conflicted about leaving him, and ultimately grow into the person who decides to return to him. That's...it! The focus and point is not Henry himself but what he represents and the space he occupies in Ted's life.

Like, I love Phoebe, but even her point in existing in the story has nothing to do with her and everything to do with how she changes how we the viewers perceive Roy. She's there to show a different side to him and flesh him out as a character.

Similarly, it doesn't matter that the dutch girl isn't named or focused on at all or that she appears only very briefly. She's not there to have a storyline of her own, she's there to facilitate Rebecca's storyline! This is true of many side characters, not just the kids, in this and many stories! And it's why it doesn't bother me that Matthijs and Jelka don't have huge roles or that we are only introduced to them briefly before they become Rebecca's """endgame""" family (and I say endgame very loosely here). Their actual respective relationships with Rebecca aren't the point of the story. The point of the story is *Rebecca* coming to accept that her future isn't going to look the way she'd once imagined it, but also realizing that that doesn't mean she has to entirely give up on her dreams of finding romantic love and a family, either. Matthijs and Jelka are representative of the future that's still very much possible for her. They're symbolic of a new beginning for her, not an end.

[princess-starscourge]

I’m developing a crush on Renée Rapp’s Regina George. All her flirty gay looks she sends Cady’s way are driving me NUTS

[quibbs126]

Oh yeah so I had this idea earlier when I was thinking about Beast Wars, only reason I didn’t post it earlier was because I got dragged out to dinner

Anyways, so basically I had this thought of a Transformers series where basically the Autobots and Decepticons crash land on Earth, and due to them having no clue where they are and no current way of getting back home, they decide to work together, at least for the time being

So like, the main group of protagonists would consist of both Autobots and Decepticons

But also it wouldn’t be the entirety of both groups working together, as members on both sides refuse to work with the other for one reason or another and instead decide to do their own thing, being their own separate parties that probably cause trouble from time to time. But every member here has their own reasons why they are or aren’t fine with teaming up, and why they’re on one side or the other

I kind of don’t want Optimus and Megatron there, probably because I was thinking of Beast Wars which doesn’t have them, and also because I want to see this alliance come from characters other than them. But at the same time I feel like they kind of have to be there. My current solution is that the two were on a different part of the ship that came off during the crash landing, and in current day (assuming they all were unconscious for a bit like g1 or Animated) the two are missing, which might be a reason for the two groups to team up. Their goals are to: find fuel, find everyone that might have gone missing, find a way to contact/get back to Cybertron, and find their leaders

I’m not entirely sure what’s going on with Optimus and Megatron here yet, just that they’d probably be absent until like, maybe the end of the season or something

But one concept that did come to mind is that whoever found them basically decided to stitch the two of them together using each’s body parts into one powerful robot (probably not knowing what they really are), and so the two are pretty much fused together into one, with them having to deal with this, assuming they still have a mind anymore. And also with this concept, this Frankenstein of them is specifically not one or the other with the other’s body parts, it’s both of them in there, through whatever magic means. Or neither if we just want the body horror and the new team having to put them down. Or I suppose you could have instead their minds/sparks being fused into an entirely new being. Didn’t really think about that concept until right now. But yeah, might not be the concept I stick with, but it is the one in my head right now

Edit: all I know is that I don’t think I want it to just be “they decide to work together”, because while I’m down for a solo Optimus and Megatron team-up side plot, the rest of the group is already doing the team-up, so it’d be treading the same ground. I want to do something different with them, and fusing them together into one being certainly is that. Throws a wrench into the whole war thing too

And yeah, I just wanted to share this concept because I thought it was neat. I would try to develop it more, but I have literally no clue who would be on either side, because the only characters I think about are Optimus and Megatron, and I also don’t really want Starscream and probably Bumblebee here either

[bharv]

Maybe 2025 is the year I write my own kinks into my fics

[selfishpresley]

It’s thirsty Thursdays, girls!!! (gn)