#s. osborn

[quillaffinity]

Hey! I'm in love your web weaves, they're so well thought! I was wondering if you could do one on light yagami? I'd love to see your take on his character <333

he who would consume god

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he hangs from above

in brilliance - that rotten apple soaked in blood

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Death Note was written by Ohba Tsugumi and illustrated by Obata Takeshi

roland barthes / death note / samantha riches / death note / anonymous, "diary of an oxygen thief" / the amazing devil, "that unwanted animal" / ??? / death note / death note / michael kinnucan / death note / yves olade / s. osborn / death note / the 1975, "antichrist"

quill notes - light,light, light! so much to say about him and so much has already been said. the violence had always been there, the bloodlust constant - something inhuman just made the mistake of giving him the gun

[exhaustedpigion]

[spider-mandaily]

BONUS:

I truly believe that I have these powers to help people...

Your Friendly Neighborhood Spider-Man (2025) I Dir. Melchior Zwyer

[hawkogurl]

[vertigoartgore]

1997's Spider-Man: Revelations trade paperback cover by artist John Romita Jr., inker Scott Hanna and Liquid! (late 90s/early 00s coloring studio). Source

[sleazyjanet]

both options seem equally possible with them

[asoftepiloguemylove]

i will do as devils do. fall.

Sylvia Plath The Unabridged Journals of Sylvia Plath / S. Osborn Blasphemies at the 5th Street Station / Kate Cayley Lent / retirementfund (on etsy) BEGOTTN HORROR PATCH / Ethel Cain Sun Bleached Files / Nicola Yoon The Sun is Also a Star / unknown

i. Sylvia Plath, The Unabridged Journals of Sylvia Plath

[ "I need a father. I need a mother. I need some older, wiser being to cry to. I talk to God, but the sky is empty." ]

ii. S. Osborn, Blasphemies at the 5th Street Station

[ " 'if there is a light then i am going to swallow it. if there is a god then i'm going to make him cry.' / - s. osborn, from 'blasphemies at the 5th street station,' published in The Rising Phoenix Review (via lifeinpoetry)" ]

iii. Kate Cayley, Lent

[ "When I think of God, I think of hiding. The way a child hides. In hope of being found." ]

iv. retirementfund, BEGOTTN HORROR PATCH

[ Black patch with a screenshot form the horror movie Begotten. A grainy black and white image of a woman standing as she looks down at something. "GOD IS DEAD / ALL HAIL NATURE" ]

v. Ethel Cain, Sun Bleached Files

[ "What I wouldn't give to be in Church this Sunday / Listening to the choir, so heartfelt, all singing / God loves you, but not enough to save you" ]

vii. Nicola Yoon, The Sun is Also a Star

[ "I wish I still felt that way. Growing up and seeing your parents flaws is like losing your religion. I don't believe in God anymore. I don't believe in my father either." ]

vii. unknown

[ Black and white drawing of a statue of a man looking upwards into the distance. "GOD ONLY LISTENS TO ME WHEN I SPEAK THROUGH SIN / IN TRANSLATION MY PRAYERS FALL FROM GRACE BUT I AM HEARD" ]

[gifsofhubris-a]

I have too many emotions in these scenes.

[tsukiyo-7]

"If there is a light then I am going to

swallow it. If there is a god then

i’m going to make him cry." - or that's the vibe, so I've heard

[jihef03]

Humberto Ramos ate with this two redesigns.

Obviously inspired by the Raimi movies, but I think it's funny both Norman and Otto had a crisis and went "Okay I want to look cool now."

[sciderman]

since we're here in osborn hell, here's one of my favourite little chapters from it came from outer space! with one rare appearance from one norman osborn

Peter could throw up. 

With how mad he was, he could tear through concrete like tissue. 

It was everywhere. 

Everywhere he looked. 

Every tabloid. Every sleazy celebrity magazine. Every news outlet. 

Harry Osborn. 

Son of billionaire scientist Norman Osborn and heir to Oscorp, 23rd largest company on Forbes’ Global 2000 list. 

Gay. 

Like it’s such a fucking big deal. 

Harry was being jumped on by everyone. Everyone wanted a ride. Everyone wanted to point and heckle. 

Caught in the act, with some big-name fashion model Peter’s never heard of. 

High cheekbones, and a sprinkle of freckles. Tight cherub-like curls. Legs for days. 

Carved by Michaelangelo. 

Peter burned with envy. 

Peter bit that down, and focused on Harry. 

His best friend. 

Publicly outed. 

The million-dollar photo, printed in every paper.  

Harry’s hand shielding his face. Hiding his eyes from the camera. 

Peter tore the paper to shreds. 

Peter Parker had spent his whole life hiding. 

Harry Osborn didn’t have that luxury. 

Peter had wondered if Harry had even tried. 

Red marks circling his neck, and going about his day. He didn’t seem to care who saw. 

It wasn’t a big deal. 

Spider-man momentarily stumbled over his feet as he leapt from rooftop to rooftop. A beeline to Oscorp industries. 

Harry wasn’t taking interviews. 

In fact, he’d disappeared from the radar all together. 

“Oscorp Industries will not issue a statement at this time, but would like to assure stakeholders that Harold Osborn will step away from the public eye.” 

Typical. 

So fucking typical, that they’d try to bury Harry like this. 

Take everything they’re ashamed of and sweep it under the rug, like it never happened. 

“I need to talk to Harry. Harry Osborn.” 

Peter’s fingers frantically drummed the desk of reception. His heart was racing. Thrumming in his ears. He’d attribute it to the pace at which he swang across the city to get here. All the blood in his head left his limbs numb. 

“I’m sorry, Harry Osborn isn’t here. Can I take a message?” 

“No. No. I’ve tried that already and they don’t –” 

Peter released his grip from the counter when he noticed the faint cracking sound under his fingers. 

“I need to see him. I’m – I’m Peter Parker.” Peter said, unsure if that meant anything at all to anyone. “I’m his friend.” 

The receptionist offered a sympathetic frown. 

“I’m sorry, Mr Parker, but without an appointment I can do very little apart from try to pass on your message.” 

Peter stepped back, throwing hands up in defeat. 

“Thanks.” 

Normally that would be the end of it. 

Peter should just go home and forget about it. 

It’s not his problem. 

Peter backed towards the wide, glass doors of the Oscorp building. 

Before he sprinted, a mad-dash, leaping over the key-card terminal that granted employee access. 

“Mr Parker!” 

His sneakers skid as he made way to the elevators, frantically pressing the button. 

A team of three security guards came on the approach. 

Stairs it is . 

Peter slipped fast to the stairway, racing up the steps, three at a time. 

More cardio than Peter would’ve ever liked to do in one lifetime, and he was still catching his breath from swinging here. But the suit made him stronger. Made his bounds lighter. Pushed him forward, faster. 

He’d lost the three initial security guards floors below – they didn’t have the superhuman stamina to climb a skyscraper. But more guards found him on higher levels, jumping him. 

He threw one against the wall. One sent flying through the door they came through. One backing away, clearly not paid enough to be tossed around a stairwell by an angry 20-something out for blood on a Tuesday afternoon. 

More guards at every level. Couldn’t slow him down. Peter barraged through them unrelentingly. He moved too fast. He lept and dodged, feather-light on his feet. 

One guard knicked him with a taser. 

He didn’t feel it. 

He grabbed it and ran, snapping it in half. He threw it down the stairwell, narrowly avoiding someone’s head. 

He didn’t care what damage he wrought. 

He didn’t care about anything, but reaching the top. 

“Peter.” 

He was greeted as he burst through the doors of the executive level of the Oscorp building. 

Norman Osborn. 

“If you wanted to talk, you need only make an appointment.” Norman said, civilly. “You know we’ll always accommodate you here, Peter. You’re family.” 

Family.

As if Norman even knew the meaning of the word. 

Guards stormed into the room after Peter, grabbing him by the shoulders and arms. As if that was enough to hold him back. 

Peter didn’t startle. In fact, his glare didn’t leave Norman at all. 

Norman looked at Peter with a fascination in his eyes. An uncomfortable fascination that made Peter’s skin – both of them – crawl. 

Maybe it was a common Osborn trait.

The ability to undress Peter Parker with their eyes. 

Peter was too mad to overthink it. 

Too fired up to consider how a lanky 21 year old being able to effortlessly rush past high-grade security in a multi-billion dollar corporate building might raise suspicion. 

“I won’t press charges, Peter.” Norman said, with a perfectly civil smile. 

Peter could wholeheartedly believe he had the teeth of a shark hiding behind it. 

“You’ve always been like a son to me.” Norman continued, “And a brother to Harry. I know you care, so deeply for him. And I appreciate that. We both do.” 

“Where did you send him?” Peter stepped forward. The staff detaining him could barely keep a hold of him. “Where is Harry?” 

“He’s an adult, Peter.” Norman said, in an unbearably patronizing tone of voice.  “He can make the responsible choice to leave for himself.” 

“You didn’t send him away?” 

Peter thought back to that afternoon in 2004. Waving as Harry got into a car that would steal him away to a European Boarding School for the worst years of Peter Parker’s life. 

“He did it of his own accord.” Norman said, coolly. “He had enough reason to.” 

Peter didn’t believe him. 

“It was such a shame to see you two falling out,” said Norman, in patronizing pity. “You were so close.” 

Peter charged at Norman, unable to stop himself. He’d lost all vision. All sense of self-preservation. He’d managed to grab Norman by the front of his suit before he was torn away by security. 

Peter let them pull him back. 

“He’s your son, Norman. You can try to bury him, but he’s part of you.”

Peter delivered the kind of look that only a man who had the power to snap another man in half could deliver. 

“And everything comes to the surface.” Peter spat, as he was escorted away. “Eventually.” 

Norman smiled. 

“I think you might be right about that, Peter.”

[arionaleilani]

i feel like the characters i relate to most in media should say something about me but i can’t figure out what it says

[revolutionaryjackelving]

2024 - IT AIN'T EVEN GOT TO BE DEEP, I GUESS

#2024 the year is over. Here’s my end of year feelings about it and stuff I saw and liked this year.

Ultimate Spider-Man #12. Art by Marco Cecchetto So what was your 2024 like? Continue reading 2024 – IT AIN’T EVEN GOT TO BE DEEP, I GUESS

[spider-mandaily]

This scene had my jaw ON THE FLOOR, and the GREEN GOBLIN SETUP?!? PEAAAK!

I understand why this immediately got renewed for two more seasons—the little details within the storytelling are meticulously woven together!

But also, I think that the animation here is raw and absolutely stunning, especially with the inclusion of blood, which is a bold move for a Spider-Man animated series. It adds a whole new layer of intensity and realism, making the stakes feel higher than ever. This sequence was so well made, literally reminded of Tobey Maguire's Spider-Man too!

The action sequences are beautifully choreographed, with fluid motion, dynamic camera angles, and weighty impacts. Every punch, web-swing, and dodge is visually striking, making the fight scenes feel raw and visceral. The lighting and color palette also enhance the tension, creating a cinematic atmosphere.

What truly makes this jaw-dropping is how it pushes boundaries. Spider-Man has always been about balancing heroism with personal struggles, and this scene doesn't shy away from showing the consequences of battle. The inclusion of blood signals a shift in tone, acknowledging the brutal reality of Spidey’s world while maintaining that iconic comic-book style.

Seeing Peter battered and bruised in this scene is absolutely gut-wrenching. It’s one thing to watch Spider-Man take hits in battle, but seeing actual blood—cuts, bruises, and the sheer exhaustion on his face—adds a whole new level of emotional weight. It’s rare for animated versions of Spider-Man to show him this physically broken, and it makes the fight feel far more intense and personal.

This version of Peter feels more vulnerable, more human. He’s not just the wisecracking hero swinging through the city; he’s a young man pushing himself beyond his limits, getting hurt, and still refusing to back down. The visual storytelling here is incredible—his torn suit, the blood dripping from his face, the way he struggles to get back up. It’s a reminder that Spider-Man’s greatest strength isn’t his powers, but his resilience.

Emotionally, this scene hits hard. It evokes that classic Spider-Man No More feeling—the idea that being a hero comes at a terrible cost. It makes you worry for him, root for him, and feel the weight of his struggles. This is what makes Spider-Man different from other heroes—he gets beaten down, but he always gets back up.

This is truly peak Spider-Man storytelling—gritty, emotional, and visually breathtaking. If the series keeps up this level of quality, it might just set a new standard for animated superhero shows!

[hawkogurl]

If I had a nickel for every time the third movie in a series about a pop culture icon had the edgy friend who’s obsessed with revenge sacrificing himself and monologues about always having a choice as a result, I would have two nickles.

[vertigoartgore]

1996's Osborn Journals Vol.1 #1 cover by Kyle Hotz. Source Source

For more infos/behind the scenes about this one-shot, editor/writer Glenn Greenberg talks more about it here.

Glenn Greenberg : "I actually finished writing the script for THE OSBORN JOURNAL at around 10:30 PM on Halloween night. Appropriate, don't you think ?"