#than explain it in text
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aluminia · 1 year ago
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Old Souls might actually be the first big project I finish wow. This is making feel things
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mumblesplash · 1 year ago
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in honor of last season’s poem being called “”end poem”” (all quotes mandatory) this season i made one out of pieces of the actual end poem
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toffeebrews · 6 months ago
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I have this hc that when error gets emotional and glitches, sometimes it stretches like those stretch glitches you see in video games.
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couch-house · 1 month ago
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wanted to play with how blaze would fit into stc, so I finally got around to watching a longplay of sonic rush. i hated it. the writing made me so mad. so here's a couple fleetway blaze doodles and a LOT of "here's how i would fix this story" doodles
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vanyafresita · 11 months ago
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after seeing this post by the artist afkeii on instagram, i got inspired to write a poem... and then i drew something to make it into a zine...
the way i feel about romantic love is... complicated... but i've known i'm on the aromantic spectrum for over a year now ! yippiee !
if you'd like to have a physical copy, feel free to [download the print version here] , and check [how to put it together / make a 8-page zine here]
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bruciemilf · 1 year ago
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Re-watching Spiderverse. My curiosity wills me to make an AU where Jason gets thrown in an intricate mess of multiverses where he's adopted by almost all Bruce variants.
"So let me get this straight,"
of course, he's god's most hated freak, and the ONE person who can guide him through this mess is a small, annoying, cartoon version of Dick.
"This is a network of intricate, interdimensional realities stitched to a 'canon' tapestry. And Batman has to lose me in every single one to hold it up."
"Sure! There's a less idiotic way of putting it, but I like your enthusiasm. "
Jason's urge to squeeze this funko pop motherfucker until the life slowly bleeds away grows. It can wait, thought.
Currently, he's trying to help with neutralizing a version of Bizarro. Poor guy must've gotten lost again. Very strange that only one Bruce accompanied him, thought.
"So how many Batmen are there, exactly? Seems like one's enough." He mutters, refusing to let the familiar warmth infest his body when thinking of how they look at Jason.
Like the universe ends and starts with him.
"Oh there's a whole bunch! We have 80s Batman, cowboy Batman, Batman who cries, Batman who sings opera, Looney Toones Batman, -- a personal favorite, -- really the numbers are unlimited!"
Jason watches with strange sense of unease as this one variant handles Bizzaro. "And that's who? Biker gang leader Batman?"
Nightmite gets quiet for a second. Jason pauses, because THAT’S strange.
This eery nervousness only springs when this Bruce, -- not as old as everyone, hell, not even as old as JASON, -- glues a green device on Bizzaro's chest and leaps away.
"That's, uh...Batman who kills."
Jason doesn't have time to react as a booming explosion overwhelmes his senses. His knees are weak. And not just because the ugly stench of burning flesh invades his senses.
But because this Bruce, this Batman, is aiming for him and quick. That mask sends him right on edge. He hates the way it only covers Bruce's mouth, forcing Jason to gaze into sharp, brutal blue eyes.
"Jason?"
"What the fuck is wrong with you," Jason snarls before anything else. "He was detained! He wasn't a threat anymore!"
"He got roofed with red kryptonite and destroyed half a neighborhood. What did you want me to do?"
"Come up with another plan! Trap him, knock him out! Blowing him to pieces doesn't solve anything!" Jason yells, Nightmite looking incredibly worried and hiding behind his shoulder. "Try TALKING to him. Show him some fucking mercy."
"We tried that before. It's not working." He says, "Mercy doesn't get results."
"It gets you HUMANITY."
"If your Batman thought you that, he already failed."
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maikhiwi00 · 11 months ago
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If you want to break someone—mentally, physically, emotionally—wait until they're happy. Let them live and love and thrive. Once they recognize the value of a life well lived... that's when you move in for the kill. Because you can't take anything from someone who has nothing to lose.
the djd + tv tropes [x]
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walks-the-ages · 23 days ago
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pro tip!
if you use alt text on a photo in your post, and some else adds in an in-line text image description, don't explode in capslock anger about "there already being an image description" because guess what! Tumblr breaks alt text all the time, and not everyone can use alt text that needs image descriptions.
You can either thank people for taking the time to copy your alt into an in-line image description, or you can ignore it, but if you decide to blow up and rant at people for wanting posts to be fully accessible for all....... are you actually an ally to disabled people???
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puppyeared · 7 months ago
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i feel like im not making any sense but does anyone else feel like there are stories that let u run with them and ones that spell everything out for you
#im reading that post that says artists are directors of audience reaction and not its dictator:#'you cannot guarantee that everyone viewing your work will react as you are trying t make them react. a good artist knows that this is what#allows work to breath. by definition you cannot have art where the viewer brings nothing to the table ... this is why you have to let go of#the urge to plainly state in text exactly how you think the work should be interpreted ... its better to be misinterpreted sometimes than#to talk down to your audience. you wont even gain any control that way; people will still develop their opinions no matter what you do#im thinking abt this again cuz i was thinking maybe the thing that lets adventure time work so well the way it does is cuz it doesnt#take itself too seriously that it gives the audience enough room to fuck with subtext and then fuck with them back yknow. i think it was#mentioned somewhere that they werent even planning to run with the postapocalyptic elements that are hinted in the show but changed their#mind after the one off with the frozen businessmen and dominoed into marcy and simons backstory. on the other side there are stories that#explain too much to let the story speak for itself and i think it ends up having to do more with the crew trying to lead ppl in a certain#direction than expand on what they have and i see a lot of this with miraculous. like when interviews and tweets are used as word of god in#arguments and it becomes a little stifling to play around with it knowing the creator can just interject. u can say its the crews effort to#engage with its audience but it feels more like micromanaging. and none of this is to say there ISNT room for stories that spell things out#theyre just suited for different things. if sesame street tried abstract approaches to themes and nuance itd be counterproductive#a lot of things fly over my head so i need help picking things apart to get it- but it doesnt have to be from the story itself. ive picked#picked up or built on my own interpretations listening to other ppl share their thoughts which creates conversation around the same thing#sometimes stories will spell things out for you without being so obvious abt it that it feels like its woven into the text. my fav example#for this might be ATLA using younger characters as its main cast but instead of feeling like its dumbed down for kids to understand why war#is bad its framed from a childs point of view so younger audiences can pick up on it by relating to the characters. maybe an 8 year old#wont get how geopolitics works but at least they get 'hey the world is a little more complicated than everyone vs. fire nation'. same for#steven universe bc its like theyre trying to describe and put feelings into words that kids might not have so they have smth to start with#especially with the metaphors around relationships bc even if it looks unfamiliar as a kid now maybe the hope is for it to be smth you can#look back to. thats why it feels like these shows grew up with me.. instead of saving difficult topics for 'when im ready for it'#as if its preparing me for high school it gave me smth to turn in my hands and revisit again and again as i grow. stories that never#treated u as dumb all along. just someone who could learn and come back to it as many times as u need to. i loved SU for the longest time#but i felt guilty for enjoying it hearing the way ppl bash it. bc i was a kid and thought other ppl understood it better than me and made#feel bad for leaning into the message of paying forward kindness and not questioning why steven didnt punish the diamonds or hold them#accountable. but im rewatching it now and going oh. i still love this show and what it was trying to teach me#yapping#diary
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front-facing-pokemon · 5 months ago
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miraculouslbcnreactions · 3 months ago
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Sorry if this seems confrontational, but for the life of me I can’t get into your “Chloe has no growth” point when the show itself retracts growth from everyone and is inconsistent with everyone. You saying “The show just lays down basic character traits in Chloe” doesn’t make sense when her basic character traits are supposed to be her being selfish and spoiled.
S2 built off of that and despite what you say, had Chloe doing things that in S1 she wouldn’t have done. She apologized multiple times to the people she wronged, she willingly put herself in harm’s way to help the people she cares about and she was openly vulnerable to Ladybug in “Malidiktaor”. Something S1 Chloe wouldn’t have done. If there’s a distinct difference between a Chloe back in S1 and a Chloe in S2, then growth HAS taken place. But it doesn’t stay because of the formula (and the writers just don’t want her to keep that growth)
So what I’m asking is…what do you mean “Chloe doesn’t have growth”?
I can understand the “No arc” argument because an unfinished arc feels like there’s no arc at all (even though they are fundamentally not the same)
I wouldn't say that the show retracts growth from everyone. It's more that no one is ever supposed to grow. Every episode resets the cast. That's just how pure formula shows work and Miraculous is being sold as a pure formula show. The characters are meant to be static (one of the writers literally compared Miraculous to Dora the Explorer).
That static nature is why pure formula shows normally avoid giving their good-guy characters major flaws. It's the wrong medium for that type of thing specifically because the characters cannot change in meaningful ways throughout the show. They can learn little lessons that don't really change them and maybe have big change between seasons via a special or movie, but that's about it. Thus things like the season four conflict working so poorly. It's just a terrible choice for a formula show! The conflict is literally not allowed to develop properly because of the chosen format.
But sure, let's talk about Chloe and why I will die on the hill that she never demonstrated meaningful improvement even with the issue of the inconstant writing. In fact, seasons-one-to-three Chloe is one of the most consistent characters in the show. For this discussion to work, we need to start off by discussing character development and the two main forms it can take: character establishment and character growth.
Character Establishment
When the audience meets a character, they know nothing about said character. It's up to the writer to guide the introduction process. To choose when to reveal already existing elements of the character's personality, skills, and backstory. This is called character establishment. It is the writing telling you who the character is on a baseline level. Those reveals don't need to happen at the start of the story, though. They can be - and often are - held back for when the time is right.
When these reveals are delayed, it's important to remember that these elements were always part of the character. The reveal isn't changing who the character actually is. It's just changing how the audience views the character.
For example, we spend a good chunk of season one uncertain why Gabriel is doing what he does. Then, in Origins, we learn that it's all for Emilie. This is new information that adds depth to Gabriel's character, but it doesn't change him in any way. This is who he always was. We just know him better now and can recontextualize past events with our new understanding of his motivation.
Character Growth
Character growth is when writers take a character's personality or world view or even just their skills from point A to point B, allowing the audience to watch the character change and become a new better - or lesser - version of themself. This is usually part of a larger character arc where all the moments of growth add up, but it can take the form of small moments of growth that don't fit into a bigger picture, too. I'd probably still call that an arc, but we'll use the word "growth" a lot in this post, so let's just call it growth to be consistent.
Miraculous doesn't really have either arcs or growth because - once again - formula shows don't allow characters to meaningfully change, so I'm going to have to make up an example here. I'll use one that illustrates how character establishment and character growth can and do intertwine as that's an important thing to acknowledge to help guide this discussion.
Let's say that we have a character who lost their family at a young age. We'll call this character Mary. Mary's loss guides her character throughout the entire story, but the other characters and the audience are never told that this is what's going on. We just know that Mary acts in seemingly illogical ways at times and that she trusts no one.
Throughout the story, Mary learns to trust her costars, leading to a big, dramatic scene where she finally tells them - and the audience - about her past. This big dramatic scene is both the culmination of a character arc and a piece of baseline character establishment that allows us to understand Mary's character better no matter what part of the story we're reading.
Because these combo growth and establishment moments are so common in stories, it can feel like character growth when we learn new things about a character in a dramatic moment, but that's not always what's happening. Sometimes dramatic moments are just there to reveal what was always there by forcing a character to act differently than they usually do through the power of extenuating circumstances. These extenuating-circumstances moments are not character growth because, once the moment is over, the character resets to their normal self. The moment wasn't there to let them grow. It was there for the sake of the plot.
This is actually a really important thing that writers need to know how to do. Figuring out what circumstances will make a character say or do a thing they generally wouldn't say or do is part of how stories work. I have started stories with characters acting wildly "out of character" because I put them in the a situation where the behavior suddenly was in character!
Oh, you don't want to talk to this total stranger because you're an introvert with social anxiety who has yet to learn how to love yourself and open up to others? That's nice. Your leg is broken now and you're stuck in the middle of nowhere. What you gonna do sucker? Lie there in the dirt or talk to the nice lady who wants to help you? Your choice! (Spoiler: he talked to the nice lady. He even let her physically support him when he'd usually never let a stranger touch him!)
As soon as that scene was over, the character reverted because it wasn't growth. He didn't become a more open person. He just did something he normally wouldn't do because the situation demanded it. It was extenuating circumstances so that the freaking plot could start.
This is what happened with Chloe in season two. Everything that people call growth is really just extenuating circumstances that reset by the end of the episode or even by the end of the scene.
Let's Talk About Chloe
Chloe does not have a character arc, aborted or otherwise. She is never taken on a journey where we watch her change. All we get is delayed character establishment via extenuating circumstances, but it's given in ways that make some people feel like she was being given an arc. Let's talk about why that is.
Season one Chloe is a one dimensional mean girl. She has almost no depth. She's just here to be petty and cause akumas. She is not a fully realized character.
Season two takes those traits and keeps them, but also gives Chloe a lot more depth to round her out and make her feel like a real character. She's just as petty and mean as she always was, but we're finally allowed to see her in some moments that make her feel like a well of potential to become something more, which the writers basically had to do if they wanted to let her be a hero. The audience needed to feel like Chloe could be good in the right situation.
The feelings evoked by her newly discovered depth are why people go "oh, she had a character arc! My feelings about her changed in a big way!" But she didn't have an arc. You just got to know her better by seeing her in moments where she was forced to be vulnerable. That's not growth. Growth is meaningful, lasting change, not situational change. Everyone changes based on the situation! It's why the "True Selves" stuff is such nonsense. It implies that there's one set way that we're supposed to act in order to be authentic and anything else is some kind of lie which just isn't how the world works.
Let's look at some examples to drive home what I mean.
Season one established that Chloe idolized Ladybug. It's why we get things like this moment from Evil Illustrator:
Ladybug: Fine! You stay! Later! Cat Noir: What do you mean later? Ladybug: I mean, you're the one who wants to protect her, so you don't need me. So, later! (swings away) Chloé:(looks over balcony) Ahhh! Ladybug! Text me! OK!
And this confession from Antibug:
Ladybug: [Chloe] pretended she was me?! How often does that happen? Armand: She idolizes you.
So Chloe adores Ladybug and wants to impress her/be her best friend. Cool. Got it. That never goes anywhere in season one because season one doesn't see Chloe and Ladybug interact much. The most we get is Ladybug saving Chloe from akumas, which doesn't allow for deep conversations. I don't think that they're ever alone in a moment where they can actually talk.
That changes in season two. In season two, they get to interact a lot and it's often in moments where there's a big threat and no one else is around, letting us see a new side to Chloe. But that's not Chloe changing. It's just the writers revealing that Chloe has more to her than the mean girl stuff because of course she does! Pure mean girls don't exist. Everyone has depth. We simply never saw that depth before because Chloe was never put in a situation where she needed to be open. We can't say that season one Chloe wouldn't confess things to Ladybug or chose to sacrifice herself to let Ladybug win because she never had the chance to do those things!
In fact, I'd go so far as to argue that season one Chloe probably would have done the same things as season two Chloe because season two Chloe doesn't really contradict season one Chloe. Antibug showed us that Chloe was pretty desperate to be loved and welcomed the way that Ladybug is loved and welcomed:
Chloé: Jagged Stone! Jagged: (thinking she's the actual Ladybug) Ladybug! What are you doing here? Chloé: Um… when I find out you were here, I knew you'd wanna see me! I had to come say hello. (Sabrina waves at Jagged)
and Chloe has always been a stubborn girl who stands up for what she wants even if what she wants is something bad. Antibug also showed us that Chloe can be genuinely nice to the people she cares about. Her and Sabrina's relationship is shown to be complex with them often having a lot of fun together.
Similarly, Origins sees Chloe showing her father genuine affection after she's saved from Stoneheart:
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[Image description: Chloe and Andre hugging and looking very happy to be together]
Origins is the baseline episode that tells us who the characters are on day one, so I never once doubted that Chloe loved Andre, but Andre didn't get akumatized because of Chloe's actions in season one. He didn't even get akumatized for something that Chloe had nothing to do with! His first akumatization is in season two, so it's not shocking that we don't get a Malidiktaor type scene until Malidiktaor.
Chloe was vulnerable with her personal hero when her beloved parent was in danger, but not before? Shocking! Who would have guessed?
Me. I would have guessed. I didn't even realize that people were reading it as some sort of character growth because it clearly wasn't. Malidiktaor didn't feel like something new for Chloe's character. It just felt like the writers were leaning into things that we'd always known about Chloe and using them to better establish her character as someone who genuinely cares about select people. She just doesn't show most of the time.
The same thing goes for Chloe's sacrifice and apology in Zombizou. Chloe only sacrifices herself when there's no one left but her and Ladybug. When the choice is to let the terrorist win or take the hit and let you personal hero save the day. Brave? Sure, but also not growth. Chloe is team Ladybug for all of seasons one, two, and three! She wants Ladybug to like her! Plus even a petty brat can have moments of goodness where they pick a hero over a literal terrorist.
This honestly would have been a damming moment if Chloe didn't sacrifice herself. She functionally had no other choice here. The entire episode builds itself to the self-sacrifice moment so that Chloe is forced to make that choice even though she's been her petty bratty self throughout the whole attack. It's genuinely solid writing.
Then, in the heightened emotions directly after the Zombizou win, we get this:
Miss Bustier: But I hurt a lot of people... Chloé: No... I did... I forgot your birthday, once again. And when I saw everyone had prepared a gift for you, I totally lost it. Because I, too, would've liked to offer you something. I'm sorry, Miss Bustier. Miss Bustier: Thank you, Chloé. Those words are the best possible gift you could ever give me. (hugs Chloé) (Chloé hugs her back, forgetting herself for a moment.) Chloé: Huh?... Uh, yeah. Okay then, we're all good.
A brief moment of vulnerability that quickly ends and does not stick around because Chloe's change was situational, not true growth. The next scene of that episode starts with Chloe being her usual self:
Chloé: Me? You want me to apologize to the entire class? Ridiculous! They should be thanking me for saving everybody.
And ends with the reveal of Chloe's gift to Miss Bustier, which was given in private via a note.
Once again, nothing new for Chloe's character. She acts as she always has, being mean to everyone while having moments of vulnerability when things get tense. Remember that hug between her and her father that we talked about earlier? Same concept. She had just almost died from an akuma attack and so she needed some emotional support, leading her to act more openly loving than she usually does when he's around. Once the moment is over, she reverts to the petty mean girl default.
Giving gifts to placate people is also something that we've seen before. A pretty similar thing happens at the end of Evil Illustrator, it's just played less sympathetic towards Chloe because the writers weren't giving her depth back then:
Sabrina: Too late. Chloé and I are doing the project together. Marinette: You mean, you're doing the project? Sabrina: Well, of course! After all she's been through... Marinette: Ughhh.... Nice new beret, by the way. Sabrina: I know, right! Chloé lent it to me. She really is my BFF! Chloé! Your geography homework's ready!
For any of this to be character growth, we need to see Chloe act differently over time. For her to be put in similar situations and get different outcomes, but we don't see that in part because Chloe didn't change and in part because season one didn't do much to develop Chloe's deeper side. We rarely see her alone or in moments of extreme vulnerability, but you need those moments to show her depth. That's why Despair Bear had Chloe crying alone after Adrien threatened to end her friendship and not before. Chloe is very reluctant to openly show depth. You have to force it out of her, which perfectly fits the character we met in season one.
Even her standing up to Hawkmoth and rejecting the akuma isn't character growth in my opinion. Chloe has always stood up to authority and demanded whatever she wants. She has wanted to be Ladybug's friend and be seen as a hero since season one, so it's not shocking that her extremely strong will would allow her to defy a terrorist. If there is anyone in this show who can stand up to a terrorist on shear "no!" power alone, it's little miss I-always-get-what-I-want. I could see a variation of this happening at any point in the show, just change Chloe's reason for defying Gabriel to match the situation. Rework these lines to be about a party that she wanted to go to and I'd still totally buy it:
Chloé: No, Hawk Moth! I am a superheroine! I am Queen Bee! Ladybug will come and get me when she needs me! I WILL NEVER JOIN YOU! (throws her photo onto the ground as the akuma exits it... and pants)
Chloe acted like a hero here because she wants all the perks of being a hero and can't believe that Ladybug would actually bench her. That's impossible! Ladybug wouldn't do that!
As soon as Chloe accepts that she won't be a hero again, Chloe stops acting heroic because acting heroic wasn't growth. It was her playing a part the same way she played a part in Despair Bear. She was doing what she needed to do to be Queen Bee again and not because it's the right thing to do. This would only be real growth if she rejected the akuma after accepting that she wouldn't be Queen Bee again, but that's not what happens. As soon as she accepts that she's out, she no longer has any reason to play nice. She never grew into a character who did what's right for the sake of doing the right thing. It's always been about getting what she wants or being seen how she wants to be seen. Until that changes, she hasn't changed.
So no, Chloe didn't have an aborted arc. They didn't start to redeem her and then change their minds. All they did was make Chloe one of the most complex characters in the show only to then not do anything with the character they wasted our time establishing, ignoring the complexity they gave her while also cranking her mean dial up to the point of absurdity where she's not even fun in her original role anymore.
I get why it feels like she had an aborted arc. The fact that the character establishment was delayed makes it feel like something shiny and new about Chloe. There's also the fact that the character establishment we get in season two is the kind of character establishment that you'd do if you were setting up for a redemption arc, but that doesn't change the fact that it was all establishment work. None of it was a true arc where we watched Chloe grow. We just saw her put in situations that revealed hidden depths.
Her showing depth is not her growing because when in the world does she show off this supposed growth? She only acts differently in the type of scenes that we've never seen her in before or around characters that we've never seen her truly interact with before. When she's around the established teen characters or in her usual scenes, then she acts the same way that she always has. We never see her be genuinely nice to Marinette or something like that. She's only nice to Ladybug and she's still rude to Chat Noir. That's not character growth! That's character establishment that can then be used to guide character growth!
Same thing goes for the stuff in Despair Bear. We learn that Adrien can push Chloe to be better, but he never does it again and she reverts as soon as he lets her off the hook, so it wasn't character growth! It was just Chloe establishing that she can play nice when she needs to. This means that she could grow if the story chose to take her down that path because we've established that she knows what being nice looks like. Fake it til you make it plot go, go, go! But the plot never went, went, went so meh?
Add in the fact that season one was a bit of a test season with lots of elements that got dropped and the fact that characterization in this show has always been wildly inconsistent from episode to episode and I'm really not seeing a strong argument for Chloe having an intentional arc that somehow got aborted. People just saw the potential for her to have one and argue that potential is the same as an aborted arc when it really, really isn't.
To give an analogy, Chloe's story is like walking into the kitchen and seeing grandma laying out the ingredients for her famous chocolate chip cookies. We get excited because, hey, cookies! Then we come back an hour later and there are no cookies. Nor is there some other sweet that uses the same ingredients. There's just ingredients, sitting unused in their original packaging, making us wonder what the heck grandma was up to. At the same time, she never really started making cookies. She just set out ingredients. They're still there, totally unused, waiting to be made into something, so we can't call them a failed cookie attempt. That implies a level of commitment that was never there. She didn't even say that she was making cookies! We just assumed she was because we, understandably, wanted cookies and wanted to believe that grandma had a purpose to her actions.
#ml writing critical#ml writing salt#chloe deserves better#I did initially think that they were going to redeem Chloe#But they only ever did the initial setup work#They never committed to anything#In fact I though Queen Bee's intro was the writers saying that she wouldn't be redeemed#And that the hero Chloe thing was just a fakeout to make people watch season two#Which is still what I think Queen Bee was#The writers love cheap fakeouts like ending a season on a mass reveal that then goes nowhere#Chloe's writing is par for the course and not anything especially bad compared to the rest of the show#Queen Bee was just an excuse to make you keep watching#Chloe was never getting redeemed or even properly damned#Is that deeply frustrating? Yes#But it's also the most logical read of her story with strong backing in the text itself#I'm not a fan of the conspiracy theories about the writers sabotaging her on purpose#That's just not how this goes#Sorry to disappoint but occam's razor applies to writing too#Bad writing is just infinitely more logical than a bunch of writers purposefully risking their careers to get back at online randos#Chloe stans are just not that important or influential#I can point to so many shows where people came up with insane theories to justify the bad writing and it's just...#I get the desire for complex reasons to explain why a thing you loved failed you but that's just not a logical conclusion in most situation#Nor is it all that healthy to go down those conspiracy rabbit holes. That's just going to damage your mental health#Curious to see the reaction to this one#Remember we're talking about fiction here and play nice please
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bread-wizards · 14 days ago
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I am sad about C3 ending but I also feel like it wont be the end of the Bells Hells' story. Just the campaign main plot.
Possibly because it would be odd to go from world ending stakes back to small time fights and heists, just pacing wise.
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tizeline · 11 months ago
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OOO, I like the implication that the yokai trio are gonna watch their dad get devoured by Shredder and achieve the same effect the scrapped Shredder!Splinter arc we almost got!.... unless you're going in a different direction than canon 👀👀👀👀
Oh wow, I didn't even think about adapting the Shredder!Splinter plot in any way in the AU XD. But I've already mostly figured out how I wanna do the season one finale and beginning of season 2, and I don't wanna change it now soooo....
I'm actually gonna stick pretty close to canon, Draxum is gonna put on the Dark Armour only to, not too long after, get slurped like a Capri Sun and unceromoniously spit out, and then Shredder is gonna start running around wrecking shit. That still isn't gonna be too fun for the Drax Trio to witness, of course!
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un-pearable · 2 years ago
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this is the best character interaction in the game bc it’s cute and funny as hell. i think lloyd and jay have a running tierlist of their villains
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however the instant ninja on ninja violence between kai and jay is EQUALLY funny
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saltycharacters · 26 days ago
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[ID: Digital art featuring a fan-made kid for Apollo Justice and Klavier Gavin from the Ace Attorney series. The first drawing is their ref, depicting a 16 yr old with colorfully dyed hair and sunglasses perched on their head, two overlaid jackets, and torn jeans. Following that is a lineup of the Justice Family, including Apollo Justice, Klavier Justice, Anupa Erith Justice, Camile Dance Justice, and some pets such as Spätzle the ball python, Mikeko the calico, and Vongole the golden retriever. Next is a concept drawing of older Camile and Anupa, with Camile being 28 and Anupa 13- biggest changes include Camile getting a mohawk, growing to 6 ft 4 inch, and Anupa getting an aeronautical engineering inspired outfit. The final image details various Camile mannerisms and emotions, which are shown to be inspired by various pre-existing Ace Attorney characters. End ID]
Camile Dance Justice/CJ, supernova teenager extraordinaire :]
Don't forget, help Palestine:
-> arab.org <- Click once a day for free
-> gazaesims.com <- Instructs how to donate esims
-> gazafunds.com <- Randomly selects a fundraiser for you to support
-> Fundraiser spreadsheet <- Lists Gazan fundraisers
-> Operation Olive Branch Spreadsheet <- Lists other ways to support
-> Resource link google doc <- Has tons of information and links
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harringroveera · 11 months ago
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Technically that is sort of true
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