#these characters will never have an actual fully developed world around them because of this!!

[toonfinatic]

The reason it takes 200 years for me to get my characters fully defined is because i get caught on irrelevant details.

I decided that one of my characters has a pet dog. Big mistake, i'm a dog nerd. Now, because this world the characters belong to doesn't have real life dog breeds, i'm MAKING UP NEW ONES and thinking which real breeds the fictional pet dog would most resemble. This has no actual input in the story itself.

[dalishious]

The Sanitized Lore of Dragon Age: The Veilguard

Tevinter is the heart of slavery in Thedas. This lore has been established in every game, novel, comic, and other extended material in the Dragon Age franchise to date that so much as mentions the nation. But in Dragon Age: The Veilguard, when we are finally able to actually visit this location for the first time… this rampant slavery we’ve heard so much about is nowhere to be found. It’s talked about here and there; Neve mentions The Viper has a history of freeing slaves, as does Rook themselves if they choose the Shadow Dragon faction as their origin, for example. But walking down the streets of Minrathous, you’d never know. Because Dragon Age: The Veilguard, for all its enjoyment otherwise, has one glaring issue: It’s too clean.

The world of Thedas is full of injustices. Humans persecute elves, fear qunari, and belittle dwarves. Mages of any race are treated like caged animals in most places. The nobility is corrupt. Although, Dragon Age has not always handled these injustices well, mind you. Many, many times I’ve found myself frustrated with moments that just feel like a Racism Simulator. But what makes it worth it, is when you can actually do something about it. These injustices are things that a good-aligned character strives to fight back against, maybe even for very personal reasons. Part of the power-fantasy for many minorities is that this fight feels tangible. I cannot arrange the assassination of a corrupt politician in real life, but I sure can get Celene Valmont stabbed to death in Dragon Age: Inquisition, for example. Additionally, these fictional injustices can be used to make statements on real life parallels, like any source of media. For example, no, the Chant of Light is not real, but acting as a stand-in for Catholicism, through a media analysis lens we can explore what the Chant of Light communicates on a figurative level.

When starting Dragon Age: The Veilguard and selecting to play as an elf – this should be unsurprising to anyone who is familiar with my bias towards them – I was fully prepared to enter the streets of Minrathous and immediately get called “knife-ear” or “rabbit”. But this did not happen. I thought perhaps it was just a prologue thing, but returning to Minrathous once again, there was not a single shred of disapproval from any NPC I encountered that wasn’t a generic enemy to fight. And even the generic enemies, the Tevinter Nationalist cult of the Venatori, didn’t seem to care at all that I was a lineage they deemed inferior before now. This is a stark difference from entering the Winter Palace in Dragon Age: Inquisition and immediately getting hit with court disapproval and insults. Are we now to believe that Tevinter has somehow solved its astronomical racism and classism problems in the ten years since the past game? Or perhaps are we to believe all the characters who have demonstrated Tevinter’s systemic discriminatory views were just lying or outliers? Because it makes absolutely no sense at all for this horribly corrupt nation to not have a shred of reactivity to an elven or qunari Rook prancing around. But here were are, and not a single NPC even recognizes my character’s lineage. And because this is so different from every single past game, it feels weird.

As an elf, you have the option to make a comment about how “too many humans look down on us” in one scene early in the game. You can also talk to Bellara and Davrin, the elven companions, about concerns that people won’t trust elves after finding out about the big bad Ancient Evanuris… but this is presented as if elves don’t already face persecution. It’s all so limited in scope that it could be all too easily missed if you are not paying very close attention, and coming into the game with pre-existing lore knowledge.

All this made it easy to first assume that the developers simply over-corrected an attempt to address the Racism Simulator moments. And if that was the case, than I would at least give credit to effort; they did not find the right balance, but they at least tried. However, the sudden lack of discrimination against different lineages in Dragon Age: The Veilguard is not the only sanitized example of lore present.

In Dragon Age: Origins, Zevran Arainai is a companion who is from the Antivan Crows; a group of assassins. He discusses in detail how the Crows buy children and raise them into murder machines through all kinds of torture. The World of Thedas books also describe how the Antivan Crows work, echoing what Zevran says and expanding that of the recruitment, only a select handful of those taken by the Crows even survive. When you start Dragon Age: The Veilguard as an Antivan Crow, you immediately unlock a re-used codex entry from the past, “The Crows and Queen Madrigal”, that says the following:

“His guild has a reputation to uphold. They are ruthless, efficient, and discreet. How would they maintain such notoriety if agents routinely revealed the names of employers with something as "banal" as torture.”

Ruthless, efficient, and discreet. Torture is banal. This is what the Crows were before Dragon Age: The Veilguard decided to take them in a very different direction. The Antivan Crows in this latest game are painted as freedom fighters against the Antaam occupation of Treviso. Teia calls the Crows “patriots”. And while I can certainly believe that the Crows would have enough motivation to fight back against the Antaam, given that it is in direct opposition to their own goals, I cannot understand why they are suddenly suggested to be morally good. They are assassins. They treat their people like tools and murder for money. Even as recent as the Tevinter Nights story Eight Little Talons, it is addressed that the Antivan Crows are in it for the coin and power, with characters like Teia being outliers for wanting to change that. It makes the use of the older codex all the more confusing, as it sets the Antivan Crows up as something they are no longer portrayed as.

I personally think it would have been really interesting to explore a morally corrupt faction in comparison to say, the Shadow Dragons. Perhaps even as a protagonist, address things like the enslavement of “recruits” to make the faction at least somewhat better. (They are still assassins, after all.) Instead, we’re just supposed to ignore everything unsavory about them, I suppose…

We could discuss even further examples. Like how the Lords of Fortune pillage ruins but it’s okay, because they never sell artifacts of cultural importance, supposedly. Or how the only problem with the Templar Order in Tevinter is just the “bad apples” that work with Venatori. I could go on, but I don’t think I have to.

It is because of all this sanitization, that I cannot believe this was simply over-correction on a developmental part. Especially when there is still racism in the game, in other forms. The impression I’m left with feels far deeper than that; it feels corporate. As if a computer ran through the game’s script and got rid of anything with “too much” political substance. The strongest statements are hidden in codex entries, and I almost suspect they had to be snuck in.

Between a Racism Simulator and just ignoring anything bad whatsoever, I believe a balance is achievable; that sweet spot that actually has something to say about what it is presenting. I know it is achievable, because there are a few bright spots of this that I’ve encountered in Dragon Age: The Veilguard too. For example, some of the codex entries like I mentioned, and almost all the content with the Grey Wardens thus far. It is a shame there is not more content on this level.

Dragon Age: The Veilguard is overall still a fun game, in my opinion. But it’s hard to argue that it isn’t missing the grit of its predecessors. The sharp edges have been smoothed. The claws have been removed. The house has been baby-proofed. And for what purpose?

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[cornbread818]

Principal got the Homestuck treatment.

[cheshiresense]

Hi Cross! I'm so happy you're writing for ShunStarrk, it's one of my favrite ships and Starrk is one of favorite characters and I love how you write them. I also couldn't help thinking about wat would happen if you sent Starrk bac with Ichigo in Swinging Pendulum (or just TBTP). You've done Kisuke and Aizen so I was curious how it would go with Starrk. I'd love to see any ideas you might have for it!

lol my first thought when I saw this was a mental image of Ichigo throwing Starrk at Shunsui and being like “go seduce us an ally!” 😂😂😂

But okay, more seriously, I have a few thoughts on it so I guess I'll just ramble a bit? Well first of all, in an AU like SP/TBTP, I would employ one of my handy dandy Bleach headcanons where the next step up from Arrancar is a fully restored soul, so to speak. We know Hollows are generally souls that Shinigami failed to purify and save in time, but I like to think that as Hollows, after hitting rock bottom, if they have the power and the strength of will and the ability to survive long enough to work all the way back up on their own, they can actually fix themselves.

(I actually also headcanon that becoming “perfect artificial Arrancar” via Aizen and his Hougyoku actually stagnates them, so they’re given a power boost and Shinigami-like powers, but they’ve basically peaked and will never again be able to grow much because there is no growth from perfection, which also explains why the Visored’s power levels have always felt a cut below the other captains and lieutenants’ and even after a hundred years they could never manage much with their Hollow abilities, nor did they make any significant improvements or contributions between WW and TYBW, because the Hougyoku pushes you to the pinnacle of your potential at that point in your life, but by doing so, it also cuts off any possibility of further growth, and so over time you might even deteriorate. And all of that ties neatly back into one of Bleach’s major themes of perfection/stagnancy vs. growth/development. But I digress, that isn’t overly important here.)

My point is, the fuckery in the bad end future where Ichigo and Starrk are from lasted long enough and resulted in a terrible enough war that Starrk finally allowed himself that last step of growth and became a whole - if scarred - soul again, so he no longer has a Hollow hole or that collar of teeth, and he has a proper Zanpakutou merged with his Hollow abilities. So like he’s the first and only Hollow ever who managed to rebuild his own soul and is super OP as a result. Like if Aizen’s the upper limit of a Shinigami, and Yhwach is the upper limit of a Quincy, then Starrk would be the upper limit of a Hollow, which the Soul King took into account and was like yay finally the best of a species that isn’t out to ball the universe for once, he’s hella depressed and lonely and grieving but he’s just gonna have to deal cuz the world isn’t going to save itself and my god-slaying mad-scientist-experiment-child of a descendant needs all the help he can get to pull his saviour schtick off again.

All of which is just to say Starrk can blend in much better in Soul Society and yes I took the long-ass way around just to establish this single plot point lmao.

Secondly, as implied above, I’d prob change the final big bad to the Quincy because 1) it’s fresher in my mind and also 2) it gives me more established material to work with. Also 3) we’ll pretend Yhwach wasn’t senile and so didn’t kill off half his own army, because lbr his Auswahlen won half the war for the Shinigami in canon. And this way we get the tragic bad end we need to kick off an SP AU.

And thirdly, just to tie up that loose end, you can’t have two of the same souls in one timeline, so past!Starrk&Lilynette wink out of existence the moment the Soul King drops future!Starrk in TBTP because I’m heartless like that and the more angst the merrier.

Also fourthly, the thing about sending Starrk back with Ichigo is that the dynamic is just so completely different than if it were Kisuke or Aizen or Shinji or any of Ichigo's friends. Like I guess in other fics you usually see Starrk as one of Ichigo's ppl, lured over to the good side because of Ichigo's whole power of friendship, friends and family must be protected thing, and I enjoy reading those of course, but writing-wise, I can't really get behind it because for me, their relationship would come out sth like part-comrade, part-mentor/student because someone's gotta teach Ichigo how to Hollow and I honestly don't rly count the Visored training as such because what they did was basically the equivalent of a temporary patchjob/lesson on how to unhealthily repress a part of yourself instead of actually dealing with it, all so it won't get in the way of fighting Aizen, so Ichigo never actually gets around to harnessing that side of him as opposed to everything he does with his Shinigami and Quincy sides, and lastly part-wow-this-kid-is-a-hundred-years-away-from-becoming-another-Aizen-if-the-Shinigami-keep-fucking-up-with-him whenever Starrk looks at Ichigo, because if anyone aside from Ichigo understood what made Aizen into the would-be-god he became, it would be Starrk, and there's no way he wouldn't be able to see the exact same potential in Ichigo.

And yeah, technically Kisuke was a mentor too, same with Shinji and a few others, but with their history, it's hard to really see that role as one of their main ones, esp since all of them end up following Ichigo's lead. If you want to get poetic about it, he's the sun they're drawn to and revolve around and devote themselves to. That's completely not the case with Starrk. If anyone is Starrk's sun, it's Shunsui. Plus Starrk's just a lot older than most of them so he can't just be crammed into the peer/partner/friend willing to burn SS down for Ichigo and follow him to the ends of the world box. It would be the same if it was Shunsui or Ukitake sent back. But that's fun to play with too, something new, and I imagine Starrk's got a soft spot for kids, and this one was also taught by Shunsui (a la SP canon), and Starrk taught Ichigo as well, so it's not like they don't get along or that Starrk wouldn't absolutely throw down with someone trying to take another chunk out of Ichigo. It's just that this is a dynamic where for once, Ichigo isn't the absolute top priority and object of fascination/love/devotion for the one sent back in time with him. For Starrk, that position's already taken by a certain Shinigami captain.

And wow okay we're not even into the actual AU and I already rambled too much, I guess I'll end this with the two of them entering the Academy after wandering in from the wilds of Rukongai? In SP, I had Ichigo being found by the Shibas and sort of faking amnesia, but I feel like it's simpler here to go with the two of them finding their way to the Seireitei on their own, and then the Shibas hear of someone with a face that could pass for Kaien's twin, so ofc Kaien's immediately like HELLO LONG-LOST FAM and rolling out the welcome mat.

Obviously Ichigo's like fuck that this is way too soon after losing all my actual friends and family, but Shibas don't know how to take no for an answer (honestly you're like that too Ichigo), so there's a good few weeks where Kaien haunts the Academy like an enthusiastic ghost two steps left of empty nest syndrome or something, and Ichigo spends an equal amount of time ignoring him in favour of tearing through the Academy curriculum like a man on a mission, which he technically is. He doesn't like the attention, but he's also never had much patience for subtlety, and he's used to ignoring other ppl's opinions of him anyway, so by the end of the month, everybody knows him as the newest Shiba prodigy slated to graduate in a year, and Ichigo doesn't care so long as he gets what he wants.

Meanwhile, not many people notice the man who'd come to the city with Ichigo and applied to the Academy at the same time. Unlike Ichigo, Starrk is very good at fading into the background, and it's doubly easy when you put him next to someone whose very existence is as bright and loud as Ichigo's, with the kind of charisma that attracts ppl to him even when he doesn't do anything.

That suits Starrk just fine. He's exhausted and heartsore and still not entirely sure why he'd said yes when Mimihagi had waylaid him when he'd been on the brink of death and asked him to accompany Ichigo back in time to save the world. He's not a hero, not anyone important or special, and also not particularly interested in living in a world without Kyouraku Shunsui - his Shunsui - in it. But Shunsui had also died for the world, for the Soul Society he'd devoted his life to protecting, died to buy time for others to live just a little bit longer, and it had seemed a mockery of one of the things Shunsui had held so dear if Starrk didn't even try to protect it too when the option was laid out in front of him. Besides, it had also seemed unfair to leave it all to Ichigo, to dump the literal weight of the universe on the kid's shoulders once again, and this time he wouldn't even have any help if Starrk didn't go because everyone else was dead or - Starrk assumes - not as strong as him. Once again, his strength is more a curse than anything else. So he supposes he does know why he'd agreed - a moment of insanity, a moment of weakness - and now here he is stuck in an era he'd certainly lived through before but in a location he'd only ever seen in the midst of war.

Peacetime at least affords him time to rest, although he's not sure how he likes that either. Fighting and killing at least means he has little time for anything else, like sleep plagued with nightmares, but it's that or staring into empty space and being plagued with memories instead, and that's not really any better. Still, he deals and doesn't let Ichigo catch on to the fact that his head's not in a great place because the kid doesn't need anymore on his plate. It's not like Ichigo's getting much sleep either anyway if the bags under his eyes are anything to go by. Besides, Starrk's used to nightmares and bad memories. He has a thousand years' worth under his belt, so it's nothing new, even if the content is.

The Academy is something of a novelty, if only because he's never gone to school before. So unlike Ichigo, he doesn't mind going to lectures instead of immediately testing out of most classes and jumping straight to the sixth-year curriculum and whatever extra credit work that Zanjutsu department head who likes stalking Ichigo gives him. Starrk had checked and discovered that so long as he applies for it before the deadline, he can take the graduation exams at the end of the year, and so long as he passes, the school doesn't much care what classes make it onto his academic transcript. There's even been clan kids who just stay at home with an army of private tutors before directly taking the exams and entering the Gotei that way.

But like Ichigo, there's also not much the Academy teaches that he doesn't excel at. Combat-wise, there are already very few people in all the known worlds who can best him, let alone anyone in this school. His worst subject is history, because he knows almost nothing of Soul Society aside from major events he'd heard of in passing and anything related to Quincy, but when everything else is easy, that just means he can spend all his time memorizing the readings he's assigned.

Aside from that, he goes to class and sleeps in class, he skips class and sleeps then too, he spars whoever the teacher wants him to but never volunteers otherwise, and he's very careful to keep his reiatsu levels under wraps. He looks at his classmates in each class and picks out the middling to above average students and copies their progress, and he doesn't bother doing more.

"Isn't it boring?" Ichigo asks him once when he's once again hiding from his cousin in Starrk's room. Starrk shrugs from his bed and doesn't tell him that one doesn't know boredom until they've spent a thousand years alone in a barren desert. Anything else is a step up. Even if all the theory in his lectures are things he's already read about because Shunsui had let him have free reign in the private library back home, hearing it again never hurts. "It's a pretty good sleep aid," Starrk says instead, just to hear the amused snort it coaxes from Ichigo.

It is of course impossible to fool everyone, and Starrk hadn't been aiming for that anyway. Ichigo also doesn't spend time with anybody else, so inevitably, two months into their Academy life, one Koyonagi Senzou turns his attention on the man who probably spends more time sleeping than anyone else in the Seireitei.

"All your assignments fulfill the minimum requirements," Koyonagi says, smiling from behind his desk after summoning Starrk to his office. "Never more, never less, perfect across the board even if they all come back with a note suggesting you could try earning some bonus points. All your tests are returned with a score of 75-80%. Never more, never less, but the points that get docked off are always for questions you've left blank. And every single week, you win exactly half your total spars. Never more, never less. Tell me, Coyote-san, do you think yourself more or less subtle than Ichi-chan?" Starrk blinks once, slowly, and stares back without the energy to muster much more than a noncommittal grunt. Koyonagi reminds him a little of Aizen and a lot of Ichimaru, and this kind of person, Starrk knows, wants for nothing so much as they do a reaction. "Wasn't trying to be subtle," Starrk eventually says when it becomes clear that Koyonagi is perfectly willing to wait him out for as long as it takes, and Starrk doesn't care enough about power plays to try and win this one, not when he hasn't even been offered a chair to sit in. "I've been passing everything, so it's fine, right?" Koyonagi doesn't stop smiling, but it becomes just the slightest bit fixed the way Ichimaru's had when he'd not been entirely pleased with his prey's response. Even Starrk probably would've missed it if Ichimaru hadn't often looked like that around Starrk. As expected, the teacher prods a few more times, a little more cutting each round, and Starrk in turn replies with the same dull apathy that comes so very easily to him. "Well-played," Koyonagi finally says, and he just looks bored now. "Although I honestly can't fathom what Ichigo sees in someone so lacking in... ambition." He pauses like he wants Starrk to hear the insult underneath, like he wants Starrk to take offense, but Starrk's barely paying attention as it is, and there was no question anyway, which means Starrk isn't expected to answer, so he doesn't. Koyonagi sighs like he's never met a bigger disappointment. "Never mind, you're dismissed." His eyes glitter with something like mockery. "Your new schedule will be sent to you by tonight. You'll be moved up to the sixth year classes. Do keep up the good work, won't you?" Starrk raises an eyebrow, then sighs right back. Well, whether it's first year or sixth year, it's all the same to him. He's not the one who took the initiative to present himself as a genius, and students are moved in and out of classes for more reasons than just skipping grades. And with Ichigo around, no one will look twice at him. He dips his head in acknowledgement and wonders why people like this can't just say what they want to begin with. This had clearly been the point from the very beginning and could've been over and done with in two minutes, but this meeting's dragged on for half an hour. What a troublesome guy. He heads for the door. The weather is nice today. Maybe he'll even be able to take an uninterrupted nap for once.

On the Shiba front, something's got to give, and unfortunately for Ichigo, he doesn't have experience warding off family unwilling to leave him alone.

"I came here with a friend!" Ichigo snaps, his last-ditch attempt to chase Kaien away. "He's practically family! I'm not leaving him behind!" He'd heard all about the bullshit that was Rukia's adoption into the Kuchiki Clan, thank you. Kaien blinks at him, mystified. "What are you talking about? We just want to add you to the family registry and probably throw you a party while we're at it. You don't have to leave your friend anywhere. Hell, bring him back with you. If he's your family, he's our family, and we have plenty of space!" At this point, Kaien looks like he's warming up to the idea. "That's right, you mentioned you've known him for a while, right? Uh, what's his name again, Coyote Starrk? If he's been watching your back out in Rukongai, I should thank him properly. Is that why you've been resisting all this time? Did you think we'd make you cut ties with him or something? We're not like the other stuffy clans, Ichigo! Any friend of yours is welcome! We'd love to meet him! Hey, how's he doing in his classes? Does he need a sponsor? It doesn't matter, a clan sponsor can only be a good thing. Don't worry, Ichigo, we'll take good care of him!" Ichigo has a moment to picture the sheer amount of chaotic energy that even he can already tell is a common factor amongst the Shiba Clan, meeting Starrk, whose favourite hobbies include napping, creating new Kidou seals, and listening to Kyouraku read to him when they can scrounge up some time for themselves, and the only conclusion he can come to is a horrified, holy shit, Starrk-san's going to kill me.

[habken]

Izuku and Katsuki Hospital Comic - Thoughts and Process

I wanted to talk about the process and my thoughts while making this comic! Cause it was A Lot of planning and I feel like talking about how I went about it could maybe be helpful for other people who wanna make comics too ?

Also I just like talking and I've had So Many thoughts about it over the last few months, I just need to get them all out lol

everything is under the cut (it's Very Long) ↓↓↓

Initial Thoughts

I started planning the comic in January, around the time the chapter with the second user's plan to transfer ofa to shigaraki came out. I remember feeling so anxious and sad seeing how devastated Deku was to lose the 'gift' that All Might had passed to him :'((

It made me start thinking about what it would be like to not only go from having all this insane power at your fingertips back to nothing, but also how it would feel to lose the vestiges, which had been his advisers, yapping in his ear and keeping him company for months. How it would feel to go from constantly having people looking over your shoulder back to silence.

Then I thought about what that would mean for his and Bakugou's relationship, which has developed so much over the series. How Bakugou would feel about Deku no longer having ofa, how the two of them would wrestle with old feelings now that Deku would be quirkless again. Bakugou having to face the kid he bullied and Deku going back to a state where the world saw him as "useless" with dreams too big for somebody without a quirk.

I feel like sometimes it's not really taken into account how Deku's past affects him in the present, and that goes for in the actual series as well. Considering he's the main character, it's funny that we never really get too much of a peak inside his mind lol, especially not recently, which is most likely intentional, but I digress.

What I really wanted to do for this comic was circle back to Deku's question to All Might at the start of the series, "can I become a hero without a quirk" because while yes, deku can be a hero, he had to get a quirk to do so. So what happens now that he no longer has it? After all of Bakugou and Deku's development, would Bakugou's opinion on deku pursuing his dreams while quirkless change?

I really didn't want that answer to be no. I didn't want to believe that Deku would have to give up and "be realistic" again, it just didn't feel right for that to be the answer after 400 chapters.

So I wanted to make something that would encapsulate those thoughts! And I felt like the best way to fully get that out was through a scene in the aftermath of the battle, the two of them in the hospital with nothing to do but talk about their feelings.

It was important to me that the doubts they both felt about the future were stomped out, and for there to be reassurance that things between them wouldn't snap back to how it was before UA. That Deku could still reach his dreams even if they did become harder to obtain.

I also felt like narratively it would be a good parallel if Bakugou were to lose something tied to his power too, and with his arm being so bad off in canon, I thought it made sense that there was a chance he could lose it forever.

So it's like they're both coming out of the final battle worse off with huge losses, but no matter what, they're going to fight to achieve their dreams, and they're going to do it side by side :')

At its core, it’s very self indulgent lmao, I didn’t think that we’d get something that sappy and gross in canon (😳) so I wanted to make something for myself :')

Planning

So then I made a first draft!

When I’m making bigger comics, thumbnails are super helpful! They help me see the full picture of what it could look like, and let me change things without putting in too much commitment. So most of the drawings are loose, but occasionally I’ll put in a little extra detail into things that I want to make sure are included in the final work.

There’s three main things I consider when thumbnailing for comics; expression, composition, and dialogue. Each of these things have a huge influence on each other, so keeping them all in mind when roughing out your drawings is important!

How it usually works is I play out the scene in my head like a movie and roughly come up with dialogue, then I draw characters and expressions based on that dialogue and the visions I had. Simultaneously I plan out approximately where those drawings will go/how much space they'll take up and finally, I add in the dialogue and move things around as needed so everything fits nice together.

Having the dialogue there in the draft lets me know around how big the speech bubbles are gonna be which is a massive help when figuring out paneling. It lets me plan around the bubbles and make sure nothing is too squished!

General tips:

Something I learnt from storyboarding is that establishing a setting for your scene at the start is really important! Most of my comics will start with a long shot or include one early on for this reason. It’s good for making sure readers aren’t confused on where everything is taking place!

Having a variety of shots is good for keeping your story engaging! This comic has a lot of closeups, but I tried to add variety where I could and used a lot of different angles to keep things entertaining even if there isn't that much going on

Final thoughts on this draft:

At this stage, the ending was really different from the final version I ended up with. It was a lot more focused on Bakugou's losses too and the vibe was kinda "well we're both nerfed now but that's chill we can still be heroes." I axed most of that cause I thought it was dumb and wasn’t really the conclusion I wanted lol

After the rough draft, I started sketching everything out and adding in panels based on the composition from the og thumbnails. I also changed the dialogue as I went, focusing on making it sound more natural and easy to read.

This is where the nuances in movement and expression became a bit more refined and speech bubbles where better planned out.

At this stage, establishing clarity and imagining how readers are going to move their eye along the page is really important. Comics are generally read left to right, but you can’t just assume people are going to automatically read it in the order you want, which is why panels and speech bubble locations are so important.

Tips:

A general rule is that along with going from left to right, speech bubbles should be in descending order. This can be broken a bit, but it’s important to remember that the rule is there in the first place for clarity's sake. So if you do plan on breaking it, make sure it's not at the sacrifice of legibility. The human eye is lazy and will jump to whatever seems most logical, so planning things out in a confusing manner is going to make your comic hard to read!

This is another thing I picked up from storyboarding, but keeping in mind the 180° rule is good for clarity as well! In the simplest of terms, if you have two characters in a scene, it’s good to keep character A on one side and character B on the other, and not switch those sides willy-nilly, otherwise it can get confusing. This isn't as important in comics as it is in film/television, but I still like keeping it in mind.

Final thoughts:

I hated the original ending but I couldn't exactly figure out how I wanted it to go, and I was too busy at that point to dedicate the time I needed towards it, so it stayed as these four panels for while :’)

During the period I stopped working on it, Deku lost his arms which had me panicking lmao, so much of the comic was devoted to his emotions and body language, specifically in his hands. I just went "am I gonna have to redo everything? Do I give him prosthetics?" and I was fully ready to rework the entire thing but Eri came in clutch for Deku (and me) <3

After Deku started getting hurt, I didn't really like the idea of him being discharged and sitting with a still injured Katsuki, and wanted it to be clear that they were both still in the hospital, so I had to axe poor Deku's "hospital gown" shirt for actual hospital garb </3

At some point during april-ish, I finally added in a new beginning and end, which took the comic from four pages to seven. I felt like the new parts added a lot more levity and humour which were needed, and I think it helped make Izuku and Katsuki feel closer than before.

For these pages, I skipped the thumbnail stage and jumped straight into full page stuff, which felt easier because they were kind of just add-ons.

Something I specifically liked were the first two panels in the last page. Fun fact, but a few days after I sketched those out, horikoshi released that art of to two of them smiling together and I went !! That's the vibe I wanted !! Me and Horikoshi are on the same wavelength! That was a good day lmao.

At this point, though, while new parts added a lot more to the story and brought it closer to the vibe I wanted, they also messed with the tone and overall pacing and it ended up feeling really off. Deku was now doing this weird 180 from being super sad and upset to then immediately joking around and goofing off with no acknowledgement of anything Katsuki was saying, which had been fine enough when it was just 4 panels, but very off-putting once I made the comic longer

...So I decided to add even more panels :')

I went back to my original ideas, and part of what I wanted to get across originally was the doubts about Izuku's future from here on out, and the worry that things would go back to how they were before he got ofa. I realized those initial things which had fueled the comic were no longer really part of it, and I wanted to change that.

When I thought up the idea of visuals surrounding their middle school selves, I felt so smart LMAO. I think it ended up being the thing that brought the entire comic together.

Izuku reverting back to that anxious, unconfident state, spiralling into himself, and mumbling out all his insecurities, including his fears about losing Katsuki's friendship (and yet still somehow more worried about Katsuki's feelings than his own). And in turn, Katsuki remembering and seeing Izuku as that kid again, and his own fears of becoming a bully once more.

It better explored what I wanted to originally get across and delved more into their feelings, so that the jokes and levity at the end felt like they were earned, rather than being a rapid shift in tone.

(The only other thing that changed was the some of the panels in the first page. I changed up the speech bubbles and got rid of a panel so it would be less cramped and easier to read.)

At this point, I was still having trouble figuring out how to tie everything in and segway pages 6-7 into the ending organically, so it sat like this for around a month.

Then chapter 423 released and the battle was over and I realized how little time I actually had to get the comic out. I knew that the next chapter could possibly make my entire comic obsolete, so I hauled ass :D

These were the final plans before I cleaned everything up! I changed around some of the panels to make the story flow better, I figured out how to tie everything in, and I finalized the dialogue!

At this point all the panelling was redone because I wanted more space in between them. Before, it felt really cramped and I think adding in more breathing room made it feel slightly less overwhelming for readers.

The biggest changes from the previous draft:

First, obviously, I finished the middle school stuff and figured out how to get from one part to the next. This was the hardest part of the planning, but I ended up deciding that Deku would spiral, Bakugou would kind of bring him out of that, they'd hug and then Bakugou would reassure him. I also included motifs relating to their childhood to be reminiscent of The Apology, and Katsuki's thoughts going back to them sharing the special All Might cards, them at the lake, etc. As if this was another healing moment for each part of them; their current selves, their MS selves, and their childhood selves too

I then changed some of the panels in the first page. I switched the direction of the diagonal line in the first few panels because I thought it made it more clear which way to start reading and made the comic flow better.

In the fourth page, I added a panel after Deku starts crying, because I felt like it worked better with the dialogue, and brought in more of Katsuki's POV into the story

The sixth page doesn't really look different, but there was a lot of resizing going on panel-wise. The bottom panel doesn't take up as much space and the panels up top are a little bigger

The final big change was the eighth page. I added in an extra panel and changed up a lot of expressions/dialogue so there was more of a natural transition between the heartfelt moments and the two goofing off

I then made some final changes and drawover notes before I started a week of cleanup and colouring!

Cleanup/Colouring Stage

Cleaning up my sketches usually just means duplicating the layer, putting the original layer at 5% opacity and.. cleaning it until it looks nice lol. It's the easiest way for me to work because I hate doing lineart.

This is what my sketch vs final usually looks like. The biggest change was adding in bandages into all the drawings lol.

For speech bubbles, I drew them all by hand, created a flat colour layer underneath in white, duplicated that and filled it in with black and shifted it with the transformation tool to make a drop shadow effect.

It took me two days to colour the whole thing :')

Usually when I colour, I work in a pretty painterly way, but I thought flats/cell shading would be a lot faster for this. I was right but it still took Very Long.

The smartest thing I did was put colour swatches of each colour I was using on a separate layer above everything else so I could easily use the eyedropper and get the right colour without having to reference them from another page. It was a big time saver!

I colour all on a single layer so I don't have progress photos to show, but for each drawing, I roughly added in all the colours in the approximate locations they'd be, and once I did that for every single panel, I went back and cleaned them up one by one.

And that's that! After colouring was done, I added my signature, posted it, and took the nap of the century.

Final, Final Thoughts

I worked... Very Hard to get the comic out before leaks night and even if it was just a few hours, I'm so glad I was able to do it cause when I saw the actual chapter I lost my mindddd

I feel like as the comic progressed, Katsuki's feelings took a backseat and if I was to redo it, I'd probably put a bit more emphasis on that than I did in the final version. I feel like his ~inner turmoil~ didn't fully come through the way I wanted it to. I didn't want it to be an immediate acceptance — I wanted the fact that he was struggling with his past to be evident too — but with the focus being so heavily on Izuku, Katsuki's inner thoughts get a bit lost which is too bad </3 Good thing is Horikoshi had the exact opposite idea as me, so it all worked out :D

I'm really proud of how the comic turned out, and I'm so happy to have gotten such a positive response to it! Thank you for reading if you got this far and thank you for reading my silly self-indulgent hospital comic :)

[vechter]

👀 please elaborate on ur Cass and Damian thoughts, I’m also always thinking about what their dynamic could’ve been

omg i have so many!!!

okay, so initially, in batgirl 2009 #5 (iffy about character portrayals in this comic but that's a whole other thing), we see damian kind of anticipatory and even excited to meet cass:

it's super interesting to me because at that point, damian is still grappling with being a product of the league, still very much figuring out his role in this group of people his father chose.

and cass is one of them. cass, who's respected and considered formidable even by the loa. cass, who has also killed! i think in damian's eyes, they've had similar upbringings and he probably expects a certain degree of kinship with her.

because yes, dick, steph and alfred are coming to accept him, have purposely and actively showed that they care for him but they don't understand him! they don't know what growing up in that kind of isolation, with that demand for perfection is like.

damian's primary arc being dick's robin is about acceptance, from others but also, from himself! some heartbreaking panels below from red robin 2009 #14:

for damian, who is still actively fighting against his own instincts, who wasn't someone his father- a near mythical figure- chose, cass is someone who can, maybe, not only understand him but is also incontrovertible proof that people can change, that their childhoods don't define them. so, he already has somewhat high expectations for when they eventually meet, as we see in their first real interaction in gates of gotham 2011 #2:

gates of gotham is actually a great comic but unfortunately cannot consider the editorial nuance of cass being pushed aside by dc and removed from gotham entirely. but if you consider the implications, tim and steph definitely talk about her- probably dick and alfred, too. at this point, all of them respect and consider cass one of their own- she's accepted, she's even loved.

and that's probably something that damian is plagued and intrigued by. here's this girl who was brought up by someone the bats deem morally bankrupt, who changed her life around and went from being a would-be assassin to a hero (just like him!). she meets even his father's impossible standards, who has assigned her a whole city with batman inc. he lashes out at her when he thinks she hasn't accepted him (at this point, cass hasn't even done anything except come back to gotham lol so you can see how much damian struggles with acceptance, especially from someone he considers his peer!):

it's a deeply skewed view bc we know how much cass struggles with her own redemption but damian is still just a kid, lacking the emotional maturity to fully understand her.

i won't go into all the events of gates of gotham because it starts off with friction between them and they eventually end up working as a team and everything's sort of hunky-dory. but i think if flashpoint hadn't happened and we had actually gotten a deeply exploratory continuation of the nuances of the complicated bat-dynamics after bruce's return- we would definitely see more friction between cass and damian.

for cass, who sees everything- damian would be painful to witness. her own fears, her own guilt staring back at her. and i absolutely adore cass but she isn't going to be capable of tact or the kind of support that damian is passively seeking from everyone, but especially from her! cass is incredibly compassionate but her world-view is also so deeply jaded by her feelings about the life she took.

damian's initial robin tenure would be about developing his own moral code + coming to grips with what kind culpability he has in his own childhood- and cass would probably not see that bone-crippling regret and remorse and guilt she has, or even the one she often sees in bruce, and it would not sit right with her! sure, damian is a kid but she was a kid, too. and she can never get over what she did so for her to see damian coming to terms with his childhood would be like looking at a distorted reflection. i think it's also possible there would be something like- i don't want to say jealousy- but a complicated kind of resentment, not just from cass's end but also from damian's.

(also, a begrudging sort of respect from damian for cass's abilities expressed in somewhat snide comments)

this is not to say that they couldn't or wouldn't have a good dynamic! i think if they continued to spend time together, they would eventually come to an understanding (just like gates of gotham lol except a much more nuanced and complicated route to getting there) and while it would not be the kind of understanding either of them were expecting- it would be good! and there would be a very strong foundation of kindness in it.

[cupcakeslushie]

Hi there, I love your stuff, I hope you don't mind but I wanted to do an ask the artist

Where are you from?

What's your favorite color?

How long have you been creating art for?

What drives you to make art?

What is your favorite piece of artwork of yours?

What is your favorite fan artwork that was done for you?

What character of yours is your favorite?

If you could go to any fictional world which one would it be?

Do you consider what will please your audience or do you just do your own thing?

What made you want to start your AU?

1. American! Southern girl, specifically.

2. You’d think it would be green with how it’s been my hair color for three years, and I’ve made it my signature on here, but it’s actually yellow! Like the really saturated, sunny kind! 💛

3. Oh lord. Um, since like 1st or 2nd grade.

4. I never really thought about it. I think I’m just a visual person. So if I have an idea, I need to get it on paper to really see it. I’m the same with movies, especially adaptations. I could never picture characters by reading them in books very well, but seeing them in movies I’m like, “oh okay, now I see what they were going for!” It’s also just fun. It’s my own story-telling method.

5. Fav piece of anything I’ve ever made would be one of my stained glass pieces, like my lemon one, that took me three weeks, and was one of my first bigger pieces. Digitally it would probably be my most recent dtiys cause I just don’t like looking at my older stuff.

6. Noooo!! I have so many, especially recently, that I’ve been gifted! I can’t choose just one!!! Seriously! I love everything I’ve ever been sent! I will say, I’ve been gifted a few fan fictions by now, that have had me like, mind blown—just because writing is such a thing that I’ve always admired and never really been able to fully grasp. If you’ve sent me art, it’s more than likely been my phone or iPad wallpaper, and if you’ve sent me fanfiction, I’ve probably read it no less than five times, and will continue to go back to it.

7. I mean, it’s Donnie. It’s pretty clearly Donnie. I try and be fair and love all the boys equally, but I’m not gonna lie, you all know it. It’s obvious. Just know, I’ll never ignore the others story wise 😜. But Donnie gets the most of my attention and my evil creative plots 😈.

8. Any world ever? Probably Fullmetal Alchemist—if I could actually be an alchemist. I mean, like come on—how cool is that? And like, yeah, you’ve got Father and the homucuous running around, but for the most part, the world is pretty chill and has the coolest rules.

9. The main chunks of my stories are really just what I want to see, but sometimes I can hear a suggestion and think about changing the trajectory of things. I’m always open to ideas, especially if I’m stumped on how it should go. I even change my opinions on the things I’ve established myself, I’m very open to changing a story if a better idea comes to me. I don’t think I’ve ever been like, scared to tell something because I think someone wouldn’t like it. If they don’t, that’s fine, not everything is for everyone, and some things only click with a few people. If I really want to tell a story, then I’m going to tell it.

10. It’s really so funny, because at the time, I was working on this short, post-movie aftermath comic about Leo learning to find a healthy middle ground between being the silly guy and a serious leader. But I was having trouble with the next part, so I decided to watch Arcane and doodle. I posted that little concept sheet, and it feels like…within days my inbox was full with people wanting to know more, and the more I answered, the more I was like, wait I wanna actually explore this. Tbh pretty much all my AUs have started this way. With just an idea jotted down, and then turning into something I couldn’t stop developing.

[smytherines]

I often wonder if I would feel differently about The Staircase Scene if I had seen SAF when it first came out in 2016. The first time I saw it was probably around October or November of 2023, and like... the context is different now.

Whatever we want to say about the personal story arcs of these characters (and I know I'm in a tiny minority because, for me, killing Owen does not constitute a satisfying close to Curt's arc, that's totally fine), there is the very real issue of the sociopolitical context that this scene takes place within- both in their time (1961) and in ours.

One very cool thing about SAF is that, in order to understand these characters better, a lot of younger queer folks end up learning about the Lavender Scare, about Executive Order 10450- which officially prohibited gay people from working for the US government- for the first time. That's an incredible, precious thing to me. Yay queer history! It's important!

The show itself never addresses the fact that both the US and UK governments had very public, very brutal campaigns equating homosexuality with communism with being a traitor to your country. But if you want to understand these characters, and especially write fanfiction, you're really incentivized to teach yourself some fundamentally important aspects of queer history.

In the 54 Below concert, before singing Not So Bad, Brian Rosenthal talks about how when they were developing the show they thought N@zis were more or less a thing of the past, that they're fully aware of how differently that song might be taken now after an escalation into a more open embrace of fascism in the US. And they're absolutely right about that.

But I think that's also perhaps an issue with the staircase scene, or at least it is for me. Obviously homophobia and transphobia were not "fixed" in 2016, they were still massive problems resulting in violence and discrimination and brutality. But institutionally, at least, you could look at the situation and point to some things that were gradually getting better.

In 2016 trans youth in my state were legally allowed to receive gender affirming care. In 2024, they are not. It's not that homophobia and transphobia went away and then came back, but there was a very real resurgence of the use of the media and of governmental power to inflict pain on queer & trans people and chase them out of public life- bathroom bans, gender affirming care bans, Don't Say Gay laws, trying to make drag illegal, equating queer and trans people with pedophilia. There has been a big cultural shift back towards the same kind of violent governmental moral panic that our beloved Curt & Owen would have lived under.

Whatever we want to say about these characters and this story (and there's tons of fascinating debate there), there is still the base of a gay man killing his ex-lover ostensibly to protect US foreign policy objectives. Killing the man he loves- or loved, at least- to protect the secret that he is gay. And that hits different for me now.

I watch that scene and it is heartbreaking on a personal level, but its also heartbreaking as a queer person who just wants to scream "your government will destroy you for being gay, you don't owe them shit!"

Owen tries to explain that the surveillance network is happening, that the future won't wait for Curt to catch up. Barb has been saying she's working on the same thing for the US government the entire show, but Curt just kept ignoring her. And I just want to say "Curt, honey, what do you think your government is going to do to you with that surveillance system? Do you think you're useful enough to keep around even though you have sex with men? Because I promise you they will not care."

It feels tragic to me because on some level it seems like Curt would actually be safer with another gay man having control of all the world's secrets than he will be if the government he has dedicated his life to gets their hands on that same technology.

And the thing is, having a tragic ending doesn't make the show bad. This show is great. This scene is spectacular. It makes you think, it makes you feel things, it does all the stuff that great art is supposed to do. Absolutely none of what I'm saying here is meant to denigrate the show as a musical or a story or even a queer story. I hope it doesn't come off as me saying "actually this show is bad," because I don't feel that way at all.

Clearly I live and breathe this show. That's why I spend all my time on here analyzing every scene, every frame, every facial expression. I love this show so much that I can't help but deconstruct it and look at all its component parts- including the sociopolitical context both now and in 1961. Because that context, despite never being explicitly mentioned, is important to our understanding of these characters.

I love these characters so much that it's actually pretty difficult for me to watch A2P7 anymore, because the staircase scene is so emotionally devastating to me that it's hard to try to swing back into that more comedic tone (even though Spy Dance is a certified bop).

I'm not even sure what my point is with all of this, other than to say that Spies Are Forever is a show that is great and fun and funny as written/performed, and becomes gradually more emotionally devastating when you rewatch it or when you understand the subtext of it. When you can engage with the themes of gender and sexuality, surveillance and technology, trauma and trust, and tease out even more satisfying theories around this show.

So yeah. It's a musical. It's about spies.

[redhoodinternaldialectical]

Having spent the last few weeks un-fridging Catherine Todd, let me tell you, I NEVER want to see another motherfucker complaining about how Jason was """fridged"""

Like, sorry folks but he just fucking wasn't!!! Even if he had been a female character, that would not have been a fridging. The narrative at all times was deeply concerned with his internal experience of the world, his motives and emotions, and always considered him a human being whose agency and autonomy needed to be considered and highlighted. At least half of Death in the Family is about Jason's wants and needs and his attempts to fulfill them. Jason constantly makes decisions that alter the course of the story.

"Oh but his death was used for the development of the other character and the tone of the narrative as a whole" yeah, no fucking shit, of course it was, that is the entire fucking point of killing a character off! When a character dies, they stop developing through their own story arc, so they can only effect the arcs of other characters. The fact that this is done disproportionately to women is only one part of what the concept of fridging is about and reducing it down to only that ignores the real meat of why fridging matters.

Fridging is about the way that female characters are killed off in ways that disregard their agency, write off any choices, emotions, or motivations they might have had as not worth examining, and pointing out that the reason female characters are so often killed this way is because women are thought of as being less capable of agency and less fully people than men.

A good way to tell if a character has been fridged is to ask yourself "Hmm, if this woman was replaced with a literal bitch, an actual four legged puppy dog, would the narrative meaningfully change?"

Catherine Todd was fridged for Jason. She has no opinions, no meaningful personality traits, no agency in her own story or basically anyone else's for that matter. She is sad. She is addicted. She is dead. That is the whole of her character. Her entire purpose is to be a bullet point of angst in Jason's backstory. If you replaced her with a dead dog, none of Jason's story would be meaningfully changed.

"Oh but she was a parent, all the Robins have dead par-" They why was it Willis Todd that got resurrected in order to turn Jason into the 'Damned Prince of Gotham' and not her? It's because misogyny. If you come to any other conclusion why Scott "Known to Write Misogynistically" Lobdell didn't make Catherine Todd the one to come back, you are fucking kidding yourself. She is a female character and was therefore not given the same consideration as the male characters, it is as simple as that.

We all have every right to rail against the way Jason was killed off, the way the narrative blames him for his own death, the ways that he has been badly mishandled. He's even a character that's suffered due to prejudice! The classism in the way he's handled is really strong! I also think there's a ton of value in an analytical comparison between the ways that Jason's mental health is treated and the origins of mental health stigma that are rooted in misogyny. The Jason Todd Hysteria Essay is a frequent reread for me.

However.

None of this makes him "female coded" and any serious comparison of how female characters are treated and how he is treated must inevitably run into the truth that he does benefit from all the privileges that a male character gets for being male. He is treated in classist and ableist ways, and both classism and ableism intersect with misogyny, but the fact of the matter is that he does not have direct misogyny wielded against him and the female characters around him suffer from misogyny to his benefit.

You can call his death obnoxious, a callow cash grab, poorly thought out, bad for his character, of overall detriment to society, et.c. and be perfectly justified in doing so

But if you claim that he was fridged you are factually incorrect and for the crime of ripping the label off of a feminist theory (and failing to learn what it means beyond the most reductive single sentence 'definition' possible) for the benefit of a male character I sentence you to having all of your socks dipped in musty ass bog water.

[morallysuperiorlips]

6 Tips That Are GUARANTEED to Help Make Your Villain More Unsettling!

There's cunty villians, there's over the top villains...but what about a good old villain that just makes your skin crawl? Here are some ways to help you achieve such a character in your own writing (with personal examples of my own :>)

1.) Juxtaposition is Your Friend: I like to say that a nuanced villain is a good villain, but it really works well on the "unsettling" factor when you're finding ways to pit their more amicable side against the side that makes them as deplorable as they might be. Nothing is more disquieting than a villain who gushes about something innocuous, then turns around and summons a wall of quantum dark matter to swallow up a children's nursery in the same breath.

EXAMPLE: The villain in my WIP, Chaos, is a #GirlDad who really does try to make attempts to be a decent father. But, not only is he the founder and head of the world's most prominent blood cult and genocidal terrorist organization, but he perpetually feeds his lackies who disobey him to his blood magic eldritch beast pet, and keeps the heads of his most hated enemies on spikes in his office for "tasteful decoration" and because "the look of terror in their eyes keeps him going through the day."

2.) Radicalize the Things They Love: Hear me out. Everyone, even our baddies, have things they enjoy or might positively be in love with (whether it's tangible or intangible). Another surefire way to ensure your villain ruffles your readers is to take that thing they love, and find a way to blow it up to the most extreme degree.

EXAMPLE: Using Chaos as an example to illustrate what I mean--I mentioned in the previous point that he is a #GirlDad and a relatively devoted one at that despite being a genocidal cult leader. However, he's taken this devotion to his daughter up about 800,000 notches by 1.) Attempting to kidnap her from her mother multiple times over the course of her childhood, 2.) Convincing his entire cult congregation to worship her as a religious "prodigal daughter" figure as he has, and 3.) Setting up the HQ of his cult in the country his daughter was born in (after realizing he can't kidnap her) so he could "be closer to her."

3.) Make a Show of Their Humanity: This all somehow ends up looping back into how nuanced your villain should be, but I think focusing on just how humane you can make a villain at certain points will pile on to their disturbing factor. And I don't just mean little acts of kindness here and there; I mean things that might make you pause and wonder if they're actually a villain. I'll never forget that part of Beastars where the lion yakuza boss was asking Haru how much she liked school and telling her how he held her in "high regard" knowing damn well he was going to kill and eat her within the hour. Things like THAT. Find ways where your villain can be in a position of "they're not so bad" before they turn around and make you realize "oh wait. Yes they are."

EXAMPLE: Chaos is a genocidal maniac with a steel-clad cruelty streak, but one of the key conflicts in my WIP is the relationship he soon develops with his daughter, the protagonist. My protag knows he's deplorable, and knows he's all-powerful and fully capable of committing these atrocious acts against the world she inhabits, yet the pedestal he puts her on leaves her deeply questioning and fighting herself about how she actually feels about him. He goes out of his way to protect her, love her, attempt to be her father (despite some clear obstacles), and just show her such a deep humanity that she struggles to comprehend how he can turn around and be a murderous blood cult leader.

4.) Be Sure Their Presence is Always Felt: Your villain might not always be "on stage" in your story. But, even so, to ensure maximum unsettling factor, you should attempt to find ways to make it seem like they might as well be. They're not physically occupying space on the page, they don't have any direct dialogue, but something is happening that makes it clear that their presence is still being felt. Do they have spies out and about? Are there any residual effects of their previous scheme? Do your characters keep replaying something they said over and over in their heads, and it constantly weighs them down through the story?

EXAMPLE: Before Chaos is even fully introduced as the primary threat of my WIP, his presence is known by all even if they aren't quite aware of it just yet. His cult is the rumored cause of a deadly drug epidemic that has the country of France, and other scattered places across the world, in a chokehold. Nobody really knows if this cult is actually real, and nobody has any leads on how to locate them, just that this drug is causing a lot of issues. Only when shit hits the fan does the protag group actually know what they're dealing with.

5.) Show Your Reader the Absolute Grit of the Fight: By this, I mean, try to find ways to showcase how deep both Team Hero and Team Villain have to go to get at each other. I believe an unsettling villain usually has some form of a methodical approach to their schemes, so with that in mind, show readers the absolute mind games and 4D chess your heroes have to play to even have a chance at coming face to face with your baddie, or even be noticed by them, and how your villain responds in return. Bonus points if your villain immediately catches their drift and pivots, thus wrecking whatever semblance of plans your heroes might have had.

EXAMPLE: It's not quite known until later in the story that Chaos is the big bad, but even before that point, there is a secret organization set in place to hunt him down and knock him out. My protag eventually comes into contact with this org, and discovers the tactical, 4D-chess-esque measures they've had to take to even scratch the surface of figuring out where Chaos is and what his actual motivations are.

6.) Take Your Time in Unveiling the Chokehold They Have on Your World: This might feel like an obvious one if you've read my acting examples, but it's pretty straightforward--don't lay down all your villain's cards from the get go. Give your protagonists time to really dissect and unearth just how powerful your villain might actually be. What might start as a small, maybe almost innocuous little case might slowly but surely evolve into a realization that your protags bit off way more than they could chew, and they're up shit's creek without a paddle. There's a sinking, disquieting "oh my god" moment that might come to your readers as they also realize, along with your protags, that they were only scratching the surface of what your villain was capable of, and now that they've found it, there's no going back.

EXAMPLE: The pure reach that Chaos' little cult actually has isn't felt until my protagonist meets him face to face. Only then does it really dawn on her that the man had so much more power than she, or her team, ever imagined.

As always, happy writing <3

[pluckyredhead]

Did I just read your Super Sons primer from 2020 at 3 am on a Monday morning because I'm having a real normal one? Maybe?! I'm wondering how you feel about how they and their relationship has developed since then. IMO it's... Pretty bleak. 😩

I HAVE A LOT OF FEELINGS ABOUT IT. (Also here's the primer for anyone who missed it.)

So I will say that 95% of everything Jon has been in since he got aged up has been hot garbage, but I do think the exception is when Damian is around. But let's take it from the top!

First of all, I don't necessarily think they should de-age him again. Generally speaking I think it's better storytelling to focus on fixing things moving forward, rather than undoing things moving back. Sure, if DC came up with some big cosmic event that reset Jon to 11, I certainly wouldn't complain, but I'd rather see them, uh...do literally anything with Teen Jon that doesn't suck.

But yeah, aging Jon up to begin with still makes me livid because:

I want my baby to have had a childhood.

It's fully character assassination for Lois and Clark. They would NEVER let their 11-year-old go to outer space with a supervillain. Lois would NEVER just abandon him out there, and Clark would NEVER respond with "Well, I'm sure he's fine, wanna have marathon sex?" I honestly have no idea what Bendis or his editor were thinking.

They have not done a single interesting with him since!!!

Putting this behind a cut because it got LONG. Also spoilers for Beast World in there.

I've said this before, but I have to assume that Bendis wanted to age Jon up because he wanted to write a Legion book. But he also in his wisdom decided to bring Kon back into continuity at exactly the same time, which means we have two nearly identical Superboys that DC didn't and still doesn't know what to do with. Kon clearly couldn't have joined the LOSH because he already had a team, but you know what Super teen was available, and not 11, and who has a history with the Legion that goes back almost as long as Clark's? KARA. But I will save that rant for another day.

And honestly, Kara dodged a bullet, because that Legion book was unreadable. Bendis at his most Bendis-y wall of text interrupt-y conversations and no plot. If I give Tom Taylor any credit it's that the second he got his hands on Jon, he torpedoed Jon/Imra as a ship. GOOD.

And when the LOSH book finally went out with a whimper (that JLA/LOSH miniseries! what was that!!!), we entered the Taylor Era. Taylor's quirks are less stylistic and more narrative than Bendis's. You can spot Bendisian dialogue at twenty paces, but a Taylor comic tips its hand when it sets up a really interesting premise or a really high stakes threat and then immediately undercuts it with a little wet fart noise of nothing. To wit:

Jon's starting college! This will be an interesting challenge for him to readjust to normal life after six years in a torture-volcano and an indeterminate amount of time in the future, and also considering he never graduated from sixth grade. I wonder what will - oh no he dropped out after three pages. (He has done NOTHING in his civilian identity since, btw. I guess he's too busy hovering just behind Dick at all times to work on his GED or whatever.)

Jon is going to confront Ultraman! Finally the comics will have to engage with all the trauma he must have - oh no Ultraman's dead.

Jon is trapped in the Injustice Universe! This is a really dangerous universe that might make him question everything he knows about - oh he just lectured everyone and flounced off home.

Beast World is a perfect example. Taylor seems to think that having a hero effortlessly solve a problem makes them look badass, but it's actually the effort that makes them look badass. So like, we spent five months keeping the Kryptonians and other A-class heroes away from the spores because the spores are attracted to power and if a Super got spore'd everyone would be in big trouble...but then in the last issue, they just have Jon fly up to everyone with a spore in them, wait for the spore to jump at him, and catch it? That doesn't make the Titans look smart or Jon look tough. It makes all of them look like idiots because it it was that easy, why didn't they do that in the first place?

On top of that, Taylor doesn't ever really earn relationships. Jon and Jay is the obvious one. Jay has no personality. There's no chemistry between the two characters. Jon might as well be dating a cardboard cutout labeled "Proof of Queerness." (Or "Bernard." Ahem.) But we're supposed to be like, yes, give Tom Taylor a GLAAD award for using queer characters as props, when he's going to turn around and kiss Chuck Dixon's ass on social for being homophobic about Jon? UGH.

Honestly worse for me though is the Jon and Dick relationship. Because Taylor is writing both characters, we're supposed to believe that there's this close mentor-mentee bond there? I don't think they EVER interacted before the Taylor era. (And don't even look at me with that retconned-in scene of Dick finding lost baby Jon. You're telling me that Superman, with his X-ray and telescopic vision, needs to call Bruce and Dick for help finding his own son? Fuck off.)

Anyway it all combines to make basically every Jon appearance for the past three years profoundly unsatisfying. Even the stuff that isn't by Taylor never goes anywhere. Remember when he was jealous of the Super Twins for two panels? And then everyone forgot about it forever? SIGH.

HOWEVER.

However.

If there is one thing that Bendis and Taylor and every other writer got right, it's that Jon is crazy bonkers in love with Damian always and forever. Jon has been written like shit since 2019, but he has also not wavered in his devotion for even one single solitary second.

THE EVIDENCE:

This is the first thing Jon does when he gets back to Earth:

He then tells Damian he's contemplating not joining the Legion because he'll have to leave Damian behind. Damian tells him to go and then come get him if it's cool.

Turns out the Legion is cool. Jon comes and gets Damian. The Legion isn't happy about it and Jon threatens to leave if Damian can't stay, while gazing adoringly at Damian's unconscious body cradled in his arms:

Eventually LOSH is canceled and Jon comes home and starts following Damian around by listening for his heartbeat. LIKE PALS DO!

Then Damian gives him a pep talk!

Then there's this ABSOLUTE CUDDLE:

The way Damian nuzzles into Jon's shoulder! Can you even stand it!

And then there's this:

The climax of Son of Kal-El, btw, is one of the several times Jon is saved by Damian and confides in Damian and turns to Damian for comfort or advice...and Jay is just sort of standing there off to the side. I am fully aware I have ship goggles on but the degree of emotional investment Jon has in these relationships is not the same.

Then they had a special issue teamup:

Then we got Dark Crisis, and I actually love this interaction between them, because they are very different people with very different upbringings and this feels extremely in character to me for how they would both handle the loss of their fathers:

But even when they disagree, they still instantly support each other. Jon comes back with information? Damian makes a plan:

Also, we got the 2022 Pride issue where Jon, Jay, and Damian go to Pride together. I know that story is...contentious...but leave me here with Damian sulking while Jon and Jay kiss, okay?

Then we get Adventures of Superman, which is objectively awful, but Jon does spend his whole time in the Injustice universe thinking about Damian like the seagulls in Finding Nemo saying "Mine? Mine? Mine?"

This whole arc is truly hilarious. Jon finds out that Damian accidentally killed Dick and his response is to a) go find Batman and yell at him for not supporting Damian enough for accidentally killing Dick, and then b) go find Damian to be like "Wow, that must have been really hard for you (accidentally killing Dick)." There's being ride or die for your BFF, and then there's whatever the fuck Jon has going on.

(Meanwhile there's an incredibly uncomfortable scene with him and Injustice Jay where Jay "tests" him by trying to get Jon to cheat on regular Jay. So. That happens.)

And then just this past month we got Nightwing #110, where we learn that Jon is still listening to Damian's heart:

He completely freaks out watching Damian in danger, and immediately intervenes when it looks like Damian is about to kill someone because he knows what matters the most to Damian. Also, this happens:

YOU WIN THIS ONE, TAYLOR.

AND THEN THEY BICKER I LOVE IT WHEN THEY BICKER:

AND THEN DAMIAN LETS HIMSELF BE VULNERABLE BY ASKING JON IF HE HURT ANYONE WHILE HE WAS A KITTY, AND JON GIVES YET ANOTHER SPEECH ABOUT HOW DAMIAN HAS NEVER DONE ANYTHING WRONG EVER, IN HIS LIFE, AND DAMIAN STAGGERS OFF, LEANING ON JON.

This isn't even getting into the Trinity backup stories in Wonder Woman, which, like...Tom King is not valid but Jon and Damian are such an old married couple in them? It's truly incredible?

It took me like 45 minutes to parse Jon's line here as the general 'you" and not specifically Jon saying Damian wasn't straight. But like..."That's for straight people, which has nothing to do with us" is a hell of a thing to say, Jonathan.

I ALSO haven't even talked about DCeased because it's a different universe, but! Jon sitting with Damian while he dies??? MY HEART.

IN CONCLUSION:

Yes, they should never have aged up Jon.

Yes, most of his appearances since have been terrible and bland.

But OH BOY, do he and Damian remain in love.

[capricioussun]

I don't know if I or another person have asked but what's your interpretation of Fell Papyrus?

I swear I'm going to try and keep this from becoming a novel but I can't be held accountable for if I fail.

Edit post-typing: I failed. Anyway

So, similarly to the US boys, I started off basically taking the UT boys (as I see them) and going all the way back to the beginning and seeing how the changes would ultimately affect them. This pretty consistently has a bigger impact on Papyrus than Sans because I've always seen Papyrus as very...sort of impressionable? Or reflective. A lot of his behaviors come from those around him and their expectations.

To me, he comes across as the type of character to try to mold himself into a specific shape because he sort of lacks his own sense of self. I've always headcanoned this as coming from my standard lore of being like, partially synthetic and receiving a larger part of Gaster's soul than Sans in their creation, meaning he takes more after someone with low empathy and serious issues with derealization, and only became even more sort of..."detached" from himself after Gaster shattered and it damaged his and Sans' "code" (Papyrus more so, again, because of having a larger percentage of Gaster's soul).

In UF, because of how Gaster was, and because of how much fear he semi-unintentionally instilled in Sans, that Sans then went on to try and teach Papyrus through the lens of, he wound up with a tremendously overzealous responsibility complex. Gaster had impressed on the boys how important they were to his plans to free monsterkind, all the way up until shattering when the boys were still young. And then Sans tried desperately hard to teach Papyrus how to be entirely self sufficient and survive in a world as cruel as theirs because he believed he'd get killed or Fall Down at pretty much any moment (Sans was a very, very stressed out kid/teenager).

So Papyrus essentially learned Anything can be an exploitable weakness, not to show emotions, do anything for the sake of surviving, and above all else, protect those that need protecting, with Sans, and eventually Undyne, at the top of the list. This is also where his deeply secretive nature really settled in, and also why he struggles so much to accept...really anything good that's offered freely. Kindness, friendship, help. He has to remain untouchable, unreachable, the one to provide and not take, because if he messes up, if he lets the wrong person in, he's not just risking his own well being, but by extension, everyone who's depending on him.

It's also a really good way to distract himself from the crushing loneliness. Saw a tumblr post the other day that resonated so hard w/ my ideas of him that said something along the lines of "if I cannot be wanted I will be needed, and if I am not needed then let me be used until there is nothing left". He was never really allowed to develop himself as a person, not fully, so he completely filled himself with what he thought he had to be. When those things are taken away, he has nothing, and he’s too terrified to let that happen.

It's also why I hc he, in some ways, winds up having a really really hard time after surfacing in some of my ideas/aus/stories. He was needed underground, Sans needed him, Undyne needed him, Snowdin needed him, and by extension the whole underground did, to keep the balance. Above ground, everyone calming and becoming happier, Sans and Toriel settling down, Undyne and Alphys settling down, being a replaceable member of the ambassadorial team, he's hit with this just...utter loss of self.

Getting carried away on the specifics. He and UT Papyrus actually align in a lot of ways it's hard to see at first glance. Both have their "roles", both have a specific sort of "bit" they do with their brothers, both let Undyne believe she knows what's best because they believe it's what best for her, both, despite knowing better, desperately want to believe in the greater good. Despite all the aforementioned problems, despite preparing his whole life to kill humans, he's the first to give up and try to help Frisk. They're just a child. A child who wants to help, who's scared, who doesn't even have a brother to look after them.

In reality he’s a nervous wreck. My man is TIRED. He puts himself under tremendous pressure and doesn't know how to express nor understand emotions. His schtick is so well rehearsed anything that goes off script completely blindsides him. The soft, silly, bratty goofiness is really only under a very thin layer of ice. It doesn't take much to crack it, but that only makes him that much more defensive and paranoid. He can't risk anyone knowing how "weak" he truly is, even if most anyone who's been around him any amount of time can see it clear as day, because he’s about as good at hiding it as UT Papyrus would be lol

At least they don't know about the [REDACTED]. That, he’s actually really good at hiding.

I do wish I'd given him a different nickname than Edge looking back, but back when I'd nicknamed my main guys I just went w/ the fandom usuals so now he’s forever cursed to be Edge bc I associate it too strongly lol

[monstersinthecosmos]

Hi, completely agree with what you said here but it makes me very sad to think about it. As someone who imprinted on Armand at 12, Marius/Armand was my first ship in VC but I find it hard to ship them post Venice era, even though Blood Communion seems to suggest some positive developments in their relationship (Marius standing behind Armand during his argument with Benedict supporting Armand being his own person iirc?). Idk I want them to work their shit out but it’s still hard to imagine them putting their differences aside sans an apocalyptic scenario like in QotD.

And sometimes idk if Marius loves Armand enough to work on it. I know that the corner of tumblr that loves Marius (And I certainly understand the appeal of a complicated and polarizing character like him. Kudos to Anne for creating Marius!) likes to push the idea that the turning of Benji and Sybelle was mostly out of love (and to a varying extent depending on the person’s pov, due to Marius’ mental health issues) but how much was that love and how much was it ‘my pet needs to have pets so that he stays alive for ME’. Not saying these 2 motivations are mutually exclusive but I’m genuinely curious about your views.

I’m rambling but guess what I’m trying to say is, how much do you think Marius’ love for Armand is unselfish, whether in Venice, at the end of TVA or after Blood Communion?

Asdghjakl yeah I have really similar feelings about them as a ship! Like the Venice era is my favorite time period in the VC but modern/present-day Marius/Armand doesn’t really hit the same way for me because it’s just such a motherfuckin mess lol.

What I do want to say, though, is that we’re kind of dancing around a topic here that involves the inhumanity and inherent monstrosity of Marius, and while I tend to think “THEY’RE VAMPIRES” is a lazy approach to analysis, there’s a deeper version of it that’s relevant here.

What I mean is that Marius can love Armand truthfully, sincerely, unselfishly and STILL cause harm, and still love him imperfectly, and still cause problems. I think when we really wanna start dissecting Marius/Armand as a ship, and the Venice era as a whole, and whatever trauma it left on Armand vs Marius’s motivations/intentions/character morals, it’s important to remember that Marius was not human. 

I think a lot about like, when we say that Armand is a “pet”, or that Denis, Daniel, Benji, and Sybelle are Armand’s pets, there’s sort of a connotation or shorthand to TLDR that it’s their cute little human. But I think about like, for example!, my fucking cats! Like, when I think about ACTUAL pets IRL, um, I would fuckin die for my cats? They’re my lil babies? I love them so fully and with my entire fucking soul but they’re dumb little animals that live in my house and I take care of them and I don’t think they have a single thought in their fucking skulls. 

So when you think about like, a 1500 year old immortal night creature adopting a little human, he can love Armand with his ENTIRE being, and I believe he really really did, and it’s still “aww the cute lil human that I feed”. And Marius is unique amongst the vampires for how hard he tries to stay connected to the human world, and it’s still never enough, he’s still never quite there, so I have always believed he had the right intentions even if he fumbled it or did things that could cause harm. It’s not like, he’s a ~MONSTER~ in a scary way, but literally, he’s so removed from humanity that he doesn’t know what the fuck he’s doing. 

(Don’t let me get into a side essay here but it reminds me so much of like, imperfect boomer parenting, like looking at different generations’ parenting styles and realizing how much harm they caused, but most people aren’t intending to harm their children and just don’t know any better. Every generation will likely experience a form of this as we learn and grow and try to be better, but I find this really interesting for Marius specifically because of the age of the author!)

He was fifteen hundred years old when he met Armand. I think in a lot of ways he acted with good intentions that wound up causing a lot of harm. But it does a disservice to the story and to him as a character to only look at the outcome, without considering the universe he’s operating in. 

And idk like, where is the line between selfish and selfless love? Like, Marius is clearly a fucking mess at the beginning of TVA and didn’t take the news of Armand’s suicide very well. Is it selfish to do something drastic because he’s worried that Armand is still suicidal? Where does one end and the other begin? Especially with immortals like, is your own death a gift? Is it an act of kindness to save someone’s life instead of allowing them to check out? Idk idk! Grief is fucking messy, it can be both, but I don’t think it’s fair to characterize it as purely for himself. He even immediately fucks off to Norway in shame afterwards. I think I prefer to think he just wanted Armand to be happy and safe. By the end of the book they're still struggling to communicate with each other about religion, and in some ways I think Marius doesn't think Armand truly wanted to die, vs seeing a religious fit for what it is. So I'm not sure he sees Armand's suicide attempt as sincere, either, and maybe doesn't feel the need to respect his wish for death.  

I think a lot about the conversation Marius has with Armand after he turns Benji & Sybelle and realizes how bad he fucked up. 

"You loved them selflessly," he whispered. "For all their strange faults, and wild evil, they were not compromised for you. You loved them perhaps more respectfully than I... than I ever loved you." He seemed so amazed. I could only nod. I wasn't so sure he was right. My need for them had never been tested, but I didn't want to tell him so.

Even at 500 years old, Marius still doesn’t entirely understand Armand as a complete person. He doesn’t completely understand Armand’s needs, or the person he wants to be, or what his human companions were to him. I think it even starts when Armand is still alive, how Marius treats him like a silly little pet, like, Armand’s piety is a cute little quirk that Marius humors without ever truly respecting. It doesn’t occur to him that Benji & Sybelle aren’t just pets. And I think Marius being stuck in his trauma means he’s just perpetually trying to believe in himself and control everything around him, while Armand stuck in trauma means he’s constantly trying on different roles and figuring out who he is. 

(But FUCK ME, christ, “I wasn't so sure he was right. My need for them had never been tested, but I didn't want to tell him so.” this really fucks me up so bad, we have to keep talking about this another time because like, these two can NOT communicate with each other! They are useless with the barrier between them maybe they need to drink from each other more often and iron this out.)

Someone can do their best, and mean well, and still cause harm. Humans do this, too. I’m sure we’ve all been there. And Marius is a great example of vampires being stuck in the trauma of their turning—it doesn’t matter how wise he tries to be, he always comes back to the same trauma, over and over. Even the way he treats Armand in Venice is a direct result of Marius trying to fix his own trauma. And like, would therapy even work on a vampire, or are their brains stuck forever where they were? How much of their “changing” is just learning behavior, and learning to mask?

Because I think Marius 100% could do that for Armand. He loves Armand. Armand is his child. He was the first fledgling Marius ever made of his own will, after 1500 years! But I think canon left us off in a place where neither of them are quite there yet. Marius is in decent shape at the end of the series, I think—it feels like he’s made some huge strides in accepting himself and his nature, so I think there’s some potential! Armand also has to learn how to use his fuckin words a little bit better, which he’s never been good at, but I think the way he goes off on Lestat after keeping that inside for 200 years is a really great sign! 

I go back and forth about “does therapy even work on vampires” all the time, like, do they have neuroplasticity, are they capable of change, have we uncovered something in the PL Trilogy that could be a key to them functioning better and learning to change. I don’t really have an answer because canon doesn’t, it’s just a fun thing to think about, but it’s the best way that I can reconcile Marius’s intentions vs his actions, and how he somehow continues to make the same mistakes and never learns! 

Basically, I think it’s not helpful to ask if Marius loves him enough. He does! But loving someone doesn’t mean we magically know how to behave, and the qualities in Marius that cause him to behave selfishly are so deeply tied to his trauma, his control issues, his use of ego as a defense mechanism. And even in real life we can have boundaries and hold people accountable when they hurt us, even if it’s because of mental illness. We can have empathy and still have boundaries, and we can be hurt and still know when something wasn't personal. That feels kinda IRL and serious to frame vampire meta but like, Marius can love people and still fuck up, because he can’t help it, and I don’t think it’s a fair reading of the text to insist he’s a diabolical abuser because it just doesn’t really match his characterization otherwise. 

I hope he gets better! 

[o-hora-o]

What are your thoughts on Tesla and Joey's "mother-son" relationship? Do you think Tesla truly sees and treats Joey as her own son? Or would it be hella awkward because Joey is one of Joyce’s clones? Would Tesla be a strict, overprotective, considerate or pampering ? Joey seems to be a polite and understanding boy, so ig his parents are doing a good job.

In APHO, we can see that both Joey and Tesla care for each other a lot. Also when you choose the “Drunk” option, idk, it’s just kinda depressing… Sound like Tesla control her drinking problems and be happier for Joey.

Joachim and Eins, too, what do you think their relationship with Joey will be like? Maybe the two sometimes just quietly stare at Joey because he reminds them of Joyce?

Now that Joachim has gone to HSR, do you think Tesla will ever “hate” Joachim for leaving her and Joey? I mean she was already really busy before, so busy that Joey could rarely see her, but at least Joachim was there to look after him. Now that he's gone, Tesla will have to raise Joey all by herself, and yk, raising a child is never easy. With Tesla's personality, I don't think she could really handle this.

(Sorry if i was asking too much, i just really love reading your post about them, pls never stop😭💞)

Aw, thank you very much for all these questions and dialogue screenshots! ❤️ 

Oh, Joey, Joey... We have so many questions for this precious boy yet know so little about him. He’s so polite, kind, and remarkably brave for his young age, just like a certain someone. “I’m more Joyce than Joffrey” he once said and, in every sense of these words, he was absolutely right. He's the most Joyce-like clone with the most Joyce-like mind that, in my opinion, doomed him to think, to act and to perceive the world around him and people in it the very same way Joyce did (He even developed the same passion for cosmos, pls).    Yes, as Joachim said, “he’ll never become Joyce.” But the resemblance is still there and it's too painful. This is why I was confident that Joey’s existence would be too much for AE to bear. They would have to constantly remind themselves that this is not Joyce nor he will ever be, they can't heal their wounds using this boy and force him to become like Joyce.    And the worst part is that Joey knows it? I thought that perhaps he doesn’t understand fully the reason why everyone looks at him that way, why some things he unconsciously says or does make his mother or father or auntie Ein look at him with a poorly hidden sorrow in their eyes, but it’s the elephant in the room and one day he'll might as well want to become this hero everyone sees in him. 

But... I was wrong? Thanks to that hasty chapter that gave no explanation on who this boy was and where he came from, it seemed as everyone were relatively fine with Joey around. Even Ein appeared to be okay which was...odd to me but never mind. 

On the other hand, it was cute and heartwarming to see Tesla being so mature and caring with Joey. She always could get along with kids and teens pretty easily but with Joey she became surprisingly extra self-restrained and showed this lovely mother-ish side of hers. True, Tesla can be both strict and overprotective, and considerate AND pampering. But that’s how she shows her love and she’ll do everything for those she loves (after grumbling for a while, of course). And! Tesla controlling her swearing and alcoholic habits is just whoa. That's some character development right there. 

On top of everything, Tesla is very good in quickly adapting for even the most fucked up situations. So even though we don’t know the exact story of how they came to this whole situation with Joey and even if it was awkward at first, I think at this point she just treats him as her son. Not as a clone, not as some Joyce’s copy, but as her precious little Joey. And I think Joey’s appearance in her life is actually for the better. She needed someone who’d care for her as immensely as she’s willing to care for others. 

With Joey, Tesla has become more mature, calm, and soft, with a hint of tiredness that comes from the old age. But omg not only she started to drink less and tries to tame her temper but that part where she told Joey that glasses are not cool even though she wore glasses to look cool-    As for Joachim and Ein… *sighs*. As I’ve said long time ago, these two are in the same depression boat when it comes to Joyce topic. And no matter how the story currently unfolds and will unfold in the future, I think these two have it hard with Joey. Let me be a sucker for angst here, please. But even in APHO it really felt like it wasn’t easy for Joachim to talk about Joey. He’s trying his best to see the boy as an independent individual but he can’t help but be reminded of Joyce. 

Joachim’s life, personality, his everything was heavily affected and shaped by Joyce’s legacy, then he went through traumatic era of killing Joyce’s clones and now he takes care of another clone. He can’t be free from Joyce’s shadow looming over his life even after everything he went through. It’s just so ironic that parenting Joey not only reminds him of Joyce but perhaps makes him miss his own father too. Still, Joachim tries his best to be a good father.

(But in my opinion, in his case Joey doesn’t really brightens his life, unlike Tesla’s situation).  And then there’s Ein… *pat pat* your sanity will be missed, doctor (And here I thought her life can’t be even more miserable). Before the ex chapter was released, I believed that Joey’s presence would turn her life into a living nightmare. It’s been hard for her to stop treating Joachim as a shadow of Welt and now the story wants me to believe that she’s not bothered by a boy with Joyce’s hair, eyes, smile and character. Uh-huh...I know that the story loves to make her be controversial from time to time but not to this extent? (Or she’s so fed up with life and reached a point of exhaustion where even something like this can’t disturb her).

How could she accept him so easily? I can’t believe it wouldn’t be overwhelming for her to see this boy every day. Surely it would be too much, the story did a very dirty move. And while she may care for Joey, she can’t draw the line between Joey and Welt the very same way she never drew the line between Joachim and Welt. Perhaps she would feel guilty and terrible for being like this and for her inability to love him properly. That's why Ein keeping her distance from Joey was the most obvious thing for me to expect. Yes, avoiding the boy or giving him the cold shoulder would confuse him, "why does auntie Ein hate me?”, he did nothing wrong after all, but Ein just wouldn’t know how to treat him normally. However, the story says she’s ✨fine✨ with it all.    Will Tesla ever “hate” Joachim for leaving her and Joey...well yes, she can’t bring herself to truly hate him nor she can stay indifferent. Most likely she’ll go through a cycle of denial, anger, bargaining, depression, and acceptance once again. At least she can take comfort in the fact that Joey is not a problematic child. Perhaps she will have break downs from the constant stress and make mistakes along the way, but I want to believe that she’ll manage just fine as long as no one around her offs themselves for the sake of heroic deeds after all, she’s a strong lady and I hope she’ll become a great mother figure to Joey.

Unfortunately, we still have very little content on this topic and I hope to come back to this ramble one day. Thank you once again for these questions tho

[saltyr3mix]

ONE MORE FOR THE ROAD: Winnie HCs?

BITES YOU BITES YOU BITES YOU

Ok- so ok- I'm excited I'm gona go off prompt a bit because he's my second favorite character in the show and it's wonderful.

One thing I'd like to state for the record, in most of my aus he's actually a good guy. Or a good man in a bad situation. There are a few exceptions. Yluid Winnie is definitely not a protagonist and he's probably committed a lot of violence in the hero au- and you know what!

Because my Winnie head cannons change depending on the au I'm just going to talk about all my different versions of him!

To learn from the tragedies: what? He's in that au!? Yes<3. Not until book two but he comes into play. Sara basically has to build this like full out summoning circle and bam! They have Carlos back on their side. But not fully. I haven't decided where he lies in terms of memories yet but I know he's going to be a pain to everyone no matter who's side he's on.

Shattered dreams: SD LORE IN 2024!??! yes. Sd!Winnie is so special to me guys he commits unethical sciences, he falls from the celling, he tears out peoples worst insecurities, he hates him self, he has the largest ego, he's just a guy, he's the biggest threat these guys have ever faced, he'll try to be nice to one set of kids but the second they get out of hand give up trying. He's so- just imperfect. If I were to have finished the fic he would have eventually been swayed over, likely for a silly and dumb reason but ends being a super valuable ally in the final battle and what not.

Swap au: NOT the shuffle au, the skating in silence one. It's never mentioned but in that au Carlos takes the place of alison. I find this to be the funny thing known to man. Imagine, your savior, your light as your dying,the one who's guarding and protecting souls with an incomprehensible power. AND ITS CARLOS NICHOLSON. even funnier if wiatts the main protagonist and nearly died only to have his grandfather next to him like "get up kid! We still have work to do! I didn't raise you to die you idiot! Are you going to save your Twink or not?!!" Idk I find it just- harious I'm sorry -

I will make them create my world: he's uh- he's the Brights royal advisor of War. (Did I do this just so I could make Owen a general......no- shut up- don't look at my other hyper fixation)

Buried masks: ohhhh this one's fun. Uhm. You'll see him around. He's a doctor in this au. Really good friends with Litho, they like go golfing together. Knows the main cast pretty well. Buddies with Eric, teases founder trio and wiatt, gives the kids 15 dollar gift cards on their birthdays and has the best Halloween candy, he always gets full sized candy bars. Uhmmm yep. And he doesn't do anything morally wrong or questionable at all ever. Nope why would you say that about him. Accusing him of horrifically preforming inhumane procedures on kids in order to save his grandson?!? Pfff- what- ha! Never...... Don't ask where the supplies keeps going.

Superhero au: haven't fully developed him yet, he's a retired villain. Rich and has beef with Damien. (Everyone has beef with Damien in this au.) Probably the owner of whatever company Wiatt works for and is sort of in the background that people go to for funding or just to reference past villains. i think his powers had something to do with cameras. haven't entirely decided because it hasn't come up yet.

Steven Universe au: Hesssssssssss participating in evil experiments again. Hes Saras pearl but also just, actually enjoys the messed-up sciences and doing the test and experiments. he likes being her assistant. he likes the power that comes with it. he just helps her with the smaller finer details on her works and so, Acrimony's and Damien have a lot of trauma form in. He probably played a role in some of the triplet's issues as well just from being mean. but overall he's just sort of a threat to get around.

Super-Secret Oc Au/ Mine and Dangers au: So consider chat, Carlos Nicholson and Carly Gale forming a toxic, slightly dependent relationship after a lot of stuff goes down. Did Winnie kill her loved ones and then....not tell the truth about it? yes. Did he also by accident end up providing her comfort and helped her grieve though it? yes. he tried to help her. she just.....kept asking questions in the wrong direction and now their both upset because Winnie was finally able to have someone not hates him and understand that his hand is being forced here. Anyway, Carly stole his house and now lives in the abandoned arcade building and uses Winnie to help get information on how to handle the dreamworld situation. (The only reason Carly isn't Dead is because Vivian is instead) Winnies relationship with Norman in this au is also fantastic and deserves a shout out, i nearly wrote out a one-shot scene from this au about Norman and Morris and angst between them but it ended up spiraling into Norman and Winnie Nonsense and then i didn't want to write the original idea anymore because they were too silly. AND HIM AND DOT. OH BOY I DONT KNOW IF I WANT TO GET INTO THAT RIGHT NOW BECUASE THATS ITS WHOLE THING AND YEAH. I'll let Theater explain that one if you're curious. You'll live until i die, and other canon typical one shots: i try to follow canon for these but i think i make him ever so slightly meaner, but not in a...like evil way? more in a game host or like a dramatic way. he uses more insults than actions. but is also just not able to be taken seriously at points. One of my favorite times ive ever written him is a scene in YLUID between just him and ben and he has one single piece of information he needs, but physically cannot help himself from being as cryptic and threating as possible to the point it nearly completely backfires and the thing hes trying not reveal gets revealed. the best way i can describe this interaction is Winnie rolling three nat ones in a row while trying to have a conversation and its hilarious. Also in that au he does actually get defeated and beat up! he is so pathetic <3

Anyway, i think that's Winnie. that's my guy! i have a key chain of him and a friend....Void, who was the asker of this wonderful comment. Painted him for me that i have hung up in my room because i think he is one of the funniest failures of all time and he has a special place in my heart for that.

[nudistjayne]

Topless UK Beach

I've not mentioned much about sharing nudism with friends and thats because most of my friends don't know about it. I had a trip last year with some uni friends and was able to give them a small gimpse into my world.

A mixed group of five of us meet up fairly regularly and on this occasion we decided to have a beach trip. One of the friends lives towards the east of the UK, so we decided to visit Cromer beach. It's quite a typical English beach with a pier, fish and chip shops, arcades, cafes, and tourist shops. I decided I wanted to try going topless with them, it felt awkward to ask and I wanted it to appear more natural and spur of the moment. I didn't come up with a game plan and just decided to see how things went at the time. We got there about 11am, it was a really warm day and plenty of people had the same idea. We setup on the beach a couple of hundred meters from the pier and everyone stripped straight to swimwear as it was already getting hot. We settled in, chatted, sun-lotioned and relaxed. I'd been sunbathing lying on my back for a little (quite concerned about developing tanlines) and decided to roll onto my front. This was the perfect opportunity to undo my bikini straps, a fairly common occurance and no suspision so far so I decided to push things a little. I rolled slighty onto my right side and delved into my bag for some water whilst lifting my left breast off my abandonned bikini top and revealing it to everyone nearby. It wasn't a massive or obvious flash but it didn't go unnoticed. I went on to read a little so i could prop myself up on my elbows, this was specifically so i could lift both breasts off my beach towel as much as i wanted whilst appearing to be innocently reading. Again it was nothing dramatic but everyone in the vicinity could probably tell I wasn't very concerned about showing myself. I continued taking drinks and reading like this so the extended flashes of my breasts seemed quite normal - I don't know if this worked, but it made sense to me at the time. My two male friends had definitey noticed.

We'd been there about an hour when someone mentioned food. We'd all bought various picnic foods and some of them started to spread everything out on a sand-free towel. Everyone started tucking in and I appeard to be absorbed in my book. I wasn't actually reading a word but waiting for them to be focused on food and plucking up the courage to make my next move. I took a breath and rolled fully onto my side facing the group (and the food in the middle). I reached over and started helping myself trying to appear as casual as possible. They all noticed as we were in a vague circle, but nobody said anything, just some lingering views. It was quite busy by now and I hadn't even thought about other beach goers but some of them definitely saw. I stayed on my side and whilst I was topless I kept quite a low profile, trying not to attract attention. As everyone finished eating some of them started packing the food away. I sat up and helped out feeling quite bold by now.

It's probably worth pointing out for anyone not from the UK that going topless on beaches over here is never done. Feel free to comment, but I've not really seen others do it on the regular beaches I've been to. Me sitting up like this was quite a big thing, but I continued to act completely unphased by it and as if it were perfectly normal. The only comment from my friends had been to ask if i was particularly warm, and to joke about tanlines. Nothing off-putting anyway, I think they were trying to be respectful, they're quite a liberal bunch on the whole and they know I'm quite a free spirit, so it wasn't terribly out of character.

Once we finished eating, two of them went for a walk down the beach. I decided to push it further, so I stood up wearing only my bikini bottoms. I took the opportunity to pack away my bikini top so there was no easy option to cover up if I wanted to. I didn't walk around, just stood there stretching and taking in the view. It was a lovey day and there was a great view of the beach and out to sea. I stood there stretching and gently moving about for about 5 minutes maybe, it felt much longer and by now I had noticed a significant amount of attention from those nearby. Whilst I'd noticed it I didn't let it put me off I was just aware of it. The sun and breeze on my body felt amazing, maybe even more than usual as it was somewhere I wouldn't normally get to enjoy.

I've realised this is quite a long post, so I'll stop here for now and pick it up later.