#this felt like such a good example

[poorly-drawn-mdzs]

Happy one year anniversary to In Stars and Time!

[haleigh-sloth]

The Isagi Effect:

Bachira:

Boy was in love within minutes of laying eyes on him.

Chigiri:

Made him want to actually play again.

Barou:

Made him an aggressive yet oddly supportive simp.

Nagi:

Made him go from lazy house cat to barely motivated house cat then back to lazy house cat.

Kaiser:

Reminded him of his horribly abusive father?????????

Rin:

Reminded him of his brother who shockingly and cruelly abandoned him??????

The range I'm telling you. It's impeccable.

[transmascxielian]

something something something maddie as the symbol of the sweetest person in the system still being the system. right from the start to the end she was backing up authority and supporting the powers which were heading everyone to war for the sole purpose of maintaining their perspective of the status quo. and she did all of this with a smile on her face and a plucky new-girl-on-the-force attitude and was altogether one of the best examples in the show of how it doesnt matter how much you smile when you're pointing the gun at someone.

[beforetimes]

i also think it's fair to say that charles was projecting onto erik a tiny bit during that fight on the jet to paris. when he says that erik took raven from him. when you're watching first class it's sort of very clear to see that charles did his share in pushing raven away throughout the film. especially when she's portrayed to be in this space between acceptance and rejection of her mutation. after erik enters her life around the same time she finds more mutants to bond with, she gets positive reinforcement surrounding her blue skin. when before, she asks charles and he sidesteps the question, and hank outwardly rejects her. she was definitely a kid at the beginning of the film before transitioning into someone who decided she deserved more than to be hated for who she was at the end. and in that process left the person who had raised her but also never seemed to see things the way she did; see her the way raven saw herself. becoming mystique and shedding the name raven was a way to divorce herself from charles' influence but! erik still played his fair part in bringing her over to his side. both charles and erik pushed her away from home and both charles and erik needed to work together to bring her back to her family

[cheriboms]

need i say more 🕴

[puppppppppy]

i feel like im not making any sense but does anyone else feel like there are stories that let u run with them and ones that spell everything out for you

[sonknuxadow]

sonic prime is so weird because some of the shatterverse characters feel like they actually had a lot of thought into them and are meant to be a representation of or a subversion of a certain trait in the original character and others are like . okay lets put that guy in an outfit so we can make one billion dollars selling toys

[bowsbar]

thoughts on finale: entirely serviceable if not eyeroll inducing at some parts and hair-pullingly obtuse at others. i dont like box existing but 1. everyone saw it coming from a mile away and 2. for a show with intentions (in the later stages of its production and writing) to tie up all loose ends and explain everything logically it would make no sense to Not explain box in some capacity and the explanation they did give works fine. i have no issues with box as a character shes cute i liked her interactions with suitcase oomf is obsessed with sinjin drowning it all works out.. buttt it is that second bullet that wears at me like chronic back pain in a more general sense relating to ii. ive talked about it before, its the evolution of ideals with where the writers want to take the show. i feel like ii works best either when its Being goofy (early ii2 is peak) or when its taking itself extremely seriously (ii14 was good), but they try to mesh those two extremes into one being and it does not work whatsoever. you can watch the slider go from one extreme to the other going from season 1 to ii2 finale. Theres really no cure to this, the conditions they evidently worked under of We must make it serious and We cannot retcon past episodes created what we got and While there is so much i can nitpick and a lot of things i dislike about it, when looking at it as a whole i think the final product is.. serviceable. ii's writing is a victim of circumstance, with the circumstance being A passion project stretched across more than a decade of production that (keyly) started when the creators were children. i just wish something ive spent so many hours thinking about and talking about and bonding with others over and creating fanart for had a more solid foundation. i appreciate what it is while simultaneously mourning what couldntve been. i hope that makes sense

[evilplants]

Marwa wwdits is so funny to me because she literally had her entire personality erased for the sake of developing an m/m ship IN THE SHOW. The fandom didn’t even have to do that, they did it for us.

[skibasyndrome]

.

[bigskydreaming]

The thing that kills me about the Star Wars prequel trilogy and why I will die on my hill that my problem is not that Star Wars is a tragedy, its that its a badly written tragedy, is that Anakin Skywalker was at his closest to being a good Jedi when he was ten years old.

[erineas]

Being in a relationship with more than one version of the same skeleton should be a bit clashing sometimes. Especially if their personalities go different ways.

Imagine your sleep schedule is a mess and you just go to bed awfully late one night. You know you're bound to wake up past noon the next day, but you're too tired to care. There's nothing important to worry about tomorrow, anyways.

Hopefully, the one that finds you first is someone like Classic Sans, probably sent by Papyrus to pick you up for breakfast since he would be sleeping too if given the opportunity. He would see you there, hiding behind a comfy cocoon of your sheets, and would climb next to you to resume his napping in your company.

You two would happily nap the hours away if it wasn't for your next skeleton to appear.

Someone like Swapfell Sans would burst the door open (careful enough to not be too loud to startle you or to snap it from it's hinges, for that matter), probably thinking you were already awake. It's a surprise he didn't check on you earlier since he's the type of guy to be up and about at the very same hour you went to sleep, but he still didn't wait until noon to give you your 'good morning' kiss before going on his day.

He would wake you right then and there, complaining about how you shouldn't waste a productive day. He actually doesn't care if you use it to be productive or not, that's just his way to help you fix your schedule. And after all this time dating him, you know he means well.

From then on, your tired mind would have two options: leave the bed and fight the grogginess until you're functional again (and wait for him to sleep together at a decent hour) or fall right back into dreamland with the still sleeping skeleton in your arms.

Whatever you choose, if they're not to fight each other, you know someone will try to convince you to change your mind.

[necrotic-nephilim]

Hello! New to comics and I don't really feel like the New-52 comics are for me and would really like to read and understand Pre-flashpoint and all the dark and good stuff there. Is there an order or starting point you would recommend? Thanks for your time, and I hope you have a great day!

hi! i'm so glad you want to get into comics! i'd love to help with some recs! since you're here, i'm going to assume you're a Batfamily fan and most of my recs will cater to that, but i will try to encompass a bit of everything to help you just understand some big moments and all this mess that is DC canon. adding a cut bc jesus this got long.

so your starting point for pre-Flashpoint is going to be Crisis on Infinite Earths. the TLDR of this event is: DC had a big multiverse in the 70s and early 80s that wasn't friendly to new readers. to try to push their titles more and become a proper competitor to Marvel, they created an in-universe storyline that nuked the multiverse and gave a solid entry point for new fans going forward. this is why you hear terms like Pre-Crisis and Post-Crisis. it refers to the comics canon before and after this event, in 1985. some characters had some big changes (for example: pre-Crisis Jason Todd was a circus kid whose parents were killed by Killer Croc) but most remained largely the same, just simplified. you don't *have* to start with Crisis on Infinite Earths if you don't want to. it's a *good* storyline, but it's a big one and a lot of big multiverse-scale stuff happens. so as long as you understand it as "big event that nuked DC's multiverse and gave the world a clean slate in 1985", then you've basically got the gist. also Barry Allen dies during it, but he comes back so don't worry about it.

in general, if DC has some big timeline/canon-altering event, they're going to call it a Crisis Event. the only Crisis Events that will matter to you, trying to get into pre-Flashpoint are

Crisis On Infinite Earths - the above, starts the Post-Crisis/pre-Flashpoint timeline

Zero Hour: Crisis In Time - an event in the 90s that sought to fix some of the kinks that the above Crisis caused, like fixing the origins of the Legion of Superheroes and other Golden/Silver Age characters, not *super* important tbh

Infinite Crisis - this was a big event that brought back some characters who got nuked by Crisis on Infinite Earths, unfucked Power Girl's backstory, and set the groundwork to bring back the multiverse. if you've heard "Superboy Prime punched a hole in reality and it brought back Jason Todd" yeah, this is the story where it happened

Final Crisis - a big event that was partly meta commentary but heroes fought Darkseid, Batman died for a hot second, it was all a big deal about evil winning and all that

Flashpoint - the event that nuked this timeline, a big storyline to do with Flash and the timeline that would result in the New-52 in 2011

are you confused yet? good embrace the confusion it's going to become second nature of a comic fan. you don't need to read these events as a beginner. you really don't i promise. they'll sound big and important, but besides Crisis On Infinite Earths and Flashpoint, the start and end of this era, the rest you can just kind of breeze by so long as you understand the big plot points like Batman dying or Superboy Prime punching reality. unless you really care about a character central to these stories, skip 'em for now.

now for any character, if they have a Year One comic? that is a very safe bet as a place to start. it is what it sounds like. Batman: Year One is going to be Bruce's first year as Batman. same as Green Arrow: Year One, Batgirl: Year One, etc. when in doubt, if there's a Year One, start with Year One. (note: for Superman, his "year one" type story is called Superman: Birthright and it is worth reading if you like Superman)

for Batman, i am holding you by the shoulders when i say this: people will tell you to read The Killing Joke. they're liars. do not listen to them. it's a bad story. you don't need it. do not let the Joker fanboys lie to you. people will also say Dark Knight Returns. don't listen to *them* either. i *like* DKR, i talk about it a lot here. it's not a good intro to Batman. it's an AU story, it's not canon, ignore it for now.

now where you *should* start with Batman, imo, is as followed

Batman: Year One - as said above, Year Ones are good, this is solid to start with

Batman: The Long Halloween - this is an iconic story and it's a followup to year One

Batman: Dark Legacy - the followup to Long Halloween, also a very good story

Batman: Hush - this story is a solid starter if you want to understand the general vibe of Gotham, the typical characters you see in the Batfamily, and a good Batman villain

once you've got the basics down, you *can* get into the big boy storylines like Batman: Knightfall and Batman: No Man's Land, but don't worry about those right now. they're long and complicated and shouldn't really be your starting point no matter how good they are.

other very good pre-Flashpoint comics that are easy to pick up and iconic storylines

Death of Superman - this is a long arc in the Superman run that if you collect in trades, goes Death of Superman, Funeral For A Friend, Reign of the Supermen, Return of Superman, Doomsday. it's long, but a very iconic storyline

Wonder Woman by George Perez - this the run that helped define modern Wonder Woman within the pre-Flashpoint era

JLA: Year One - if you want a good Justice League story where you get characters besides Batman, Wonder Woman, and Superman taking the shine, this is a great place to start

Green Arrow by Mike Grell - start with Green Arrow: The Longbow Hunters and then go into Green Arrow (1988). this has the darker, very 80s vibes that gets a bit gritty and very realistic with the issues it faces bc Green Arrow comics tend to be more rooted

The New Teen Titans by Marv Wolfman - this technically starts before pre-Flashpoint, don't worry about it it's fine. a good run for all of these characters, can get a little confusing, it is okay to be confused do not be afraid to google shit

so, some big stories out of the way i'm just. honestly going to run down the line of the major pre-Flashpoint Batfamily members and give you comic recs for them that you can start with. (besides Bruce obviously, bc well. see above)

Dick Grayson

NIghtwing: Year One

Robin: Year One

Nightwing (1995)

Tim Drake

Batman: A Lonely Place of Dying

Robin (1990)

Robin II: Joker's Wild

Robin III: Cry of the Huntress

Robin (1993)

Barbara Gordon

Batgirl: Year One

Birds of Prey (1999)

Jason Todd

Batman: The Cult (as Robin)

Batman: Death in the Family (as Robin)

Batman: Under The Red Hood

Red Hood: Lost Days

Cassandra Cain

Batgirl (2000)

Batman: No Man's Land

Jean-Paul Valley

Batman: Sword of Azrael

Batman: Knightfall

Stephanie Brown

Huntress/Spoiler: Blunt Trauma

Batgirl (2009)

Selina Kyle

Catwoman by Ed Brubaker

Helena Bertinelli

Batman/Huntress: Cry For Blood

Huntress: Year One

Birds of Prey: Manhunt

Damian Wayne

Batman & Robin (2009)

there are other very important pre-Flashpoint stories for all of these characters, but these are starting points more than anything. figure out what characters you're interested and go from there. understanding the universe at large helps, do not get me wrong. but at the end of the day, comics are a choose your own adventure of who you want to give a shit about. you're *never* going to read everything "important" and you're probably not going to understand everything. that's okay. don't treat it like a media you need to "complete" like a tv show or a movie, but more like an open world game where you decide what characters/teams/stories you like the most.

pre-Flashpoint covers a lot of ground. some stuff will be darker and grittier, some stuff will be more light-hearted. it will all be about what titles you pick up and what characters you decide you want to read about. you're obviously going to get a much more grounded storyline out of Green Arrow than you are say, a JLA comic. i prefer the more grounded, "street level" sorts of characters. (if you like gritty detective stories, i will be biased and highly recommend the Question (1987) just because. i love him okay.) but you might find you like sometimes more worldly and big scale. at the end of the day: don't force yourself to love a comic you're not enjoying, even if you like that character. you can put that shit down. sometimes, "important stories" are by shitty writers that you won't enjoy reading and you shouldn't make this hobby a chore. i don't care how "critically acclaimed" it is, you don't have to like it if it doesn't click for you. and on the flipside, a comic might be considered "bad" but you may enjoy it (a personal example: Robin III: Cry of the Huntress is considered a very weak comic. don't care. i love it anyway.) accept the cringe, have fun, and enjoy yourself at the end of the day. none of it will make sense anyway so just read what sounds cool to you.

this was all over the place and rambly, but i hope it helps at least a little! welcome to comics anon! if you or anyone else would like more character-specific recs, feel free to ask! if i don't know, i can at the very least hopefully point you in the right direction <3

[vaguely-concerned]

few things bring me as much joy as my rook's expressive capacity for sudden withering disdain. (he's looking at illario here, of course lmao.) he's so hey i'm just a little guy...🥺 coded most of the time and then someone says something dumb enough that the mask cracks for a moment and every line of him says 'that is the stupidest fucking thing anyone has ever said to me and I'm aggrieved to even have had to hear it'. rye is mostly very kind but there IS a bastard lurking in his head waiting to be let out as well. not just solas but solas too I suppose. two bastards in rye ingellvar's head they keep each other company and are trying to strangle each other as we speak 😌.

(vs. him looking over at lucanis a moment later during the same line delivery. since lucanis was actively into viago once I cannot imagine that getting to watch rye crack and be kind of mean to people who've earned it when too sorely tried is like. entirely without allure to him fhskjadf. witnessing illario pulling the old ingratiating 'rooook reason with him would you~ I'm the cousin with the charisma stats' routine and This being rook's response probably opened some as of yet ill-understood '...I think I hauve covid' corners of lucanis' soul. tfw your buddy has your back so completely (dawning erotic implications))

[livetogether--diealone]

why everyone is being interviewed in a dark alley with just a torch light while mercedes gets a nice shot of the marina with twinkling lights and pretty boats?

[deermouth]

"This was a good movie, but I didn't enjoy watching it," is such a weird experience to have.