#this is all target training!!

[limerental]

I was wrong about the identity of the stallion who played Ihuarraquax!

From Steve Dent Stunts @stevedentstunts on tiktok

[psychotic-nonsense]

The radio crackled on. Robin clutched the microphone as steady as she could, the poor thing not used to the rough location of Steve's beat up Beemer.

"Evening, Hawkins," she announced into the mic. Not in her typical bravado. This was all Robin: trembling, scared, but defiant against it. "This is Rockin' Robin, here with Sailin' Steve in what very well may be our last broadcast."

She adjusts her spear, getting Steve to double check his shield. Not easy to do while speeding down the road, but when their destination is the same no matter where he goes, it doesn't quite matter anymore, does it?

"It's been a pleasure serving you lovely people and WSQK Radio," Robin continues, her voice shaking less as the certainty of her words takes over. "But it's time for us to sign off one last time."

"The end of the world is calling, baby," Steve says, loud enough for the radio to pick up. It's the first time he's ever dared to speak into it, and the wave of power it gives him makes him feel possessed. With the way his hand moves off the wheel to twist the knob of the barely functioning sound board between them, turning the music up as he accelerates and fueling his words, he may as well be. "We're here to pick up the call."

Steve grips the stick in front of the sound board, clutching the leather as familiar as the denim beneath his war clothes. "We've got one final song for you all, dedicated to an old friend of mine."

He smells ash. Tastes blood on the tip of his tongue. Feels the sting in his sides like a call from the other side.

Not painful. Hopeful.

Daring.

Trusting.

Fueling.

"We're gonna finish what you started, bud. I'm gonna make him pay."

As the first notes of the guitar solo to "Crazy Train" begin rattling his car, as his fingers tighten impossibly more on the wheel and a tear rolls down his cheek, he feels the ghost of a hand on his shoulder.

Ring laden.

Strong in its fear. Familiar in its loss.

Steve grits his teeth. Takes a deep breath as a calmness burns just as bright as the fire of vengeance.

"Eddie Munson, this is for you."

Then he shifts the stick, grips the wheel, and speeds straight into the apocalypse.

[buckingham-ashtray]

Abandoned by the rest of the train in the tunnel of a station built but never used and which nobody ever thought of much less looked for, unknown to the world and only vaguely remembered by an isolated man with a weird train obsession who chews on his worn stupid hat when anxious, the stranded car is the bomb of sentiment itself where the heart lay buried in the middle of the exploding ruination connected to every one of its arteries, trapping the lost and wandering deers in the florescent lights of imminent doom inside this coffin for two and watched with numbers flickering red ticking down the last seconds of their lives as the brain knelt by his heart splayed wide open on the floor, hands joined in prayer in front of his pleading eyes where they pooled and spilled down the ravines of his cheeks with the pained confession that he cannot unlove his conductor whom he was always meant to but would never belong with, who was the first ever man to spread the maps of London on the table in search for and set foot on this forsaken explosive chamber of heart hidden away underneath the road named Sumatra, and as his love forced its way through the clenched teeth of aggravated half-truths and betrayed by red-rimmed eyes, time stops at 1:29. 

[nicorobinphd]

stg, being an enjoyer of jane twdg is like being forced into an expert-level course on the way misogyny manifests in video game spaces.

god forbid a woman be complex or difficult or provably mischaracterized (see tags) at the end of her arc to service the culmination of a man’s storyline.

[kingofanemptyworld]

people concerned with the lack of parents and teachers in the wind breaker universe, I see you and I understand. but I’ll be honest, I didn’t even question it while I was reading, because it sort of… doesn’t matter? in the context of the story. the people who’ve addressed their parents have done so purely for plot reasons, so if their home life isn’t relevant to the plot, we don’t need to see it. which, yeah, makes you worry about these 16-18 year old kids running around beating the shit out of each other (and grown men) but also I appreciate that extraneous information just isn’t included in the manga. we’re here for character development, the power of friendship, learning to love oneself, and kick-ass fight scenes, and anything else is just a bonus.

[vaguely-concerned]

every time rye hears lucanis really laugh he has such a mortifying '*sick and harrowed with longing to the very depths of his soul* alright :)' moment. I just got the banter where taash talks about stuff their mother told them about crows as a kid and it was a 10 on the soul quaking richter scale event

[sophisticated-crow]

bait.

[dailywillwood]

Made by @onyx-colony

[butterfly-ribbon]

real tgirl-cgirl yuri synthesis was never achieved. until mizuena

[double-oy-7]

This post won't matter. Trump is not a Christian fundamental. He's just a Generic Fascist, Rapist, Bigot. I say this as a Jew, and I know that he's pandered to fundamentals, and they have bought in. Doesn't really matter at this point. We're stuck with the rhetoric, cause that's what he went with and that's what fucking won. Any suckers who DO see this, which are likely few: know the the deaths to come are on your hands (and there will be deaths)

[littleeyesofpallas]

Not that we need to bring back shitty zombie media for like a 4th time but I am a little surprised we haven't had a Renaissance of post-covid zombie stories all about how the zombie apocalypse wasn't actually an apocalypse at all and everything kept going there just sometimes are dozens or even 100+ flesh eating shambling corpses that have to be dealt with, but otherwise people keep having to go to their shitty jobs and pay their rent, and people try to act like it's not still happening, or deny it happened at all, or say it happened but it wasn't so bad, or is still happening but isntsobad, or all of the above at the same time... And just the long cumulative effect of living with the ongoing not-quite-cataclysmic zombie plague

[tangents-within-tangents]

I can't believe people still say The Clone Wars and The Bad Batch are "just kids shows" when whatever this show is literally exists:

analysis of target audiences below (there's a TL;DR don't worry)

Okay so the whole "it's just for kids" fallacy/excuse/conversation stopper is such an issue as it is. Here's a good video about it, I'll probably do a whole rant at some point, but in short: the level of storytelling merit, emotional depth, and thematic exploration a work can and should achieve has never been limited by it's target audience/age group, nor it's storytelling medium. (And if you don't think that's true, try to tell me Pixar has never made you cry, go on)

So it doesn't matter if it was made for kids or not. There's nothing wrong with that and anyone can enjoy it anyway. But what I actually wanna talk about here is not the merits of "kids shows" but the misconception on what "kid show" even means.

For one thing, I think when some people say "it's a kids show" they are lumping anything from like Winnie the Pooh to Avatar: the Last Airbender into the same category, and that's just not how it works. The above example demonstrates that not all kids shows/stories are the same anyway (partially bc level of development/education changes drastically between the ages of like 3 and 12, and these are things that are really taken into account in the publishing industry).

I found Disney's ratings guide and I think this should clear some things up:

For reference:

Young Jedi Adventures is listed as TV-Y

Clone Wars (2003), Rebels, and Resistance are TV-Y7-FV

Clone Wars, Bad Batch, and the Tales of the Jedi/Empire are TV-PG

Mandalorian, Ahsoka, Kenobi, Book of Boba Fett, Andor, and Acolyte are all TV-14

And if we put that in context with the films:

The Clone Wars (2008) film and the Original and Prequel trilogy are PG except for Revenge of the Sith which is PG-13 along with the Sequel trilogy, Rogue One and Solo.

So basically TCW and TBB are considered by Disney's own system to be about the same level as most of the films. They are 4 degrees away from 'Young Jedi Adventures' and only 1 degree lower than the live-action shows. Which frankly feels like we got some animation bias going on since all the live-action shows are automatically in one category (which is silly as is and undue here anyway (here have another video) esp since the Clone Wars animation style is clearly meant to be older/more realistic). But regardless, it's literally right there:

And again there is nothing wrong with TCW/TBB being kids shows, but some internet-ers dismiss it as "made for 7 year olds" and that's just objectively not true. Strictly from this system (which idk how it compares to whatever system Cartoon Network used when it aired) you could say the TV-PG might mean 8-13 years old (which is a wide range tbh, there's a big difference between being 8 and being 13), but since TV-G says "suitable for ALL ages" it's also not limited to that.

Also if TCW was aimed for ~8-13 year old's back in 2008 then those same people, who TBB was clearly meant for based on the marketing, were ~21-26 when it premiered in 2021 (and I think that is definitely reflected in writing).

Age of the protagonist is another a good indicator, though it's not a strict rule (i.e. Ender's Game and To Kill a Mockingbird have younger pov characters but are clearly meant for older audiences) and we have a wide range in these shows (Ahsoka 14, Anakin 20, Obi-wan 35, Clones early 20s, Omega ??? 10ish?? idk it's unclear) and time passes. (And while a lot of TBB is filtered through Omega's perspective, there's also plenty of scenes/subplots/episodes where she isn't even there. Also I doubt anyone would call TLOU a kids show just bc Ellie is 14)

But also target audience is a lot more than just content ratings. Note how the first few ratings above say "this program is designed for" the age group, while after TV-G it's about if it contains anything that could be unsuitable for age groups. And ratings can be pretty vague and arbitrary, especially since they change over time (like I get RotS but I could not tell you what makes the Sequels PG-13 compared to the PG films. And why is 13 the age we draw the line at? And why is it 14 for TV instead?)

I think TCW confuses a lot of people because it jumps around a lot; some episodes are about Jar Jar or the droids, and then some are, you know, Umbara. But on a rewatch, even some of the more serious episodes like the Citadel or Kadavo arc still tend to have a more juvenile or simplistic tone/writing style, like repeating information a lot or joking in the middle of the mission (like right after Echo died, hello?!). This actually feels like a writing issue to me, like maybe the writers weren't very clear on what they were going for. (Reminds me also of the only episode I watched of the live-action Atla, where compared to the original it increased the violence/death, but also dumbed down the exposition and didn't seem to trust the audience) Though there is also a clear difference between the seasons, again because the audience and characters are growing up as time goes on. I don't think TBB really had that issue though. It never talked down and it was much more tonally consistent, even in the lower stakes episodes.

Personally TBB feels generally grittier than TCW, though it doesn't really have any of the dark/gruesome deaths and "this is a kids show?!?!" moments like TCW (i.e. clones getting airlocked, decapitated, cut in half by doors, squished by Grievous, and whatever the ever living eff Colt's death was). Though actually come to think of it, there are a few things (like Crosshair killing civilians, the electro suicide pills, and the clone on Tantiss who got skewered (rip)) but I don't think they stand out as much, maybe because they're given the proper weight so they fit the tone rather than feeling out of place. Well, most of the time at least...

Like the friendly fire incident is probably one of the heaviest moments in TCW but I don't see it in those compilations, maybe because the characters respond appropriately and it fits within the Umbara arc. Verses when stuff happens in the middle of lighter more childish plot lines that feel more shocking because they are somewhat brushed off.

But also here's the thing. I think people get really fixated on the darkness/violence/death thing, but it isn't actually as big a deal as we tend to think. Like you'll find "this is a kid's show?!?" compilations for so many shows like these (with a similar age range, like Gravity Falls) that are just anything remotely creepy or intense or related to death, as if kids can't handle anything at all. Like I'll admit it's surprising sometimes (Infinity Train traumatized me bro lol) but most of the time I think we're underestimating kids. Like do you remember being 12? It's not that young.

There just seems to be this misconceived barrier, like the argument goes: "Clone Wars is just a kid show" "No it's not, look at this death scene!" But like there's death scenes in Disney movies all the time, you know? I think that's also why we get so many of these MA animated shows (i.e. Invincible and Vox Machina) that feel the need to overdo the blood and gore to like prove themselves as adult shows (bc again, animation bias).

As a writer that's just not really where the distinction is. This came up in my 'Writing for Children and Adolescents' class and we were all a little surprised when our professor said that death/violence is actually fine for middle-grade (8-12, the 'golden age of reading' and probably the equivalent to TV-PG). Like think of stories with ~12 year old protagonists like Percy Jackson, Harry Potter, Gregor the Overlander (tho Suzanne could stand to tone that one down imo lol). Basically, violence is okay actually. And most of the TCW and TBB characters are way older than middle-grade.

(Also I think the difference is usually more in the delivery. Like death and violence being more implied (no blood, or cutting away/seen with shadows), and themes/emotions generally being more clear, simple and stated upfront rather than more nuance, subtle and subtextual. (And tbh writing for kids is actually usually a lot harder btw))

The distinction we did learn about that has been most insightful for me has a lot more to with the story itself: what topics and themes does the story deal with? And what age group/phase of life does that speak to?

For example, Love You Forever is a picture book (generally considered 3-6 yr old range) but it deals with topics that are clearly aimed for an adult. It follows the parental character until they are on their death bed being taken care by their kid, that's not something a 6 year old would care about or relate to. That's why age of protagonist typically aligns too, bc they will be dealing with/worried about things that the reader is dealing with in their life too (like high school struggles vs career and family struggles etc).

Aaaand this post has (once again) gotten away from me lol so I don't feel the need to analyze all of the topics and themes in TCW and TBB, but basically look at what is being explored and how it is being talked about (since a lot of things, esp with war, aren't necessarily age exclusionary) and that can give you a good idea. I think it's clear TBB generally deals with things in a more nuanced and complex way than TCW (most of it at least, honestly the difference between seasons is stark). And there is a main emphasis on family and parenthood, especially with the very end speaking to both young adults growing up and moving out, and the parents letting them go.

TL;DR:

-Animation doesn't automatically equal for kids

-For kids doesn't equal lesser

-Not all kids media is the same bc not all age groups are the same

-Violence doesn't necessarily equal NOT for kids

-Age of protagonist and themes/topics are a better indicator

-The Clone Wars is def middle grade, and The Bad Batch is probably more YA to adult

-But nothing is exclusionary regardless

[allgremlinyaps]

how I look after posting rarepair art waiting for my rarepair mutuals/followers to see it

[aingeal98]

I love writing this Reverse Robins au because it's like:

Bruce: Raising Damian sure had its ups and downs but I'm proud to see him go off to college even if I'll be a little lonely. I guess now all I have to worry about is Tim, who really shouldn't be doing vigilante work as an average 11 year old but I can't seem to make him stop. Not to worry, at least I'll be able to focus all my attention on him now.

14 year old Duke Thomas coming back to Gotham after spending 6 years training his powers with his supervillain dad because his parents got jokerized: Hello naughty Joker Gang henchmen, it's vengeance time :)

[fideidefenswhore]

reading alison weir's new novel; she's adapted and altered the primary source material she's clearly using in a way that is...um. something?

[op3ra]

"whatever you do, don't go to the old railyard on the outskirts of town. there's something living out there, man. i swear i've seen it."

old design from mid 2023 under the cut