#this is starting to irritate me

[artist-issues]

No, they shouldn’t have said it at all. Shouldn’t have hinted at it, shouldn’t have implied it, shouldn’t have brought it up or nudge-nudge-wink-winked at it as a reason.

Read what I said. If inbreeding is the reason they are hinting at for Moana to need to leave the island and connect the world, THEN “inbreeding” was a terrible choice of reasons. Because, as you say, they can’t show it or tell it to the audience directly. Meaning the audience can’t make a connection with it, emotionally, as a compelling reason for the story. Meaning they don’t make a connection with it, emotionally. Meaning the whole movie falls flat. So. “Inbreeding” was a terrible reason for them to choose, IF they chose it, for Moana to leave.

I don’t know how to be clearer.

Saying “it’s impossible for Maui or Moana to die because they’re main characters” is very silly. Main characters die in good stories all the time. The main character dies in Sunset Boulevard. And in Saving Private Ryan. And in Titanic. If you need kids’ stories examples: Charlotte’s Web, Bridge to Terabithia, The Hobbit, The Princess and the Frog. Close-and-impactful-to-the-main-character characters die all the time too. Mufasa, Bambi’s mom.

You’re making me repeat myself. I said, the theme and impact of what they were TRYING AND FAILING TO SAY: “We Can Be Together Even If It’s Different” could have been said and saved if they had simply killed Maui and given Mini-Maui + what Maui Represented to a new character. That would have said “We Can Be Together Even If It’s Different.” But they did not do that. And if Maui remains alive but for some arbitrary reason Moni just reminds everybody of Maui, that does not strengthen the “We Can Be Together Even If It’s Different” theme. Because it’s not different. It’s not different if Maui is still around—then there’s no reason to worry about being “together…” because you’re still TOGETHER. You’re never apart. So then that message is pointless.

Also, I never said anything about how Moni was “not” Maui-like. I said he was another example of wasted potential in the movie.

When did you ever read what I said?

Sounds like Moana 2 felt like the rushed tv movie it was supposed to be.

THIS IS THE MOANA 2 CRITIQUE POST

I'm tired of excusing things with the word "rushed." If you have less time to produce, you should simplify what you're trying to say. That way, all your small amount of time can be spent on carefully building the best way to say it. Moana 2 felt very unfocused. It felt like it was trying to say:

"You Can’t Survive in Isolation" (but like why not? why do they need their neighboring islands? Don’t make up a reason—tell me the reason the movie showed you.)

"There's Always Another Way” (what? As opposed to what? One way? What One Way was Moana demonstrably sticking to before the not-really-villainess sang her song? Wasn’t finding that One Way ((“learning where to go by remembering who you are/where you’ve been”)) the whole point of the first movie? Now we’re throwing that out the window?)

"Together But a Little Different" ("Different" as in 'In-New-Circumstances' not "Different" as in 'We’re-Different-So-It’s-Hard-to-Relate-to-One-Another,’ which would've been the better, more cohesive sense of ‘Different’.)

“Something-Something Stories Are Important” (literally they just substitute the phrase “we’ll die” with “our story will end.” No mention of why that’s bad, or what makes a story a story, no reason why stories are important, or what for, just throwing the word “story” around vaguely.)

And none of those "themes" I listed just now had a lot of work put into them. That’s it, in a nutshell. But I can flesh-out my argument for those, and present what I think they could’ve easily done differently, if they’d just picked one and worked hard to make it simply good. SPOILERS BELOW.

“You Can’t Survive in Isolation”

We're told in a quick vision that Moana's people will die if they stay in isolation—but there's no showing us that.

In fact, what we've been shown is that they're thriving, they're fine by themselves. They were in the first movie. They are at the beginning of the second.

So we're not convinced that they need what the whole adventure is supposedly about. Compare that to the first movie! Totally doesn't measure up to the storytelling quality!

In the first movie, the whole first act sets up the idea of darkness reaching through the ocean from Tefiti's missing heart, killing everything. That’s especially bad for Moana’s people. We know that because we’re shown how Moana's people are so deeply connected to the ecosystem of their island, and how every part of it is needed for their way of life to continue—then were also shown that Moana has a deep, personal longing to leave the island. There’s a real connection to home and an urgent need to leave it, and that creates really good emotional tension.

So by the time we're shown (not told in one scene, or through snatches of overdone dialogue, but shown) how the darkness will destroy everything if she doesn't go, we really believe it. We have lots of reasons to empathize with and believe in Moana’s reason for going on this mission. We also feel for her having to make the big decision; we’ve been shown that she’s trying to live up to her responsibilities, and leaving the island would seem like a dismissal of those responsibilities, but we can also see how doing nothing and staying actually would be a dismissal. We feel that tension because they showed us several believable reasons to feel it.

But when Moana is singing “Beyond,” which is supposedly about her conflicting feelings about leaving, and the need to go? I’m just bored. Not emotionally invested. I just saw her going back-and-forth, leaving and coming back, leaving and coming back, one song ago, in “We’re Back.” And everything was fine during that song. Leaving-And-Coming-Back is the dream she’s been living as a voyager. So why is she suddenly convinced it’s a hard decision to…leave-and-plan-to-come-back?

“Because the last voyager died doing this mission she’s about to go on! She might die too!” Okay but all you did was tell me that. You didn’t show me Moana nearly-dying (like she did the first time she tried to cross the reef, or the first time she tried to tackle Te Ka on her own) and then realizing, “gee, oh no, I could die this time,” and then having to make a renewed decision to go anyway. You didn’t put work in, so I don’t believe it.

But the emotion Moana is feeling about leaving is also undercut, like I said, because there doesn’t seem to be a need for her to leave. All they did was tell me that Motunui is in trouble if it stays isolated. But no proof. They were fine isolated from other islands in Moana 1. They have been fine up until now in Moana 2. One random vision of an empty pavilion for three seconds isn’t going to make me forget that and believe that continued isolation will do anything negative to them.

And another thing, what does “uniting with other islands” even mean?” Why would it be such a good thing?

Nobody mentions trade. Nobody mentions learning from one another, or demonstrates learning from one another. Honestly, having Kele teach Moana or Moni or the Kakamora, an actual other-islander, about farming would’ve been a great demonstration of “why we need to meet new people and get out more.”

Having Kele LEARN TO SWIM would have been a SLOW ONE DOWN THE MIDDLE.

But nooo. They just half-bake suggest the idea that the old man doesn’t like leaving his comfort zone, but then never let one of the others have a real conversation with him about why he needs to learn new things from new people. NEVER. It’s just “bouncy vague song, almost-jump-in-the-water-under-coercion BUT NEVER ACTUALLY DO IT, banter and one liners” for the rest of the movie! (And don’t tell me Kele “learning to speak Kakamora” was an example of him “getting out of his comfort zone.” No. Kele never demonstrated a lack of desire to meet and learn new things from strangers. He demonstrated a hatred of fun and the ocean. All the others could also understand the Kakamora literally whenever they needed to, so that wasn’t a special-character-arc for Kele.)

Even though, my point is, they could’ve easily had a character arc for Kele. And that would’ve had something to do with “learn new things from new people, or die stagnant and stuck in your ways,” look, see, a mini-object-lesson in one character’s journey about the theme of the movie. But noooo

They could’ve done the same type of “learn-something-new-or-die” with Moni. Have him be convinced that doing things the “traditional Motunui Wayfinding Way” on this, his first adventure, is the ONLY way to do things. But he’s not good at it, no matter how much head-knowledge he has. And then the Kakamora (or literally any non-Motunui-character) could’ve shown him a newly-developed style for him to learn and grow.

They could’ve done the same type of “learn-something-new-or-die” with Loto. But nope. She just has a really poorly-done, poorly-written, poorly-performed snippet of a song where she mentions how… “perfection is a myth, the journey is just failing, learning, then death, no destination, ever.” But that ridiculous, absolutely absurd worldview is not portrayed as something she’s wrong about or needs to grow out of. It’s portrayed as a good, quirky, revolutionary thing.

But that’s not the same thing as portraying the value I’m describing. Loto just sings about it and invents-and-reinvents canoes. She does not learn how to make canoes from outsiders. She doesn’t learn anything from anybody. She is portrayed as a solitary genius with her own ideas who’s never once shown to be wrong about anything in the whole movie, and everything she tries works. She never messes up or makes a mistake, for all her singing about it. So she never actually “falls on her face, then gets up and learns.” Even though learning from others would be the literal only way for her character to portray the idea of this vague theme they throw out there, “You Can’t Survive in Isolation.”

The point is: there is no reason, in-movie, SHOWN, for the audience to believe that Moana should “re-unite the islands.” There’s no believable demonstration of why that would be a good thing, and no believable demonstration of why not doing it would be a bad thing.

So then why do we care if she risks her life and Maui’s life to re-unite the islands? For a bunch of nameless nobody background characters to show up for a five-second afterparty on Motunui at the end? Ridiculous.

Moving on.

“There’s Always Another Way”

So BUMP ALL THAT, I GUESS.

Matangi, everybody’s Cherished Hope for a New Villain, sings a song and it’s about “get lost, there is no one way, there’s always a different way.”

Fine. Cool. Whatever. The whole point of the first movie was that there’s this symbolic, ancient, WAY of sailing and living your life bravely. And Moana doesn’t know what that One WAY is because her tribe had forgotten it, so she has to learn it. It’s cool, because you navigate by looking at where you’ve been, to see where you’re going. It’s the whole “remember who you are in order to face life’s challenges, not hide from them.” That’s “the Way.” But whatever. Dump that down the toilet, new movie. You know why? Because everybody’s obsessed with “There’s No One Truth,” and “There Is No Right and Wrong,” and “Let’s Experience Things Just to Experience Them, the Journey is the Destination Because We’re not Going Anywhere!” Blah blah blah ridiculous inane sewage slop.

BUT whatever, fine, IF you mean it in a “There’s Lot’s of Ways to Solve Most Problems, Try Try Again,” sense, that’s okay. That’s true for most problems (not all, but most, certainly there are more than one ways to sail.) Sure. that message, if that’s what they mean, is fine. That’s the sense in which Moana takes it, at least, when she dives down to touch the Core Island and break the curse instead of it rising.

But you know what? Yeah. They don’t flesh it out. They don’t take time to show that that’s what’s happening. Moana doesn’t try to teach her new crew how to sail, and they suck at it, but if she lets them do it their own way or whatever, then they work—and she learns there’s “more than one way.” That doesn’t happen.

The Kakamora that joins their team doesn’t solve all his problems with blow darts, or violence, or whatever—and then Moana, or the kindhearted Moni, or the peaceful Kele, tells him, “no, there’s another way, you don’t always have to do things your violent way.” That doesn’t happen.

Loto has one moment where she applies the way she was already living according-to, from the moment we meet her, not a NEW way, to the canoe so that the gang can out-sail magical waterspouts. And it works for like twenty seconds, is played like a great triumph, before they all get smashed into the ocean anyway.

Kele, again, would’ve been a great example of “learn to do things in a different way, or problem-solve by try-trying again.” Because he’s old and they set him up as hating life for no reason and not wanting to do new things. But they didn’t do anything with him.

And guess what else—at the end—when Moana has her own demigod powers, and her own magical-arm-tattoo ripped off from Tears of the Kingdom—guess what her magic power is?

To stick her oar in the water, and light up one current or “path” for the boat to take to a new destination.

A Path. ONE SINGULAR SOLITARY WAY.

Not “a new way.” Not “all possible ways.” Not “multiple ways.” Not even two ways. One. Even though the big lesson she sacrificed her life for, even though the one and only song Matangi got to sing, was about how “there’s always another way.”

WHILE they’re singing a reprise of, “We Know THE Way.”

It’s like being in a conversation with someone who starts a sentence and then forgets what they were saying halfway through, and winds up saying worse than nothing.

“Together, But a Little Different”

Like I said, if you told me that the Main Point of the movie (not one of many vague ideas, but the Main Point) was “Together, But a Little Different,” I immediately would’ve said:

“Oh, so it’s about having to adjust to long-distance relationships. Maybe even death.” Or, maybe, because I saw the trailers, I’d go, “Oh, so it’s about keeping what makes us unique, but uniting when we need to, in spite of our differences. ‘Together, But a Little Different.’”

No. It’s not about any of that. It’s just a phrase the Grandma’s Ghost says whenever she hugs Moana to remind her that she’s still “with her.” She’s still with her; she just glows and can shapeshift into a manta ray now! That has tons of application for real life. 🙄

It’s supposed to be her words of comfort to pass on to Moana, who can then pass it on to the people in her island, so they know that she won’t “ever really leave them.” But like. Then why should I care that she’s leaving them? Why should that be sad? If there’s no sacrifice in being apart, in leaving for the adventure, then the adventure keeps feeling low-stakes and boring and kind of pointless.

If you tilt your head and squint, it’s also maybe-applying to Moana’s pointless ugly annoying Little Sister character, Simea. Simea is in the movie so that someone can be immature for three seconds about how Moana’s always gone from home. And I do mean exactly three seconds, that’s all the emotional drama we get, and it’s not built up to either. She says, “Never come back? -sniff sniffle- I don’t want you to gooo!” And then runs away and then Moana takes a break from singing the next day to briefly explain to Simea about how she can pass messages through the ocean. Then she’s fine.

But the way this theme is thrown around, you think it would mean, “Moana Has to Go Away Sometimes, But if You Remember Her She Never Leaves You.”

But seriously. Again I say to you, who cares? We know Moana is coming back. We know that. Nobody in the audience seriously believes she’s never coming back when she leaves for this adventure. If we did, maybe we’d care that Simea cares. But we don’t.

Even when Moana “dies,” and it’s the perfect time to be like, “seeee, what we feeeared has happened, she’s dead, she can never go home to Simea!” THERE IS NO FOLLOW-THROUGH. There’s not even a cut to Simea back on Motonui, feeling through the ocean or the Force or whatever movie mumbo-jumbo that her sister is gone. And there is not even a deadline, in the movie, for Moana to accomplish this mission, so it’s not like she could be running late and we could get some scenes of Moana’s family mourning. Simea having to do something, take some big step, that show’s she’s willing to go on even if she can’t be with Moana anymore because she believed Moana about how she’s always with her—something like that.

My point is, Simea has no real point, so she doesn’t add to this “Together, But Different.” idea at all. And we already know that it doesn’t mean, “overcome our differences” from what I said in the first Theme.

But what they could have done? They COULD have gone whole-hog and MADE MOANA A BELIEVABLE DEMIGOD. Instead of a vague joke about tattoos that leaves the question open-ended, a pointless and theme-breaking display of shiny superpowers, and no other change to the status quo—

—they could’ve shown that there are consequences to that action—maybe she’s a Demigod of Navigation, or something like that, and the condition is, she can sail around connecting islands, but she can never stay on one too long. So she’ll never be able to live with Simea and her parents again on Motunui, but it’s the price she has to pay to connect the islands. Then she’d have to show Simea how they can still be “Together, Just a Little Different.”

Or someone could’ve gotten hurt or disabled, giving off the idea that even though everything is “different,” they can still be “together.”

Maui could’ve died and passed his fishhook powers, AND MINI MAUI, on to Moni or Moana. “Together, but different.”

Nothing, nothing at all like that happens. It’s just a pretty phrase that could’ve meant something, but any meaning it actually has hamstrings the whole emotional weight of the story instead of fueling it.

“Something-Something Stories Are Important”

The thing here is. I already said it. You can’t just say words and expect them to be impactful, in a story. You’re supposed to show what they mean and why they’re true, and THAT’S what creates an impact.

So when you’re talking about “stories” in a story, you definitely should not have nothing to say.

And I can feel it. I’ve seen none of the promotional material, I don’t watch the interviews, I haven’t checked BuzzFeed or ScreenRant or the Disney Youtube page in a while, but I can feel it.

I can feel them trying to say, “Something Something, ‘Storytelling’ is a big part of Pacific Islander Culture!” I can imagine the headlines. “[Actor or Disney Exec Name Here] Invites You to Celebrate Your Story with Pacific Islander Heritage Month!” They’re so into “culture as a marketing tool” these days.

But they say it so lazily. Just repeating the word “story” over and over in the movie doesn’t pay tribute to how important “stories” are to Pacific Islanders. Or to anybody.

You know what makes stories impactful? They point at truth, when the darkness and misunderstandings and evil of the world threaten to distract you or hide the truth. That’s what makes stories impactful. I’m sure Pacific Islanders use stories in that way—to pass on what they believe to be true, in a way that can be retold and remembered.

So MAKE THAT THE THEME OF YOUR MOVIE. Instead of just having Moana replace “Nalo wants to kill us” with “Nalo wants to end our story” for Empty Effect—instead of having Grandma say something about “your e

Okay okay.

Nalo is a silly, lazy villain. He is clearly a Thanos rip-off in design and introduction in a literal post-credits scene, and his most-present form, in the movie, is just a big ocean thunderstorm. But the laziest thing about him is that he’s the Conflict that everyone is trying to rise up and overcome, and the whole reason he sunk the Island was “He gets power from humans being divided.”

That’s never explained. It’s never shown at all why he gets power from the vague “humans are divided” thing. He has no scenes. He has no interactions with other characters (till the end-credits scene.) A range of his power, like “here’s what it looks like when the humans are divided—oh, now here’s how much less-powerful he is when they’re together!” is never shown. So. No consequences if the heroes fail, no change to the status-quo, villain-wise, when they win.

If Nalo wanted to end their stories, though, that would be another thing.

Stories are meant to be told. They’re for the benefit of others. So what they should’ve done is made the secret key of Nalo’s power hidden. Unknown. Nobody knows how to beat him. And he’s not sinking some unfindable island in another dimension. He’s just devouring the resources of the weather with his ever-more-powerful storms, (kind of like the darkness leaking through the ocean from the first movie) and nobody can stop him.

But that’s because each island, around Oceania, has clues to how to beat him. Clues in their stories. But they can only sail so far from what they know before his storms kill them. So he’s literally making them weaker by using his power to keep them apart, and making himself stronger by defending his weakness. Now they can’t Wayfind to each other, and learn one another’s cultural advancements or stories or beauties, because Nalo is powerful enough to make storms that rip their boats apart. But if they could learn from one another’s stories about the things their ancestors used against him, they could get rid of him.

That’s what they should’ve done. Shown why Nalo was a threat and how the Main Theme was the key to overcoming that threat.

They did not do that.

They made stories just a hot button word to be thrown around with no impact. In a story.

The point of this post is that Moana 2 had a lot of potentially-good points, and it made none of them, so it was totally unsatisfying. If it had just focused on one, the other little benefits they were trying to fit in could’ve been mentioned more naturally.

The way that Beauty & the Beast is all about ONE theme: “True Love is Self-Sacrificial.” But because of the tools it uses to tell that story—a beast that it would take a lot of self-sacrifice to be stuck with forever—you get little side-themes thrown in, supporting and draping decoratively over the ONE theme: “Beauty is Found Within, So Don’t Be Deceived By Appearances,” etc.

Moana 2 should’ve just picked the Story One, and it could’ve had that theme, and it’s cultural-nod cake, and it’s unifying-effect cake, and EATEN IT TOO.

And we could’ve eaten it. And WE could’ve enjoyed it! But no. Money money money lazy lazy lazy.

[cube-cumb3r]

while im at it neopronoun opposition is weird to me as a swedish person.. the whole debate is so anglocentric that they assume every language landed on the same solution they did, to reuse a plural pronoun as a gender neutral one and then they think any other solution is absurd or unheard of. what do you mean you just made another pronoun up you cant do that!! etc

coz its like here in the 2014 the swedish academy accepted 3rd person pronoun "hen" (as opposed to hon/han) like officially into our word list after it gained some popularity in the 2010s. like that is a NEOPRONOUN that someone just Came Up With in like the 60s and then people just started using it and now its just a recognized part of our language. sure we could've also reused our plural pronoun "de/dem" as a gender neutral one but we just made up a new one instead. and to like imply that mainstream use of a neopronoun is just UNHEARD OF and that neopronouns is something the mainstream could NEVER GET USED TO EVER!!! is... your perspective is very limited to the english speaking world is all i can say

[zuzu-draws]

can we see all the doodles you've made on your screen tablet (??) so far? Please?

I was determined to use the drawing tablet to finally draw something, so i doodled this last night:-

hahaha.. I can't help but think that their fight is a liiiittle bit similar to that one concept in Naruto where Naruto and Sasuke attempt to understand eachother's feelings through their fists, hence Gojo was able to recognize Sukuna's loneliness and inability to understand love, and tried his best to convey his own emotions to Sukuna through the fight.

But on a more comedic note, Gojo has a thing for people who are able to kill him, and Sukuna's out here irritated, annoyed, and quite frankly, a little confused with the recent trend of people's obsession with trynna teach him about love. (Maybe he has made a mistake incarnating into this timeline????)

FFS the man is currently trapped within Yuta's ""True Mutual Love ❤"" Domain atm, its February and i think the next chapter's physical copy is releasing on Valentine's Day, whats with all of this symbolism!!!?!!

[xxplastic-cubexx]

🧙‍♀️🐈‍⬛

[tapakah0]

[starry-bi-sky]

yall ever think Shen Yuan went through like, internet withdrawal after being transmigrated into Shen Qingqiu? Like, he's canonically a NEET shut-in who did nothing but spend his time online, you can't tell me that for the first week or first few weeks of being SQQ he wasn't twitchy.

Like, reaching instinctively to his pockets for a phone that wasn't there, having an obsessive itch in the back of his mind that he should check and see if X or Y novel or webcomic has updated -- only to realize he can't anymore and being irritated by it. Wanting to go and see if there's new posts about this or that, but again realizing that he can't.

When he's bored or uncomfortable or just feels like wanting to escape he tries to go for his phone to distract himself, but oops! Not there anymore, and now he has to find a new and different way to distract himself from his feelings. And going through system notifications, quests, etc only does so much.

And there's that Tetris Effect too. SQQ makes a mistake while writing and instinctively goes to backspace on it except hey-ho that's not a keyboard and now he just dipped his pinkie into a bottle of ink or on a still-drying letter.

With him scrambling to fix his reputation and learn how to be a peak lord, I think his abrupt cold-turkey from all things internet would just be another straw on the camel's back that he promptly Ignores until it goes away on its own after he acclimates to his new surroundings.

[xxthunderthedragonxx]

its not hard to click someones profile before you follow them btw

[aenslem]

FOR ALL MANKIND (2019– ) 1.04 "Prime Crew"

[thevioletcaptain]

Almost a decade ago, in November of 2014, I became so exhausted by seeing people throw around the absurd claim that Dean/Cas fans made up only 1% of SPN fandom that I decided to prove how wrong it was. The most readily available data which didn't rely on conducting a survey or poll -- and was therefore a more accurate representation of actual fandom activity rather than just whoever happened to respond to a survey -- came from fic numbers on Ao3.

I made a post about it at the time (the pertinent figures are included below, or you can see the original post here) and then completely forgot about the entire thing. Until now.

Why? Well, largely thanks to a sudden resurgence of the same old nonsense this week, mostly cropping up in the comment sections of a couple of polls that crossed my dash. The temptation to check if there had been any significant changes to the fandom's activity since I last looked ten years ago was too strong to ignore.

Friends. Things have proven to be shockingly consistent.

With the same caveat from last time -- that this is only showing trends in the subset of fandom who actively uses Ao3, and therefore obviously doesn't take into account the "general audience" subset of fandom who don't participate beyond watching the show and occasionally liking a social media post -- here are the numbers:

Old count | November 9th, 2014 | 4 episodes into S10

Total SPN fics posted - 86,352 Fics listed as gen - 22,718 (26.3%) Fics with Dean/Cas - 33,762 (39.0%) Fics with Sam/Dean - 12,286 (14.2%) Fics with Sam/Cas - 1,634 (1.8%) Fics with Sam/Dean/Cas - 787 (0.9%) 

The remaining 18.6% of SPN fics were non-gen fics featuring other character pairings, including reader inserts and original characters.

New count | May 28th, 2024 | 3.5 years after finale

Total SPN fics posted - 290,707 Fics listed as gen - 61,343 (21.1%) Fics with Dean/Cas - 116,925 (40.2%) Fics with Sam/Dean - 34,673 (11.9%) Fics with Sam/Cas - 5,548 (1.9%) Fics with Sam/Dean/Cas - 1,957 (0.6%)

The remaining 24.3% of SPN fics are non-gen fics featuring other character pairings, including reader inserts and original characters.

Notes on data:

All data was collected while logged in on Ao3 to ensure no incorrect counts were caused by hidden works.

There is some overlap within these numbers due to fics which are tagged with multiple pairings. This might be possible to account for if someone felt like doing more intensive data collection, but I've already spent about an hour and a half on this and that's already a lot more time than I'd like to be doing voluntary math. I enjoy statistics as a point of interest, but goddamn do I hate actually crunching the numbers.

It bears mentioning that Sam/Gabriel (5.1%), Sam/Jess (2.2%), & Dean/Reader (2.5%) all have higher counts than Sam/Cas (1.9%) & Sam/Dean/Cas (0.6%), however I didn't make note of those pairings in 2014, so I'm unsure if there has been any change.

I shouldn't have to say this, but literally all of us are just smashing our fave characters together like dolls, so as interesting as these numbers are this post is not intended to suggest that any ship is "better" than any other ship. This post is intended to do nothing more than show the available data which disproves a baseless claim about the size of Dean/Cas fandom within the larger SPN fandom.

TLDR; the percentage of active Supernatural fans on Ao3 who are interested in Dean/Cas as a pairing is significantly higher than 1%, and that has been a consistent pattern within the fandom for the past ten years.

[tea-cat-arts]

Since we're getting closer to the release of the next Madoka Magica movie, I'd like to gently remind you guys that Rebellion doesn't have a single reliable narrator, and you really can't take anything the girls say as fact.

Madoka, Mami, and Kyoko have all had their memories tampered with by Homura and don't have the full story

Sayaka and Nagisa are both mentally fully there, but they're biased as they benefit from Madoka's system

Homura is being prodded by Kyubey, is in the middle of a mental breakdown, is missing key information, and is locked inside her own head where she is subconsciously filtering out and ejecting things that don't alight with the reality she wants there

This isn't to say that any of these girls are bad people or being intentionally manipulative. Just please keep in mind that all these characters' perspectives are skewed, and you really can't take everything they say at face value.

[oatmealcrisp-freak]

"shipping saiki is aphobic because he's aroace!"

stares at you with my demiromantic asexual in a committed relationship eyes then looks at the camera like im in the office

[fisheito]

when a battle can't be solved with dark nova yakumo

[fresanita]

Welp I am entirely too late to the party BUT I'm so invested in what you have going on so far!! So glad the fandom is waking up to the potential of Dadlastor with Angel ^v^

I'm rlly sorry for how LATE my response for this is!!!!😓💔 My minds been tossing out other reminders in order to recall new ones😔.

Anyways I wanted to mention that I actually got interested in Dadlastor bc I bumped into your fic where Angel is Alastors biological child! I read the tags, and my mind went BONKERS at the ideas flashing my mind, so thank you for essentially introducing the dynamic to me!🫡🫂 I was already into parental yandere fics from other Fandoms, but never though I'd see a similar dynamic in the Hazbin hotel fandom🤭!!

I rlly love yandere fathers, something about them just makes my heart squeeze (I LOVE PARENTAL DYNAMICS)!!! Anyways, thank you for the support to my little comic; I'm so glad to see some others enjoying it too, I love it when I get comments🙂🫶!

Anyways, here's a VERY OLD doodle I did of parental alastor w angel Dust turned into a child. It's an old fic idea of mine that's still in the dusty drafts😮‍💨.

In this one, he's still meek and quiet since his dad was a rather stern man; smack the mouths when they say irrelevant things, so he might as well not say much at all🫡! The main point of the fic is to point out that Alastor is NOT fit for raising a child in regards to their emotional needs, but that's fixed later on through trial and error😉! I still love how tiny Angel Dust looks (MY BABY, MY BABYYYYY, UR MY BABY SAY IT TO ME-). Alastors supporting his back so he doesn't fall,,,Family Photo!🫶 sorry for how blurry it is, I usually draw small on the canvas🫥

[three-dee-ess]

i hope you all understand that when i talk about certain models being ugly or bad or whatever, it's really small potatoes in the grand scheme of the 3DS being overall a pretty amazing console. the things i'm stating as "issues" are more up to personal taste and your use case!

any 3DS model is going to have it's haters and it's lovers. I also try to be fair in what consoles I HAVE played on VS just handled IRL VS only seen photos of.

For example, I've never seen an n3DS in person and the last time I saw an o3DS was in like 2011 at some random neighbor kid's house. I mostly use my n3DSXL now, but I had some serious play hours on my o3DSXL and my brother's n2DSXL. I also have an o2DS with a cracked screen laying around in a ziplock, but I haven't gotten the chance to play it, just taking it apart.

The reason why I mostly stick to talking about the n3DSXL and o3DSXL is because those are the ones I've personally owned and spent hundreds of hours playing ^-^

[hallowclave]

She para on my humans till I [GRUESOME SOUNDS OF BUG FUELED VIOLENCE]

Redraw of a skitter design I did a little over a year ago, comparison under the read more

And the sketch. As a little treat. Just for you.

[melikedraw]

I'm pissed off for no apparent reason rn so let me just-

THESE. ARE NOT. THE SAME. PEOPLE.

obviously I'm not being for real like yes indeed that's gaolang and the other one is also gaolang BUT

WHY DID THEY GOTTA CHANGE SO MUCH????

His EYES especially piss me off

HE HAS A CERTAIN EXPRESSION OK. THAT IS HIS EXPRESSION. AND YET??? IN THE LATEST. FEW. CHAPTERS. I AM NOT SEEING IT. THAT AINT GAOLANG

You can't just change a characters eyes, face, eyebrows, body type like that!!!!!!!!! I'm so annoyed rn not even just at this like annoyed in general

Anyways

More examples

↑longish body, hips kinda small???? Big thighs

Versus

Pretty short bod with more difference in the width(?) of his waist compared to hips, low-key hourglass type bod, tits at least double in size

THEY DONE GAVE BRO BREAST IMPLANTS/J

Am I overreacting (probably) but I'm literally tweaking rn I do NOT fw this

AND I HAVENT EVEN GOTTEN STARTED ON HIS FACE. IM TWEAKING SO HARD

Look here

↑Squinted eyes, furrowed brows, long ish nose AND his eyes were drawn with thicker (?) lining like around his eye

Vs

↑his eyes are NOT squinted. They are HALF LIDDED. AND they're WAAAY bigger. THAT IS NOT. HIS. EXPRESSION. ALSO. His eyebrows are slanted upwards but you can see there is no "crease" or whatever you call it when the skin squishes during the furrowing of the eyebrows. His ass is NOT. ARGRGR IM TWEAKING SO HARD. His face + nose is also shorter and his mouth is higher

He also looks less pissed off and more just bored

I WANT HIS EXPRESSIVENESS BACK. YOU KNOW WHAT I MEAN. IF YOU DONT YOU CAN GET OUT

OH MY GOD DONT EVEN GET ME STARTED ON HIS HAIR

NOW IM TOO IRRITATED TO GO FIND PICS SO FUCK IT

IT USED TO BE MESSIER. IT USED TO FLARE OUT. IT USED TO LOOK LAYERED.

NOW IT LOOKS FLAT. CLUMPY. IT DOESN'T FLARE OUT IT DOESNT MOVE. IT IS NOT LAYERED THATS FOR SURE.

if they ever animate kengan omega I hope they go with the kengan ashura anime drawing style because gaolang LOOKED like gaolang there. And he looks GOOD AS FUCK

Long story short I'm punching holes in my wall and freaking