#and man is guilty

[ikemengoessbrrrrr]

The slight re-design of class representative from class 2-4

Honestly idk if I can call it re-design, but anyway

Remember this au? Or just long haired Ataru? Forget about me back then say its not an au (even the name always has au in it) I decided to make this story as au

So instead of everything is same but Ataru is stressed... Now everything is same but everyone is stressed

[datcravat]

brexit <3

[cutter-kirby]

obligatory “cool characterization, still murder” like I’m not excusing him but it does make him incredibly interesting

(*girl gender neutral edition)

[level1cleric]

we stay winning

[4sh-n4]

AU where bruce and co. (his entire hoarde of kids, even jason in disguise) are at a gala. And it's a really big gala, party of the year type of thing in Gotham, absolutely unmissable. And usually, even the rogues know that this night is off limits, so it's relatively safe. So, they're all at this gala, right?

And then the joker crashes it because he has no respect for Gotham traditions. Breaks in through a window, yada yada. He starts to go on this whole villain speech as per usual, and everyone is waiting for the heroes to come. But all the heroes are at the gala, in their civilian identities, with a thousand eyes on them. No one can reasonably slip away, except for maybe jason, who's already seething mad and ready to attack. But with the chaos and people trying to get away, all the exits are blocked, and his helmet is at home.

Bruce is at the front of the crowd, facing the Joker. Joker sees him and makes a comment about Jason, and goes on about how Bruce must've felt when his baby died. And then he brings up how he killed the little birdie too, just a few days before the terrorist attacks that allegedly killed Jason. And he mentions how much he tortured Robin before his death, and Bruce snaps.

He leaps forward, absolutely hammering the shit out of the joker. Beats him up so bad, no finesse or technique to it, just pure rage. His kids try to pull him off, to no avail. No one else even tries. By the end of it, by the time the police arrive, the joker is more blood than body, and Bruce has finally calmed down. Everyone is just staring at him in shock, understandably. (The joker ends up in hospital, paralysed and in a coma)

His kids all drag Bruce home and give him an entire lecture about his persona and how his cover has probably been blown. About excessive violence and how he refused to kill joker but then pulled this in public?? They're all worried about the fallout in the news the next day.

No one sleeps that night, for various reasons, but then when the newspaper comes out the next morning... there's just nothing bad written?? The headline is something about Bruce being a hero for saving everyone from the joker, but there's no other mention about Batman or anything else.

Turns out, no one in Gotham is surprised that Brucie Wayne, no 1 airhead, beat up the joker because "did you SEE him as a teenager?? We were all just glad when he came from his travels pretending to be stupid instead of picking fights with everyone. If anything, it's understandable that he snapped, I would too if a clown started bragging about killing my son." The only reason no one brought up his violent past is because they were worried he would revert back to that behaviour.

[ineed-to-sleep]

Blacked out in front of my tablet and woke up with sketches of my Touchstarved mc + Kuras my beloved. woops

[syenxsu]

🗝️🗝️🗝️

[candycornstudios]

I drew a comic about why Goldlewis knew Bridget is trans. My headcanon is that Goldlewis is transmasc, and that’s how he figured Bridget was struggling with her identity during the beginning of her Strive arcade route. He also gives huge transmasc vibes tbh

[literarymerritt]

Knee deep in the Void Odyssey and you're bleeding me out, is it casual now?

Art Tumblr | Twitter

[tigerkrushes]

average backyardigans interaction in my mind

[arthur-lesters-right-arm]

[zarla-s]

We move forward, 'cause we can't go back...

It's the EIGHTH anniversary of Handplates, and the first one after I finished the comic back in July! I decided to dig up a very old wip that I never finished and finally do it. I've always loved WeMoveForward by The Midnight, and I think it applies not only to the comic itself but also this period after it... there's no way to go back to when I was doing it, only moving forward after it's done.

Even more appropriately, since I did this wip, these characters all moved forward even further... even as this sat in my files, they moved forward, in a sense. I don't know, the song gives me a sort of plaintive, longing, bittersweet feeling... it's hard to explain.

I had a very insistent voice in my head that always made me do a Handplates page over the years I was working on it, no matter what happened. I wasn't sure if that voice would ever stop, even when it's done, but it has! It's gotten quieter now, mostly only nagging me about other projects I should be working on (Defrag, the Ace Attorney/Frozen fic, web design, fic ideas, art ideas...) whenever I'm doing something, much like it did before I started the comic.

How I feel about Handplates finishing though is strange. At times it doesn't feel like it's over, even if I don't feel like I need to do another page. At other times I get sad thinking about it and I miss it, and other times I look back on it with amazement that I was able to do it. Sometimes I look back on it and think about what was happening in my life at that time, and sometimes when I look at it it's unreal and it's hard to believe I even did it, like someone else did the whole thing. It's like it's there but it's not, it's present but it isn't. It's a very strange feeling, it's hard to describe or pin down. I know it'll always be with me in some way, but it is strange to be able to focus so much attention on other things without that feeling of having to set aside a few days to do a page every two weeks... not bad or anything, but I'm not used to it still.

I don't know! When I read the comments on the last page a lot of them made me cry, especially those talking about how the comic had been their childhood, and now their childhood is over. It was sad to think that I had a part in something like that ending... but it ends for everyone, no matter what you do. We, you and me, everyone... we move forward, 'cause we can't go back. That line was so evocative for me that I even used it as a chapter title for the penultimate chapter on Comicfury.

I don't know, just nostalgic thoughts! I don't know if that's the right word for it... but thank you to all of you who read it and enjoyed it. Even now I hear from new people coming to it and reading through it again now that it's done. Even if it's finished, it's still new to people just finding it. It's still "living" in a sense. And thanks to those of you who stuck around even though it's done, I appreciate it. |D

(As a note, the Gaster ukagaka has a surprise if you boot him on the anniversary after seeing the brothers, if you haven't done that)

[index] [patreon]

[puppyeared]

(guy who has never played cotl) haha au time

[chipchopclipclop]

HERE COMES DAREDEVIIIIIIIIL 💥🔥🦇

[midnightsslut]

religion is one of the most prominent recurring themes on the album, and it has been present in some capacity for quite a few records now. taylor previously compared love to religion: her saving grace, her belief system, and a fated divine intervention (false god, cornelia street, and cruel summer are the best examples of this). ‘sacred new beginnings that became my religion’ and ‘we’d still worship this love even if it’s a false god’ are two of the defining statements about her philosophy on the lover album.

taylor doesn’t want to leave all of that behind on ttpd, at least not at the beginning. the first supernatural force she mentions is the spaceship on down bad, which she compares to a skylight of freedom in the epilogue. *something* has finally come to save her from her life of suffering. she doesn’t care if it’s a force of good at first; if anything, she’s just fine being taken away by aliens. she views this man as her destiny. it isn’t until guilty as sin? that taylor starts to ponder the moral implications of what she’s doing. is she guilty as sin for wanting to leave her previous religion and relationship behind? she comes to the conclusion that, even if she rolls the stone away and gets resurrected/redeemed, she cannot avoid the fallout. she is okay with the thought of having to wait, as long as both lovers vow to be together forever, just as she once did with someone else in false god. ‘I choose you and me religiously’ finishes the bridge of the song in a direct callback to cornelia street.

the next mention of religion has murkier imagery. she claims that she does not need the Lord’s help to save this man. she sees the halo that he has, and she can fix him herself. now that she feels free of her prior cage, she isn’t looking for divine intervention anymore. she wants control. she is their route to salvation.

when the relationship falls apart, she retreats back into the position of a believer rather than a divine figure. she compares him to a Holy Ghost who promised to save her and take her to heaven. instead, she is in hell in every sense of the word: she’s down bad and feels guilty for digging up the grave. he was a jehovah’s witness who promised that she could break free of the cage imposed by love without changing her religion altogether; she would’ve just had to switch denominations. she could still have a marriage and kids! she could still have a blue tortured poet! the man was different, but not the dreams they had together. the story of the first part of the album ends here. her faith has been broken, and she has only found any semblance of sanity by refusing to mention these belief systems altogether.

side b/the anthology blends the christian imagery of side a with goddesses, sorcerers, and prophecies. she bargains with these powers to let her have the future she wants (the prophecy). she doesn’t sound like someone believing in salvation. if anything, she feels cursed. she decides that the concept of divinely ordained timing will never work in certain relationships (‘the goddess of timing once found us beguiling / she said she was trying / peter, was she lying?’). this disdain extends onto her perception of other people’s faith (‘bet they never spared a prayer for my soul’). she does position herself as a prophet in cassandra, but even then, she admits that the role has hurt her. perhaps the pain in thank you aimee was meant to be, or perhaps she was just strong enough to build a legacy in spite of it, boulder by boulder. is she a martyr? does she want to be? or did she save herself?

the only real love song on this half of the album makes no mention of fate or any divine forces. it wasn’t meant to be. it’s not a supernatural invisible string or lightning in a bottle. she is just in love.

the album ends with the manuscript, which revisits an old story of a defining, formative heartbreak. as she sings ‘at last, she knew what the agony had been for’ while describing the legacy of her writing, she seems to revert to thinking about the purpose of trauma. the only exception is that, in this case, she is the one who found meaning in her pain by turning it into a manuscript. writing is her belief system now, and she proselytizes by telling her stories and thus giving up the manuscript.

ultimately, her belief in destiny has chewed her up and spat her out. she so desperately clung to her existing belief systems that she was fooled by a conman, which left her feeling cursed. religion is supposed to be with someone even in their darkest moments, but the album explains that taylor often felt abandoned. the only constant in her life was, well, herself. she’ll be okay, but her pen will be her saving grace.

[cryptidmagician]

leme play w ur ballz /ref