#and the story goes on....

[poorly-drawn-mdzs]

License to Kitty.

[versias]

The Joker is Dead (and always has been)

Danny is attending Gotham U and gets caught up in a Joker escapade and realizes the clown is, in fact, a ghost.

Suddenly everything makes an insane amount of sense: the fact that no one has killed a psycho with seemingly human-normal abilities yet, that Arkham can’t keep him for more than a week, the obsessive behavior, the appearance.

Honestly, Danny should have clocked this before he even met the spook.

And Danny doesn’t want to step on any toes, really. The Bat and the Joker have A Thing going on. But, the Batman just isn’t equipped to really put a ghost away. No wonder there’s a breakout from Arkham every couple of months. How many other Gotham rogues are obsessive ghosts haunting the city?

Joker doesn’t display any of the usual ghost powers he associates with his own “rogues”—who’ve really become more like unwanted relatives over the years what with their dropping in uninvited, making a mess, and then ditching before they had to help clean.

It strikes Danny, as he’s being tied up by the clown-costumed goons, that maybe the Joker doesn’t know.

Huh.

How does he broach the topic in a sensitive way?

“Hey, uh. Not to be rude but… You know you’re dead, right?”

Danny winces. Not like that, probably.

The Clown Prince of Crime stops in front of him, the crazed light in his eyes dimmed slightly by confusion. He glances back and forth between Danny and the students around him who are shying away from their insane classmate. (Which is. Fair.)

A menacing giggle warbles from the specter’s throat. He leans into Danny’s bubble, that eerie grin stretching somehow wider.

“Ohhhh really?” The clown draws it out and Danny can hear the crackle of static in the high notes. Honestly. How did no one figure this out before? “And are you gonna kill me, hmm? Have I got a widdle hero in my bait tank?”

“No, no, I mean, it’s not… you’re not… like? You’re not alive,” Danny rambles, trying to clarify and failing utterly. “You’re already dead.”

The Joker tilts his head, eyes dilating and glowing toxic green. He considers what Danny said, then throws his head back and cackles like a hyena.

The ghost doubles over, even, laughing so hard it sounds like he’s gonna bust something. He puts a white-gloved hand on Danny’s shoulder for support and squeezes, just shy of hurting.

After an uncomfortably long moment, the ghost wipes imaginary tears out of his eyes and pats Danny on the back so hard he stumbles and falls to his knee.

“You’re a riot, kid! If I didn’t have a date already planned…”

He trails off and ambles away, still chuckling and muttering to himself. “And they say I’m crazy! Wait til Bats hears about this!”

Danny watches him go, despondent.

It’s always harder when they don’t know.

This is gonna be a mess.

[tapakah0]

Animation based on this gorgeous animatic that I kept rewatching for 2 months (and finally gave up) made by @wolfythewitch

[yetanotherknitter]

i know that chilchuck saying there's not much interesting for him to say about his daughters and then saying, like, two sentences about each is Very In Character but what would have been funnier is if he was like. hm. it's not very interesting. and then smash cutting to, like, five hours later and he's still going on about them (marcille listens attentively with sparkly eyes. we've done it. we've found how to make him talk)

[aethersea]

another thing fantasy writers should keep track of is how much of their worldbuilding is aesthetic-based. it's not unlike the sci-fi hardness scale, which measures how closely a story holds to known, real principles of science. The Martian is extremely hard sci-fi, with nearly every detail being grounded in realistic fact as we know it; Star Trek is extremely soft sci-fi, with a vaguely plausible "space travel and no resource scarcity" premise used as a foundation for the wildest ideas the writers' room could come up with. and much as Star Trek fuckin rules, there's nothing wrong with aesthetic-based fantasy worldbuilding!

(sidenote we're not calling this 'soft fantasy' bc there's already a hard/soft divide in fantasy: hard magic follows consistent rules, like "earthbenders can always and only bend earth", and soft magic follows vague rules that often just ~feel right~, like the Force. this frankly kinda maps, but I'm not talking about just the magic, I'm talking about the worldbuilding as a whole.

actually for the purposes of this post we're calling it grounded vs airy fantasy, bc that's succinct and sounds cool.)

a great example of grounded fantasy is Dungeon Meshi: the dungeon ecosystem is meticulously thought out, the plot is driven by the very realistic need to eat well while adventuring, the story touches on both social and psychological effects of the whole 'no one dies forever down here' situation, the list goes on. the worldbuilding wants to be engaged with on a mechanical level and it rewards that engagement.

deliberately airy fantasy is less common, because in a funny way it's much harder to do. people tend to like explanations. it takes skill to pull off "the world is this way because I said so." Narnia manages: these kids fall into a magic world through the back of a wardrobe, befriend talking beavers who drink tea, get weapons from Santa Claus, dance with Bacchus and his maenads, and sail to the edge of the world, without ever breaking suspension of disbelief. it works because every new thing that happens fits the vibes. it's all just vibes! engaging with the worldbuilding on a mechanical level wouldn't just be futile, it'd be missing the point entirely.

the reason I started off calling this aesthetic-based is that an airy story will usually lean hard on an existing aesthetic, ideally one that's widely known by the target audience. Lewis was drawing on fables, fairy tales, myths, children's stories, and the vague idea of ~medieval europe~ that is to this day our most generic fantasy setting. when a prince falls in love with a fallen star, when there are giants who welcome lost children warmly and fatten them up for the feast, it all fits because these are things we'd expect to find in this story. none of this jars against what we've already seen.

and the point of it is to be wondrous and whimsical, to set the tone for the story Lewis wants to tell. and it does a great job! the airy worldbuilding serves the purposes of the story, and it's no less elegant than Ryōko Kui's elaborately grounded dungeon. neither kind of worldbuilding is better than the other.

however.

you do have to know which one you're doing.

the whole reason I'm writing this is that I saw yet another long, entertaining post dragging GRRM for absolute filth. asoiaf is a fun one because on some axes it's pretty grounded (political fuck-around-and-find-out, rumors spread farther than fact, fastest way to lose a war is to let your people starve, etc), but on others it's entirely airy (some people have magic Just Cause, the various peoples are each based on an aesthetic/stereotype/cliché with no real thought to how they influence each other as neighbors, the super-long seasons have no effect on ecology, etc).

and again! none of this is actually bad! (well ok some of those stereotypes are quite bigoted. but other than that this isn't bad.) there's nothing wrong with the season thing being there to highlight how the nobles are focused on short-sighted wars for power instead of storing up resources for the extremely dangerous and inevitable winter, that's a nice allegory, and the looming threat of many harsh years set the narrative tone. and you can always mix and match airy and grounded worldbuilding – everyone does it, frankly it's a necessity, because sooner or later the answer to every worldbuilding question is "because the author wanted it to be that way." the only completely grounded writing is nonfiction.

the problem is when you pretend that your entirely airy worldbuilding is actually super duper grounded. like, for instance, claiming that your vibes-based depiction of Medieval Europe (Gritty Edition) is completely historical, and then never even showing anyone spinning. or sniffing dismissively at Tolkien for not detailing Aragorn's tax policy, and then never addressing how a pre-industrial grain-based agricultural society is going years without harvesting any crops. (stored grain goes bad! you can't even mouse-proof your silos, how are you going to deal with mold?) and the list goes on.

the man went up on national television and invited us to engage with his worldbuilding mechanically, and then if you actually do that, it shatters like spun sugar under the pressure. doesn't he realize that's not the part of the story that's load-bearing! he should've directed our focus to the political machinations and extensive trope deconstruction, not the handwavey bit.

point is, as a fantasy writer there will always be some amount of your worldbuilding that boils down to 'because I said so,' and there's nothing wrong with that. nor is there anything wrong with making that your whole thing – airy worldbuilding can be beautiful and inspiring. but you have to be aware of what you're doing, because if you ask your readers to engage with the worldbuilding in gritty mechanical detail, you had better have some actual mechanics to show them.

[fumifooms]

Omg guys he just genuinely likes bugs and mollusks and critters 😭💘💔 Forced to noble when he just wanna crouch and watch things skitter in the dirt…

[egophiliac]

bring your son to work day

[blackpunkbird]

I love this little extra comic.

Because at first you're like:

"Awwwww, even Senshi offered to help with the cookies, that's so nice of hi..."

And then it dawns on you: Senshi is there.

It's post-canon. Where's Kabru in this scenario? He's literally stuck to Laios' side at all times as his advisor? He's not participating in "Let's make sure Laios isn't fumbling White Day" party? Essentially a group-bonding exersize?

Unless he's the only person on earth that literally cannot remind Laios. Since, you know, Kabru gave Laios those valentines chocolates and it would be extemely inappropriate for him specifically to be reminding Laios about the white day.

Mystery solved. Everything makes sence now. Good comic.

[stil-lindigo]

the fox god.

a comic about a trickster.

--

creative notes:

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[yallstar]

"...I'm not done telling you all the things that I wanted to say; there's still so much. It's been so long since anyone listened to me talk. Won't you stay?"

Heaven Official's Blessing, Vol 8

[sadclowncentral]

What uh. What's the frog story 👀

back when i was in second grade, my elementary school organised a school market with every class selling their crafts for charity. the contribution of my class were hand-sized ceramic frogs we made in art class. each one of us made one of them to be sold for five euros a piece (this is important later). the quality of the frog i made varies drastically based on who is telling the story, and for reasons that will become very apparent later there is no way to check, but i stand by the fact that it was average looking, if a bit wonky.

the day of the market arrived, and all frogs were bought within minutes, snatched up by enthusiastic and proud parents. all except - mine. because my mother hates spending money on unnecessary things, and she hates children's crafts even more. so she - loudly and vehemently - refused, in her thick eastern european accent, to "spend five euros on an ugly frog".

i will never forget seeing my ceramic frog alone on the slightly wet cardboard, surrounded by the imprints left behind by the already sold frogs. all the while other parents are getting more and more agitated, trying to get my mother to put the frog out of its misery. eventually, she budged, and spend five euros on a wonky frog. she was absolutely furious about this.

so furious, in fact, that when we came home to where my father was remodelling the kitchen, she WALLED IT IN. that's right. she cask of amadillo'd that poor ceramic fool. put him into the open wall and slapped concrete over it faster than my poor seven year old self or my dad could protest. out of pure anger over loosing five euros. and that's where it remains, until this day.

my mom hates when this story is brought up, which is why we bring it up all the time. she also thinks she what she did was right, because "do the other parents know where the frog is? no. only your creation is safe. because i love you." morally, i would disagree, but on a pure factual basis, she has a point.

i made her another ceramic frog for her last brithday, which was not buried like some pharaoh, and everytime guests compliment it my brother loudly goes "oh you should see the other frog he made" and when they ask to see it, he points at the wall. this is hilarious to him and infuriating for my mother. and that's the frog story.

[hiruseki]

god i seriously am never getting over That Scene in orv. kim dokja has so little compassion for himself that the only thing he can think to do upon being confronted with the most powerless, frightened, vulnerable version of himself is to try and murder it with his own hands. even when everyone is sobbing and begging him to stop, even when everyone has already forgiven him without reservation, even when yoo motherfucking pilgrim of the apocalypse joonghyuk cannot muster any animosity, kdj will not stop trying to convince them this trembling little boy needs to die. it had been well established by that point that kdj is self destructive and self loathing, but he was good at maintaining some emotional distance from his actions. but the moment he steps off that train, recognizes his own drawings, realizes what's happened, that impassive veneer shatters and he becomes desperate and vicious. this man hates himself so much. seriously, can you imagine how it must have felt to be oldest dream? you're an abused, lonely, depressed child. profoundly alone in this world, betrayed by everyone you've ever loved. you are so frightened of everything you can't bear to live in reality. you meet yourself from the future, but even he has no sympathy for you. no, he hates you. he hates you so much he wants to kill you. he would point a broken sword at his own throat if it meant he could erase you. you don't know what you did wrong. you never do. all you can do is cower from the monster and hope he doesn't get you.

like it's so fucked up. orv is so fucked up.

[halichor]

"Lucien sits by the window, dressed in white and adorned with the peonies he ever so cherishes—a privilege bestowed by Lycoria only upon her Fatekeeper and faithful. But he wanted nothing from the goddess. Nothing, save for her spite."

[theoldkyokodied]

It's always funny in sillydelphia or whatever. Sorry i can't concentrate on making a joke, there are women right in front of me (pointing at my own genderbend iasip drawings, sweating profusely)

[poorly-drawn-mdzs]

Lan Wangji Goes To Lotus Pier AU: Part 1: Dread on Arrival

(Part 2)

[mimimar]

don't leave, my universe

(art prints)