#because the area he's in

[anarkhebringer]

Felis continues to feed bunny and lizard boy players with each release

[bluerosefox]

Phantomish Rogues

Team Phantom get ripped from their home universe into the DCverse. With no money or real ID's in this world. Now thats a problem.

Another big problem is that Danny is badly injured and his core kinda put him into a deep cryo sleep. He needs to rest and gather ectoplasm.

Bigger problem Team Phantom have no clue how to get home because they don't know how to decode the Fenton Portal blue-prints, not even Jazz who at the time didn't pay attention to her parents portal work anymore by the time they finished it. The only one who does have an idea is Danny!

Biggest problem, they landed in a place called Gotham that seems to be overrun with actual villains and heroes? (vigilantes). And for some odd reason many of them seem to find them no matter where the Team goes to hide.

Until they can get their hands on a safe space, tech, and money, Team Phantom might have to go a bit Rogue/Villainous if they wanna keep Danny safe until he wakes up.

[christadeguchi]

he's like if a baby cow wandered into a zoom interview

[hadesoftheladies]

being unwilling to accept degradation on any level as a woman makes people so mad at you lmao. no i will not exist and walk around like i am here to be performative art and not a human being fuck you

[i-like-eyes]

Like father like ...!

[dirtytransmasc]

I'll never not believe that Davos is the one who fell first and harder. that he wasn't the one getting his heart truly broken. the one fighting for Aaron's love and attention and aching when he is denied. the one longing for Aeron and having to reckon with the fact that he can never truly have him, there's too much keeping them apart.

sure, Aeron has his own feelings, his own longing, his dread.

but you can see it in their faces, it's Davos's heart that's a mess, his soul that is aching, while Aeron is more confused and unsure of his own feelings and where they lie in the mess that is feuds and war and blood and kin.

Davos is angry but full of bitter, rage filled acceptance. Aeron is scared, confused, and stuck between acceptance and denial. and it's breaking me.

[spitblaze]

If you’re gonna care about prison abolition and justice you are necessarily going to have to care about the people who DID do those crimes and just want to reintegrate and live a normal life without hurting anyone. You're gonna have to be cool with the fact that the guy scanning your groceries might’ve raped someone. You're gonna have to relax about the possibility that your bank teller used to be a career criminal. The person sitting next to you on the bus might’ve committed three different murders, and as long as he's not about to commit a fourth right now, that's not your fuckin' problem. People don't disappear from society after they commit crimes, and most of them really just want to live a normal, stable life instead of going back to that. And the best way to make sure they don't relapse is to ensure they're able to live that peaceful life instead of freaking out because the guy next door used to run a dogfighting ring. You don’t have to be friends with them, you don't even have to like them, but you're gonna need to be okay with them existing in society. Sorry.

[shower-phantom-ideas]

Danny is just a kid ya know? Like he is just a little guy. A baby really. 14? Tiny child! Look at him, he needs to be protected. Someone has to help this poor little dude. I mean he forgets to use his own powers to avoid attacks all the time.

Anyway cut to Batfam not knowing all of Dannys power set cause the lil dingus keeps forgetting he can do that stuff in the heat of battle.

Danny uses his invisibility all the time… to avoid being followed. But in a fight? Oopsies hes too busy thinking of funny one liners to realise he could do that.

Intangibility? Give the guy a break. I mean who calls themselves condiment king. Even he was stunned.

He so rarely actually uses his biggest advantage powers that the League doubt he actually has them. He, like any naive child, trusts them and reported fully on his power set. Instead of just asking him to demonstrate his powers they instead start watching him and try to find evidence of his powers.

At least they know duplication was true since they watched him make a copy of himself to go to the bathroom and not miss any of his fav tv show.

[spacetimeaccordionfolder]

that 11th hour thing that Brandon Sanderson does where suddenly there's 10 perspectives in one chapter so you see all sides of the conflict, what that secondary character is doing, how the big battle looks from the outside, a heartbreaking thought from a character who's never had their perspective shown, a moment with the villain, and so you can feel the change from "everything is falling down we're all going to die" to slow creeping hope as finally the protagonists start winning>>>>>>

[mikakuna]

the fact that jason shared food with other hungry and homeless people when he was catatonic makes me feel so many emotions.

for one, it's so true to his character as a compassionate boy who gets so rightfully angry about the struggles impoverished communities have to continually face due to society's failures. this is the same boy who was homeless for about three years of his childhood, had to steal to survive, probably went long periods without food, and knew firsthand what it's like to actually be lonely. he's the boy who got mad at bruce for even insinuating he would drop jason off with the cops or social workers because he knew their true natures and how they treated poor kids, people, like him.

jason has always been about protecting and defending children and the defenceless to the point of disregarding moralities. we see this in his 80s robin run, as well as in utrh and lost days. his unmoving stance on their well-being is what's so captivating about him. he kills to protect children and easily agreed with/excused a woman who killed a rapist when he himself was only around 12-15 yrs old. sure, a bunch of people would agree with jason's reaction but it's especially important because he's a kid who grew up poor. he witnessed firsthand how many women have to suffer sexually at the hands of men to get by.

this is the real jason todd that so many comic writers now fail to capture in their comics. they completely turn him around and have him do things that in no way make sense to his character (not surprising since some literally admitted to hating him/not knowing enough about his robin run). jason todd is insanely compassionate-- that's his thing. he's empathetic to a fault. why erase that core part of his character?

[utane]

I get a little too bogged down on how clothes actually work to make this stuff :^D

But this is my snow bots Tarn design

[helixcraft]

the fish that keeps appearing all over my recommended only that he's out of jail and happy

[chickenoptyrx]

....I just wanted to draw gators :T at this point these 2 are more 'a representation of my last 2 brain cells' then they are actual characters 😅

[poorly-drawn-mdzs]

If a ghost says it, you have to do it.

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[mishy-mashy]

Something I made in a post that I think'll be lost in the texts + expanded a bit more

These panels are chronological events following AFO's pursuit of Yoichi's Factor.

AFO could tell if people were related through a Quirk. AFO and OFA also are connected to each other. In Kamino, AFO could confidently tell All Might that OFA had been passed on, so all that All Might had left were leftover embers.

When AFO killed Kudo, he asked where Yoichi was. He knew Kudo wasn't the holder of Yoichi's Factor at that time. He also realized when looking at Yoichi's hand that Yoichi's natural Factor was so weak he hadn't registered its existence. This implies AFO could sense Factors since he was young, and Yoichi's natural Factor never stood out to him.

Below are three panels of Bruce (right to left). Bruce fought, AFO killed him, and looked away in disinterest.

When he beat down Bruce, he already had a sense that Bruce didn't hold the Factor anymore. That's why, rather than yell in his face to figure out where it is and interrogate for a long time, he pulled up his corpse to inspect him better.

Bruce's corpse isn't resisting anything. Look at his feet; AFO literally dragged him. Bruce is already dead. Yet he's looking for something from him.

Bruce doesn't have anything for him. Nothing AFO wants.

When he looks away, he's dismissing Bruce, because Bruce doesn't hold Yoichi. AFO is wondering where Yoichi is, because he knows now that he's out there somewhere. Thus the pensive look to the wind.

After Bruce is killed, AFO and Garaki meet for the first time. Shinomori has Yoichi at this time, and AFO never comes close to him, so AFO is lost. He doesn't have any leads, and Yoichi has vanished.

Now that he knows Yoichi can transfer, it's possible for Yoichi to be kept out of his reach for the rest of his life. So meeting Garaki and having access to Life Force gives AFO more time to search.

Yoichi is still missing for 18 years though, because Shinomori is in hiding. AFO couldn't find him during the Fourth's turn.

This is why, when he encounters Banjo, the Fifth and active wielder of OFA [Yoichi], AFO is smiling.

It's been a long time, but Yoichi's in reach again. He knows where he is now. And this is the first time he's encountered the current holder.

Thus his shock.

[Yet... you never behave as I wish.]

It was the first time a Quirk wouldn't let itself be stolen. This was AFO's first encounter with this wall: it doesn't transfer without the holder's consent, and requires willpower stronger than all the holders combined to override that.

The holder is never going to give him that consent. To override the collective willpower, he's going to need something greater.

Meanwhile, look at Banjo's arms. Shinomori is the catalyst to tip OFA over the edge, that an unprepared vessel will be destroyed by how strong the Quirk is.

Banjo's arms are both messed up below the shoulder, just like Midoriya used to be. And like Midoriya uses Blackwhip to reinforce himself and stay standing, Banjo uses Blackwhip to hold his fist / arm together. His hand is being wrapped to stay in a fist.

(What I think is) The reason the limbs turn red, and then purple, from breakage, is a matter of blood vessels. Small, itty bitty, fragile things.

Using OFA breaks the whole area, from bones to blood vessels, causing internal bleeding. Thus the redness. But breaking those vessels again in a second go turns the area purple, because it causes instantaneous internal bruising.

But En wasn't ripped apart by using OFA. There's a cut on his thumb that lines up with the path of destruction; AFO sliced him in half. Otherwise, he wouldn't have that cut if it were just OFA.

It's hidden by the text in [... you never behave as I wish], but depending on where you see this chapter, you can see he got cut on the thumb. It's clearer where we see Nana take his hair from him, in [I only want... to make you mine!]

I have a post in drafts about En being cut in half rather than it being because of OFA, but I also hit an image limit, so I'm gonna end here. Ta.

[notbecauseofvictories]

My best friend and I had a call recently---she’s back with her family for a bit helping out with some hometown stuff. As part of the stuff, she’s been going through a (deceased) relative’s scrapbook, compiled in the American Midwest circa 1870-1900 and featuring mostly cut-out figures from the ads of the day.

She talked about how painstaking this relative’s work was. (Apparently the relative was careful to cut out every finger, every cowlick; this was by no means carelessly or hastily assembled.) But she also she talked about how---the baby on the baking soda ad is ugly, it is so ugly, why anyone would clip this heinously ugly illustrated baby and paste it into a scrapbook? Why would you save the (terribly told, boring) ghost story that came with your box of soap?

(Why include these things in the first place? we asked each other. ”There’s a kind of anti-capitalism to it,” she mused.)

And we discussed that for a bit---how most of the images, stories, artists, and ads were local, not national; they’re pulled from [Midwestern state] companies’ advertisements in [Midwestern state] papers, magazines, and products. As a consequence, you’re not looking at Leyendecker or Norman Rockwell illustrations, but Johann Spatz-Smith from down the road, who took a drawing class at college.

(College is the state college, and he came home on weekends and in the summer to help with the farm or earn some money at the plant.)

But it also inspired a really interesting conversation about how---we have access to so much more art, better and more professional art, than any time in history. As my bff said, all you have to do to find a great, technically proficient and lovely representational image of a baby, is to google the right keywords. But for a girl living in rural [Midwestern state] of the late 1800s, it was the baking soda ad, or literal actual babies. There was no in-between, no heading out to the nearby art museum to study oil paintings of mother and child, no studying photographs and film---such new technologies hadn’t diffused to local newspapers and circulars yet, and were far beyond the average person’s means. But cheap, semi-amateur artists? Those were definitely around, scattered between towns and nearby smallish cities.

It was a good conversation, and made me think about a couple things---the weird entitlement that “professional” and expensive art instills in viewers, how it artificially depresses the appetite for messy unprofessional art, including your own; the way that this makes your tastes narrower, less interesting, less open.

By that I mean---maybe the baby isn’t ugly! Maybe you’ve just seen too many photorealistic babies. Maybe you haven’t really stopped to contemplate that your drawing of a baby (however crude, ugly, or limited) is the best drawing of a baby you can make, and the act of drawing that lumpen, ugly baby is more sacred and profoundly human than even looking at a Mary Cassatt painting.

And even if that isn’t the case....there was this girl in [American Midwestern state] for whom it was very, very important that she capture every finger, curl, and bit of shading for that ugly soap ad baby. And some one hundred years later, her great-something-or-other took pains to preserve her work---because how terribly human it is, to seek out all the art we can find that resonates with us, preserve it, adore it.

It might be the most human impulse we have.