#honestly it could go all ways

[theleseroftwoweevils]

[courfee]

it's been exactly a year since the last chapter of Operation Walburga's Arbitrary No Kissing Ever Rule and I still miss it. This scene is probably one of my favourite things I've ever written and I've wanted to draw it for forever, so now seemed like an appropriate time

[lotus-pear]

dazai stop rizzing up the enemy challenge go!!

[definitely-jax]

[fatedroses]

Some body type references and notes I wanted to make, especially before I redraw some of my old pieces (plus, a bit of him as an adventurer having a crisis of a realization), and also just personally how I HC the change between stormblood to now based on some in game refs I've been looking at.

[souldagger]

hi! sorry to bother! any sci fi recommendations with women in them? gay women would slap but i don’t want to be too demanding.

that is not too demanding at all! all of these are heavily focused on women & almost all have gay protags:

This is How You Lose the Time War by Amal El-Mohtar & Max Gladstone - poetic romance novella about two women on opposing sides of a war spanning all of time, unfolding through letters

The Space Between Worlds by Micaiah Johnson* - a tense, dark story about a world in which travel between parallel universes is monopolized, and a woman who is dead in almost every single one

Ammonite by Nicola Griffith - 90s lesbian/feminist scifi classic; thoughtful social sci-fi set on a world where a virus killed off all men and most of the women, about an anthropologist who's come to study the inhabitants and test a vaccine

The Echo Wife by Sarah Gailey - domestic thriller about a brilliant scientist whose husband clones her to make a "better" (more docile & housewife-y) version of her - and is then killed by the clone, leaving the two women to cover up the murder

The Luminous Dead by Caitlin Starling - unsettling, claustrophobic horror about a caver on an alien world, her untrustworthy handler being her only contact with the surface world

The Fortunate Fall by Cameron Reed* - bleak, heartwrenching 90s cyberpunk about a lesbian news reporter in a dystopian regime who uncovers more than she bargained for

Light From Uncommon Stars by Ryka Aoki* - emotional & hopeful scifi/fantasy mix about a trans violin prodigy, her teacher who has a deal with the devil, and an alien running a donut shop

some more, rapid-fire: Dawn by Octavia Butler* (iconic classic sf, first contact); The Telling by Ursula K. Le Guin (social sf, envoy-on-alien-world); The Seep by Chana Porter (utopian, unique take on alien invasion); The Splinter in the Sky by Kemi Ashing-Giwa (space opera, spy thriller); The Paradox Hotel by Rob Hart (time travel, murder mystery); The Outside by Ada Hoffman (cosmic horror); Gearbreakers by Zoe Hana Mikuta (dystopian YA, mecha); Woman on the Edge of Time by Marge Piercy* (classic sf, time travel)

(*books with an asterisk are ones I'd particularly recommend looking up the content warnings for, as they can get quite heavy)

[bigskydreaming]

Imagine looking at a character whose entire premise is that in every stage of his life, he's made every version of himself into someone that inspires people to such a degree that EVERY SINGLE VERSION OF HIM has people wanting to literally follow in his footsteps in some way or another.....

And coming to the conclusion that like.....the most important things about him are the sum of all his trappings. His entirely homemade developed from scratch could not exist if not for what he already was and brought with him BEFORE crafting this newest version of himself trappings, with his greatest trait throughout all of it being his adaptability; his ability and willingness to roll with the punches and not try to simply weather any opposition or changes to his life but instead reshape himself as needed to better fit INTO whatever new shape his life and the world around him takes. All while managing to carry the most innate, fundamental and necessary aspects of himself from one version to the next. Thus every single version of himself is different but simultaneously every single version of himself is also undeniably the same person.

The strength of this character, to me, will always be that he can be so many versions of himself, he can become so many things, all without ever actually losing or discarding any of the aspects of himself he considers most essential, the things he's not willing to lose or give up just to keep going. Finding that road not taken by most, usually because most never even think to look for it as an option. But one that he's always able to find because the one trick he's mastered in his tumultuous life is threading that needle of not just digging in his heels in an unproductive way but rather being selective about when and where he makes a stand and decides "this is not a thing I'm willing to compromise about" but here are places and ways I can and will change and evolve and adapt in order to make it possible for me to hold onto these parts and keep them as they are.

And that's why its always so mind-boggling to me that so many writers can't seem to think of anything else to do with Dick Grayson other than invent some new reason for him to just....not be that person, or to like just take the character whose most basic fundamental trait he's NOT about to compromise on is willingly giving up his spot in the driver's seat of his own life.....and make him just a passenger in his own life and stories.

Dick Grayson at age nine....at age nineteen...at age twenty nine....the one core thread running through all versions of him is the only way he's standing back and letting you call the shots for him or putting him on the sidelines in some way is over his dead body.

HOW he goes about that, what that looks like, who he becomes and what aspects of himself he plays up at some times and what traits he lets fall by the wayside at other times when they offer less in service to his primary goal here....that changes constantly. He changes constantly.

But those changes are almost always (or at least they used to be/should be IN MY OPINION) made with the intention of keeping certain things about him or his life as consistent as possible.

That's the duality of Dick Grayson that I'm here for. The inherent contradiction of him that COULD allow for endless conflict and breaking new narrative ground in all sorts of ways if mined properly:

His eternal willingness to compromise....but only ever in pursuit of doubling down on the ways he's not willing to compromise.

Forever walking that tightrope in ways that only a kid born and raised in a circus could ever hope to.

[theforgottengreatpoem]

"Find them Skullcrusher. Find them."

[vegaly-art]

"I will not judge you for what you are. Just as I will not judge you for what you've fashioned yourself out to be. Or what you've lost in pursuit of that."

"Rest Easy. Your soft heart is safe in my grasp."

"I am born of cruelty but that isn't all I am"

[front-facing-pokemon]

[gingermintpepper]

One of my biggest pet peeves is the assumption that something has to be sad for it to be tragic.

I've always been a big believer of the 'Apollo has an awful love life'/'Apollo is plain unlucky with love' line of thinking but it does bother me that the general reasoning for that statement is given to the concept of 'Apollo is somehow undesireable and thus rejected' (Cassandra/Daphne/Marpessa) or 'his lovers die young and thus their love is unfulfilled' (Cyparissus/Hyacinthus/Coronis). I personally think that's a very unfortunate way of looking at things - not only because it neglects the many perfectly cordial entanglements and affairs Apollo has had, both mortal and divine - but because it presents a very shallow interpretation of the concepts of love and loss and how loss affects people.

Apollo can still grieve lovers that have a long, healthy life. The inherent tragedy of an immortal who knows his lovers and children will die and cannot stop it does not stop being tragic simply because those lovers and children live long, fulfilled lives. The inherent tragedy of loss does not stop being tragic simply because someone knows better than to mourn something that was always going to end.

What is tragic is not that Apollo loves and loses but that loss itself follows him. Apollo does not love with the distance of an immortal, he does not have affairs and then leaves never to listen to their prayers again. He does not have offspring and then abandon them to their trials only to appear when it is time to lead them to their destinies. He raises his young, he protects the mothers of his children, he blesses the households that have his favour and multiplies their flocks that they may never go hungry. He educates his sons, he adorns his daughters and even in wrath he is quick to come to his senses and regret the punishments he doles out.

Apollo loves. And like mortals, there will always be some part of him that wishes to protect the objects of his affections. Apollo, however, is also an emissary of Fate. He knows that the fate of all mortal things is death. He knows that to love a mortal is to accept that eventually he will have to bury them. There is no illusion of forever, there is no fantasy where he fights against the nature of living things and shields his beloveds from death. Apollo loves and because of that love, he also accepts.

And that, while beautiful, is also tragic.

[lilianade-comics]

Thinking about Danny Phantom but as found footage/analogue horror. Like, it works SO incredibly well and I'm a bit obsessed.

Inexplicably grainy FentonWorks lab footage? A ghost dissection video log that gets more disturbing the longer it goes on? Ambiguous morality? Distorted imagery? Something being very, very wrong with the Fenton's son?

The proto-portal test footage from the 80s???? followed by hospital quarantine reports describing what a fatal dose of ecto-contaminants looks like? Which is then interrupted by Ṽ̵͇͍̓̒̕l̷̛͕̜̞̬͒̔͑̾̊͊a̷̝̰͕̗͇̣̓́́d̶̢̬̳̗̻̖̄̒̓̈́͌̚̕ ̴̡̛̱̱́́͆͠ͅw̷͎̬̠͒̐́̈́̈̇̚ā̵̢̢̛͔͙́͒̚͝k̴̡̹̘̻̜͇̬̍̏̄͂̊̀͠i̸̙͋͗̄ṅ̸̢̳̻̠̦̬͌̍͐͐̅͠g̶͇̥̮̦̗͑̃͘ ̶̨̏̈́̆͠ṳ̷͉̩̮̙̄̇͜p̸̧̡̹̗͇͘ and turning the hospital upside down?

[eddiezpaghetti]

Okay, so my experience with Stranger Things is a weird one.

I didn't care when it first came out, started to watch it out of "might as well" in 2020, wasn't interested in it enough to make it past S2, forgot about it outside of going "oh, hey, cool, there's a lesbian in it now, I guess," in S3, got really annoyed when "Running Up That Hill" got popular from it because it was a song I listened to on fucking loop after one of my best friends died in high school and I fully expected its appearance in the show to ignore the whole survivor's guilt theme of the song (and was very happy to learn later that it did the exact opposite of ignoring the lyrics), saw people drawing Eddie, suddenly got a lot more interested, watched just the fourth season like a fucking psychopath because I was seriously only there for Eddie, then got interested enough to start the show over properly, having mostly forgotten what I did watch of the show before.

And let me tell you something from the perspective of someone who started with the complete fourth season, who wasn't there from the start, who wasn't tainted by ship goggles or this internal battle of hope and despair, who wasn't theorizing about what the painting could be or expecting Mike and Will to kiss when Volume 2 happened or rooting for Mike and Eleven's relationship to go down in flames or whatever the fuck. Just someone who went blind into Season 4.

It's really fucking obvious that Will and Mike are gonna be endgame.

Like holy fuck. It's so fucking blatant I don't even know why people are nervous.

No sane fucking person would shoot this scene this way if they wanted the audience to care about El and Mike as a couple. Despite being all blurry in the background, Will's reaction to what's happening here is smackdab in the fucking middle, clearly showing that the important part is what's going through his head here. What he's feeling. It's like the opposite of that scene from Kingdom Hearts II where Sora and Riku reunite and Kairi just fucking vanishes into the aether while it's happening because, despite the fact that she was standing between them when the scene began, she doesn't matter to the scene, so she's just kind of gone when the camera angle changes. Will could have been behind one of their heads, or so far in the distance he blends in with the background, but he's not. He's so obvious that despite being massively blurred out, he's still the first goddamn thing you look at. What, you think that's an accident? You think he's in the middle of this dramatic fucking scene because of a mistake? He basically has a big flashing neon arrow pointing at him with "THIS IS THE POINT" being screamed through a megaphone.

And then this?

They're paired up like they're taking fucking prom pictures. Each one of these pairs is so fucking close to one another and so fucking far from everyone else. It's not, "Oh, they're standing vaguely near each other in a group shot," it's fucking Noah's Ark out here. Again, there's no way to take this as an accident. It's not just a framing issue. If they wanted to make the shot look balanced while still not hiding anyone else behind El, they would have scattered people around much more naturally. Even if they wanted to keep Nancy with Jonathan and Hopper with Joyce, there's so much room on that hill for three people to stand on El's left and three on her right. But they didn't do that. They put Mike and Will together on purpose in the most obvious way possible.

Like I get that coming up with crackpot theories is fun in and of itself and I'm not blaming anyone for having fun. I totally get the appeal of arguing a point and reaching for every stupid little thing to pull into it because it's like a game, okay? I've done that. But if you're trying to actually convince someone (whether it's someone who wants to believe or someone who's pissed at the very idea that Mike and Will could be in love), stay away from blue and yellow lights, stay away from costume design, stay away from the existence of closets in backgrounds. And don't worry about whether Mike's gay or bi when he's in love with Will either way. I'll give you a little tip about persuasion: You're only as strong as your weakest argument. Even if you've got strong stuff in there, too, the person you're trying to convince is going to dismiss anything you say as complete insanity the second you start going on an entire tangent about the shape of a character's fucking pocket.

Sometimes, clothes are just clothes. Sometimes, there's a closet in the background because it helps establish that a character is in a bedroom. Sometimes, blue and yellow are just a couple of colors that look nice together. And sure, it might be set designers and costume designers and cinematographers smirking and winking at the audience from behind the camera. But if the show was just those things, instead of those things in the context of everything else, they wouldn't be saying anything of note.

But this?

This tells a story all on its own. Someone with no context can look at this and automatically assume that each paired person is standing with someone they care about deeply, seeking comfort as they watch some sort of disaster unfold. And yeah, romantic couples usually come in twos, and we live in an amatonormative society, so that's going to be the first association anyone makes seeing a bunch of people paired off.

It's the same reason you look at this

And go, "Oh..."

"Those two are probably a couple."

And I genuinely don't understand how people could have watched S4 Vol. 2 and gotten scared. Because as someone who went in with no investment whatsoever, I just looked at these two--

--and went, "Oh, those two are a couple. Good for them." And I moved on. Shut up about the trees for five seconds and just see the forest for what it is.

Oh, and if you're still nervous? Little thing from a storyteller here: You don't leave a hanging thread like "Will confessed his romantic feelings for Mike by projecting them onto El, but Mike either didn't understand or at least didn't say he understood," without coming back to that later. That's Chekov's gun hanging on the wall, babes. It's gonna fire at some point. If Mike was going to reject Will's feelings, if they weren't relevant, they would have had that discussion in Argyle's van. There'd be no reason to leave you in suspense.

[completeoveranalysis]

[10]

Ohhh. Now that is striking. This frame in particular.

You could read as many metaphors as you like into how this matches the general Watanuki narrative here - Watanuki mirrored against a distorted image of himself. Is that his past self? Or Lava Lamp? Or the hole in the universe he's causing? His grief? The general weight of his existence? The influence he has on other people's lives? They all work well, especially with one Mokona being black and one being white.

But also (Bad Apple plays softly in the distance)

OH HELP, THAT IS TOO MUCH. 

I AM OVERCOME WITH EMOTION. 

It doesn’t even matter which Sakura is his mother, honestly it’s such a Sakura move. For his new name to be a literal promise that they will see him again. 

So, that way, his an existence proof of their promise. Every moment ‘Kimihiro Watanuki’ exists that means their promise lives on. And every time someone says his name, it’s like their words are reaching him all over again.

OH HELP THAT’S TOO MUCH. 

And that’s such a cute way to round it off! Watanuki hears Lava Lamp’s voice echo through the universe, making him promise not to vanish. And this time Watanuki can accept it honestly, because he’s already decided to do the same - for the people around him and for Lava Lamp.

[essektheylyss]

Honestly the fact that they fit three distinct combats on top of plenty of character and story progression into the episode before 11pm was a really strong argument out of the gate for Daggerheart as a system for streaming. That was super neat, not gonna lie.

[casualavocados]

Learn from who? Learn from you? You are still a brat. What do you know? You're only three years older. Like you are any better than me. You're 21, and still a virgin. What are you proud of? I think you can't do it.

KISEKI: DEAR TO ME Ep. 06