#idk idk idk ignore this if it's off.

[ahaura]

i dont know how to say this without it coming off as being a downer or smarmy or whatever but. concerning the disney v desantis lawsuit i would just. idk. caution people against going all in for disney. yes, it is good that disney supports lgbt people. yes, desantis is a fucking fascist, a freak, and a fucking loser and a monster and he absolutely deserves to lose the lawsuit and also go directly to jail. however... just. idk. remember that disney is a massive and extremely powerful corporation who monopolizes everything it touches and regardless of their PR or the views expressed by the company the only thing they actually "care" about is profit, which they maximize through power. i think it's important to remember that even during these times that corporations supporting lgbt people is 1) the bare minimum and 2) social awareness rather than activism. corporations are not your friends and certainly not friends to its workers or the ppl their business (physical, monetary, environmental or otherwise) impacts.

[voiider]

I need codependent Danny/Jason as a little treat (for me) and I love the idea of them having some sort of instant connection the moment they meet (bc ghost stuff idk)

Danny who's been dropped in Gotham with no way home (alt universe??) and he's been here for 36 hours and having a Very bad time senses a liminal being and immediately latches onto them heedless of the fact that his new best friend is shooting at some seedy guys in an alley and goes off about how stressed he is and how he can't make it back to the ghost zone and what a bad day he's been having (and it's important to note Danny is a littol ghost boy literally hanging off of Jason's neck as he floats aimlessly) and Jason is like "who are you??" And Danny is like "oh sorry I'm Danny lol" and then just continues lamenting his woes

And honestly ? This might as well happen. Nothing about this Danny guy(is he human?) gives Jason a bad vibe and tbh he's never felt more calm and level headed before so he just keeps up his usual Red Hood patrol and doesn't even think about it when he heads back to a safehouse and feeds Danny dinner (breakfast) before crashing for half the day

The only thing I actually need is Jason meeting up with the bats for some sort of Intel meeting and they're like "uhhh who's that" and Jason is like "that's Danny." And does not elaborate (very ".... What do you have there?" "A smoothie" vibes)

And it takes them a while to realize that these two have known each other for less than 12 hours and are literally attached at the hip

[hypewinter]

Hal bent down as the little girl approached him. Even then, he still managed to tower over her with how small she was.

"Hey there little lady," he said. "Anything I can help you with this fine evening?"

The little girl looked at him anxiously, fiddling with her hands. Ok so not a nervous fan. Hal immediately switched to serious mode, scanning the crowd for anyone who could be her parents. He didn't see anyone running up to the two of them or even so much as keeping a watchful eye from a distance.

"Is something the matter?" Hal questioned, making sure to keep his voice even and calm.

The girl continued fidgeting, her big blue eyes scanning from side to side. Finally she spoke. "You wiff da space po-eece yes? Not da am-ear-ree-ca one?"

Hal smiled at the girl. "Yes, I'm with the space police." Honestly that was oversimplifying the Corps a little but he had long since gotten to citizens calling him a space cop.

The girl offered up a small nervous smile of her own. "So you won't tell da gov-ment what I tell you wight?"

Hal was on high alert now. Just what was this little girl trying to tell him? "I won't tell. I promise," he said after a second.

The girl broke into a big smile at this. "Really? Dis way den." She started tugging Hal along and he began to follow.

"Where exactly are we going?" he asked.

"You see," was all she replied.

Hal was led down a couple different alleyways and was beginning to think he was walking into a trap when they reached an abandoned building. The girl dashed in and up the old rusted stairs, with Hal following closely behind her.

If this really is a trap, I'll never hear the end of it from Batman, he thought morbidly as he cleared the last step. Instead of finding himself facing an ambush however, he saw a boy curled up on an old mattress. The girl was already by his side as Hal approached.

"Don wowee Danny, I got help. Like I said I would," he caught the little girl whispering as he knelt down next to the boy. He had to have been older than the girl. Three years older maybe? Yet he was still so small. Hal took sight of his condition. He was in pain. That much was certain by his little face scrunched up in agony and his quiet moans. He was also sweating profusely. His raven black hair sticking to his forehead. Fever maybe?

Hal continued his observations as he scanned down the boy's body until he got to his stomach. The boy was clutching it and Hal could make out blood bleeding through from underneath. Oh no.

He quickly yet carefully removed the boy's arm to get a better look at the wound. The kid let out a groan as his arm was peeled away. Hal couldn't help but thank Oa for all his training that helped prevent him from letting out a gasp.

The boy's chest was covered in blood. Dark red mixed with flecks of green soaked through his shirt and there were bandages that had been amateurishly tied around the wound.

"How did this happen?" Hal asked, turning back to the girl. He did his best to keep his tone as gentle as possible.

Her smile was gone now, and her eyes welled up with tears. "He pwotected me," she said. "Dey wanted to huwrt us. Dey shot at us. Danny pwotected me."

Anger boiled within Hal. Who would shoot at these children? They were only little kids. If what the girl had said earlier was anything to go off of, the answer had something to do with the government. He would have to take care of that later though. For now, this boy needed medical attention.

"Let's get Danny to a hospital," Hal said resolutely, as he got up.

"No!" the little girl screeched. "No has-pee-tail. Too dan-er-us!"

"But he needs-" Hal started but then he met the girl's eyes. There was abject fear in them. As if going to the hospital would be a death sentence for both children. Where else were they supposed to go though? The boy- Danny needed medical attention stat. That much was certain.

Hal paused. There was one place. He sighed. Batman was going to kill him for this.

"Okay okay. No hospital. But what about space?"

"Space?" the girl repeated.

Hal nodded.

The little girl smiled. "Danny lobes space!"

"Well then. That's perfect."

Hal constructed a new bed for the boy, carefully easing him onto it before putting a protective dome around both children. The little girl giggled as he lifted them up. He then turned to the wall where he created a giant hammer to knock it down. Then they were off. Flying higher and higher, towards the atmosphere. As the Watchtower got closer in sight, Hal couldn't help but groan. Taking civilians to the Watchtower? Oh yeah, Batman was definitely going to kill him.

[skellydun]

I'm curious because in my head you still look like you did in your videos. Do you have any recent photos of yourself?

i don't take selfies but please enjoy these pictures snipped by one of my coworkers as we tested out things for our summer program

[lamentfulwarbler]

“Dazai is the big spoon!” “No, Chuuya is!” NO YOU’RE BOTH WRONG! SKK CUDDLE LIKE THIS:

[eyrieofsynapses]

why Aurora's art is genius

It's break for me, and I've been meaning to sit down and read the Aurora webcomic (https://comicaurora.com/, @comicaurora on Tumblr) for quite a bit. So I did that over the last few days.

And… y'know. I can't actually say "I should've read this earlier," because otherwise I would've been up at 2:30-3am when I had responsibilities in the morning and I couldn't have properly enjoyed it, but. Holy shit guys THIS COMIC.

I intended to just do a generalized "hello this is all the things I love about this story," and I wrote a paragraph or two about art style. …and then another. And another. And I realized I needed to actually reference things so I would stop being too vague. I was reading the comic on my tablet or phone, because I wanted to stay curled up in my chair, but I type at a big monitor and so I saw more details… aaaaaand it turned into its own giant-ass post.

SO. Enjoy a few thousand words of me nerding out about this insanely cool art style and how fucking gorgeous this comic is? (There are screenshots, I promise it isn't just a wall of text.) In my defense, I just spent two semesters in graphic design classes focusing on the Adobe Suite, so… I get to be a nerd about pretty things…???

All positive feedback btw! No downers here. <3

---

I cannot emphasize enough how much I love the beautiful, simple stylistic method of drawing characters and figures. It is absolutely stunning and effortless and utterly graceful—it is so hard to capture the sheer beauty and fluidity of the human form in such a fashion. Even a simple outline of a character feels dynamic! It's gorgeous!

Though I do have a love-hate relationship with this, because my artistic side looks at that lovely simplicity, goes "I CAN DO THAT!" and then I sit down and go to the paper and realize that no, in fact, I cannot do that yet, because that simplicity is born of a hell of a lot of practice and understanding of bodies and actually is really hard to do. It's a very developed style that only looks simple because the artist knows what they're doing. The human body is hard to pull off, and this comic does so beautifully and makes it look effortless.

Also: line weight line weight line weight. It's especially important in simplified shapes and figures like this, and hoo boy is it used excellently. It's especially apparent the newer the pages get—I love watching that improvement over time—but with simpler figures and lines, you get nice light lines to emphasize both smaller details, like in the draping of clothing and the curls of hair—which, hello, yes—and thicker lines to emphasize bigger and more important details and silhouettes. It's the sort of thing that's essential to most illustrations, but I wanted to make a note of it because it's so vital to this art style.

THE USE OF LAYER BLENDING MODES OH MY GODS. (...uhhh, apologies to the people who don't know what that means, it's a digital art program thing? This article explains it for beginners.)

Bear with me, I just finished my second Photoshop course, I spent months and months working on projects with this shit so I see the genius use of Screen and/or its siblings (of which there are many—if I say "Screen" here, assume I mean the entire umbrella of Screen blending modes and possibly Overlay) and go nuts, but seriously it's so clever and also fucking gorgeous:

Firstly: the use of screened-on sound effect words over an action? A "CRACK" written over a branch and then put on Screen in glowy green so that it's subtle enough that it doesn't disrupt the visual flow, but still sticks out enough to make itself heard? Little "scritches" that are transparent where they're laid on without outlines to emphasize the sound without disrupting the underlying image? FUCK YES. I haven't seen this done literally anywhere else—granted, I haven't read a massive amount of comics, but I've read enough—and it is so clever and I adore it. Examples:

Secondly: The beautiful lighting effects. The curling leaves, all the magic, the various glowing eyes, the fog, the way it's all so vividly colored but doesn't burn your eyeballs out—a balance that's way harder to achieve than you'd think—and the soft glows around them, eeeee it's so pretty so pretty SO PRETTY. Not sure if some of these are Outer/Inner Glow/Shadow layer effects or if it's entirely hand-drawn, but major kudos either way; I can see the beautiful use of blending modes and I SALUTE YOUR GENIUS.

I keep looking at some of this stuff and go "is that a layer effect or is it done by hand?" Because you can make some similar things with the Satin layer effect in Photoshop (I don't know if other programs have this? I'm gonna have to find out since I won't have access to PS for much longer ;-;) that resembles some of the swirly inner bits on some of the lit effects, but I'm not sure if it is that or not. Or you could mask over textures? There's... many ways to do it.

If done by hand: oh my gods the patience, how. If done with layer effects: really clever work that knows how to stop said effects from looking wonky, because ugh those things get temperamental. If done with a layer of texture that's been masked over: very, very good masking work. No matter the method, pretty shimmers and swirly bits inside the bigger pretty swirls!

Next: The way color contrast is used! I will never be over the glowy green-on-black Primordial Life vibes when Alinua gets dropped into that… unconscious space?? with Life, for example, and the sharp contrast of vines and crack and branches and leaves against pitch black is just visually stunning. The way the roots sink into the ground and the three-dimensional sensation of it is particularly badass here:

Friggin. How does this imply depth like that. HOW. IT'S SO FREAKING COOL.

A huge point here is also color language and use! Everybody has their own particular shade, generally matching their eyes, magic, and personality, and I adore how this is used to make it clear who's talking or who's doing an action. That was especially apparent to me with Dainix and Falst in the caves—their colors are both fairly warm, but quite distinct, and I love how this clarifies who's doing what in panels with a lot of action from both of them. There is a particular bit that stuck out to me, so I dug up the panels (see this page and the following one https://comicaurora.com/aurora/1-20-30/):

(Gods it looks even prettier now that I put it against a plain background. Also, appreciation to Falst for managing a bridal-carry midair, damn.)

The way that their colors MERGE here! And the immense attention to detail in doing so—Dainix is higher up than Falst is in the first panel, so Dainix's orange fades into Falst's orange at the base. The next panel has gold up top and orange on bottom; we can't really tell in that panel where each of them are, but that's carried over to the next panel—

—where we now see that Falst's position is raised above Dainix's due to the way he's carrying him. (Points for continuity!) And, of course, we see the little "huffs" flowing from orange to yellow over their heads (where Dainix's head is higher than Falst's) to merge the sound of their breathing, which is absurdly clever because it emphasizes to the viewer how we hear two sets of huffing overlaying each other, not one. Absolutely brilliant.

(A few other notes of appreciation to that panel: beautiful glows around them, the sparks, the jagged silhouette of the spider legs, the lovely colors that have no right to make the area around a spider corpse that pretty, the excellent texturing on the cave walls plus perspective, the way Falst's movements imply Dainix's hefty weight, the natural posing of the characters, their on-point expressions that convey exactly how fuckin terrifying everything is right now, the slight glows to their eyes, and also they're just handsome boys <3)

Next up: Rain!!!! So well done! It's subtle enough that it never ever disrupts the impact of the focal point, but evident enough you can tell! And more importantly: THE MIST OFF THE CHARACTERS. Rain does this irl, it has that little vapor that comes off you and makes that little misty effect that plays with lighting, it's so cool-looking and here it's used to such pretty effect!

One of the panel captions says something about it blurring out all the injuries on the characters but like THAT AIN'T TOO BIG OF A PROBLEM when it gets across the environmental vibes, and also that'd be how it would look in real life too so like… outside viewer's angle is the same as the characters', mostly? my point is: that's the environment!!! that's the vibes, that's the feel! It gets it across and it does so in the most pretty way possible!

And another thing re: rain, the use of it to establish perspective, particularly in panels like this—

—where we can tell we're looking down at Tynan due to the perspective on the rain and where it's pointing. Excellent. (Also, kudos for looking down and emphasizing how Tynan's losing his advantage—lovely use of visual storytelling.)

Additionally, the misting here:

We see it most heavily in the leftmost panel, where it's quite foggy as you would expect in a rainstorm, especially in an environment with a lot of heat, but it's also lightly powdered on in the following two panels and tends to follow light sources, which makes complete sense given how light bounces off particles in the air.

A major point of strength in these too is a thorough understanding of lighting, like rim lighting, the various hues and shades, and an intricate understanding of how light bounces off surfaces even when they're in shadow (we'll see a faint glow in spots where characters are half in shadow, but that's how it would work in real life, because of how light bounces around).

Bringing some of these points together: the fluidity of the lines in magic, and the way simple glowing lines are used to emphasize motion and the magic itself, is deeply clever. I'm basically pulling at random from panels and there's definitely even better examples, but here's one (see this page https://comicaurora.com/aurora/1-16-33/):

First panel, listed in numbers because these build on each other:

The tension of the lines in Tess's magic here. This works on a couple levels: first, the way she's holding her fists, as if she's pulling a rope taut.

The way there's one primary line, emphasizing the rope feeling, accompanied by smaller ones.

The additional lines starbursting around her hands, to indicate the energy crackling in her hands and how she's doing a good bit more than just holding it. (That combined with the fists suggests some tension to the magic, too.) Also the variations in brightness, a feature you'll find in actual lightning. :D Additional kudos for how the lightning sparks and breaks off the metal of the sword.

A handful of miscellaneous notes on the second panel:

The reflection of the flames in Erin's typically dark blue eyes (which bears a remarkable resemblance to Dainix, incidentally—almost a thematic sort of parallel given Erin's using the same magic Dainix specializes in?)

The flowing of fabric in the wind and associated variation in the lineart

The way Erin's tattoos interact with the fire he's pulling to his hand

The way the rain overlays some of the fainter areas of fire (attention! to! detail! hell yeah!)

I could go on. I won't because this is a lot of writing already.

Third panel gets paragraphs, not bullets:

Erin's giant-ass "FWOOM" of fire there, and the way the outline of the word is puffy-edged and gradated to feel almost three-dimensional, plus once again using Screen or a variation on it so that the stars show up in the background. All this against that stunning plume of fire, which ripples and sparks so gorgeously, and the ending "om" of the onomatopoeia is emphasized incredibly brightly against that, adding to the punch of it and making the plume feel even brighter.

Also, once again, rain helping establish perspective, especially in how it's very angular in the left side of the panel and then slowly becomes more like a point to the right to indicate it's falling directly down on the viewer. Add in the bright, beautiful glow effects, fainter but no less important black lines beneath them to emphasize the sky and smoke and the like, and the stunningly beautiful lighting and gradated glows surrounding Erin plus the lightning jagging up at him from below, and you get one hell of an impactful panel right there. (And there is definitely more in there I could break down, this is just a lot already.)

And in general: The colors in this? Incredible. The blues and purples and oranges and golds compliment so well, and it's all so rich.

Like, seriously, just throughout the whole comic, the use of gradients, blending modes, color balance and hues, all the things, all the things, it makes for the most beautiful effects and glows and such a rich environment. There's a very distinct style to this comic in its simplified backgrounds (which I recognize are done partly because it's way easier and also backgrounds are so time-consuming dear gods but lemme say this) and vivid, smoothly drawn characters; the simplicity lets them come to the front and gives room for those beautiful, richly saturated focal points, letting the stylized designs of the magic and characters shine. The use of distinct silhouettes is insanely good. Honestly, complex backgrounds might run the risk of making everything too visually busy in this case. It's just, augh, so GORGEOUS.

Another bit, take a look at this page (https://comicaurora.com/aurora/1-15-28/):

It's not quite as evident here as it is in the next page, but this one does some other fun things so I'm grabbing it. Points:

Once again, using different colors to represent different character actions. The "WHAM" of Kendal hitting the ground is caused by Dainix's force, so it's orange (and kudos for doubling the word over to add a shake effect). But we see blue layered underneath, which could be an environmental choice, but might also be because it's Kendal, whose color is blue.

And speaking off, take a look at the right-most panel on top, where Kendal grabs the spear: his motion is, again, illustrated in bright blue, versus the atmospheric screened-on orange lines that point toward him around the whole panel (I'm sure these have a name, I think they might be more of a manga thing though and the only experience I have in manga is reading a bit of Fullmetal Alchemist). Those lines emphasize the weight of the spear being shoved at him, and their color tells us Dainix is responsible for it.

One of my all-time favorite effects in this comic is the way cracks manifest across Dainix's body to represent when he starts to lose control; it is utterly gorgeous and wonderfully thematic. These are more evident in the page before and after this one, but you get a decent idea here. I love the way they glow softly, the way the fire juuuust flickers through at the start and then becomes more evident over time, and the cracks feel so realistic, like his skin is made of pottery. Additional points for how fire begins to creep into his hair.

A small detail that's generally consistent across the comic, but which I want to make note of here because you can see it pretty well: Kendal's eyes glow about the same as the jewel in his sword, mirroring his connection to said sword and calling back to how the jewel became Vash's eye temporarily and thus was once Kendal's eye. You can always see this connection (though there might be some spots where this also changes in a symbolic manner; I went through it quickly on the first time around, so I'll pay more attention when I inevitably reread this), where Kendal's always got that little shine of blue in his eyes the same as the jewel. It's a beautiful visual parallel that encourages the reader to subconsciously link them together, especially since the lines used to illustrate character movements typically mirror their eye color. It's an extension of Kendal.

Did I mention how ABSOLUTELY BEAUTIFUL the colors in this are?

Also, the mythological/legend-type scenes are illustrated in familiar style often used for that type of story, a simple and heavily symbolic two-dimensional cave-painting-like look. They are absolutely beautiful on many levels, employing simple, lovely gradients, slightly rougher and thicker lineart that is nonetheless smoothly beautiful, and working with clear silhouettes (a major strength of this art style, but also a strength in the comic overall). But in particular, I wanted to call attention to a particular thing (see this page https://comicaurora.com/aurora/1-12-4/):

The flowing symbolic lineart surrounding each character. This is actually quite consistent across characters—see also Life's typical lines and how they curl:

What's particularly interesting here is how these symbols are often similar, but not the same. Vash's lines are always smooth, clean curls, often playing off each other and echoing one another like ripples in a pond. You'd think they'd look too similar to Life's—but they don't. Life's curl like vines, and they remain connected; where one curve might echo another but exist entirely detached from each other in Vash's, Life's lines still remain wound together, because vines are continuous and don't float around. :P

Tahraim's are less continuous, often breaking up with significantly smaller bits and pieces floating around like—of course—sparks, and come to sharper points. These are also constants: we see the vines repeated over and over in Alinua's dreams of Life, and the echoing ripples of Vash are consistent wherever we encounter him. Kendal's dream of the ghost citizens of the city of Vash in the last few chapters is filled with these rippling, echoing patterns, to beautiful effect (https://comicaurora.com/aurora/1-20-14/):

They ripple and spiral, often in long, sinuous curves, with smooth elegance. It reminds me a great deal of images of space and sine waves and the like. This establishes a definite feel to these different characters and their magic. And the thing is, that's not something that had to be done—the colors are good at emphasizing who's who. But it was done, and it adds a whole other dimension to the story. Whenever you're in a deity's domain, you know whose it is no matter the color.

Regarding that shape language, I wanted to make another note, too—Vash is sometimes described as chaotic and doing what he likes, which is interesting to me, because smooth, elegant curves and the color blue aren't generally associated with chaos. So while Vash might behave like that on the surface, I'm guessing he's got a lot more going on underneath; he's probably much more intentional in his actions than you'd think at a glance, and he is certainly quite caring with his city. The other thing is that this suits Kendal perfectly. He's a paragon character; he is kind, virtuous, and self-sacrificing, and often we see him aiming to calm others and keep them safe. Blue is such a good color for him. There is… probably more to this, but I'm not deep enough in yet to say.

And here's the thing: I'm only scratching the surface. There is so much more here I'm not covering (color palettes! outfits! character design! environment! the deities! so much more!) and a lot more I can't cover, because I don't have the experience; this is me as a hobbyist artist who happened to take a couple design classes because I wanted to. The art style to this comic is so clever and creative and beautiful, though, I just had to go off about it. <3

...brownie points for getting all the way down here? Have a cookie.

[squids-and-waffles7]

what if belos makes another grimwalker?

[ ID: A digital comic featuring the main cast from The Owl House, all in their post Thanks to Them designs. In the first panel on the first page, from left to right, Gus, Amity, Hunter, Willow, Luz, and Camila are standing, facing off against an unseen Belos. Hunter is in the very back, with Gus and Luz more to the front, and everyone else is somewhere in the middle.  Luz is holding glyphs out, the top of her face obscured by the panel. She says, “End of the line, Belos. There’s nothing else you can do.” Clouds float by in the background. In the second panel, everyone is posed the same way, except it’s zoomed in on Hunter this time. He has a shocked/confused expression on his face. He whispers, “is that..?” Meanwhile, an (again) unseen Belos says, “ Oh Luz, you really are a fool. You didn’t think I would have anything else up my sleeve? Why do you think I sent Hunter on all those supply missions?”  The third panel is a close up shot of Hunter’s eyes, which are brown. He looks shocked and confused. The text around him says, “The Selkidomus scales.... Those Galdorstones...” Belos continues talking, as the dialouge in the bottom says, “I’m surprised you haven’t figured it out yet. Especially after he betrayed me.” End of Page One.

In the first panel on the second page, a masked golden guard can be seen stepping out of the dark, hand on his mask. A partially obscured Belos in his monster form lurks in the background, head obscured. His hands are on both side of the golden guard, almost like he’s presenting him. Belos continues to speak, as the text on the left reads, “What a shame, really.” The right side reads, “... But, Oh well. I can always do it again.”

The second panel on the second page is a closeup shot of the new golden guard’s eyes, which are the magenta/pink colour hunter used to have. This grimwalker looks ahead, eyebrows furrowed. He has a birthmark on his left cheek and a light scar across his nose, similar to Phillip’s in Elsewhere and Elsewhen. The text below it reads, with Belos still speaking, “... Do tell me though, Hunter.” With a crossed out/ glitched “Caleb” before the word Hunter.

In the last panel on the second page, the new golden guard can be seen from the waist up, wearing Hunter’s old golden guard uniform. He holds Hunter’s old staff, looking ahead determinedly. Belos’ hand rests on his right shoulder, with a looming Belos over his left shoulder in the background. Belos’ head is obscured except for his mouth, which appears to be an almost smile. He says in the text below the panel, “How does it feel to be replaced?” End ID.]

[hiphopcherrrypop]

save me bottle blond bass player

[flipomatic]

[solacium]

presence // aventurine

he'll never outrightly ask you what it is, not at the outset.

he might find you curled on the couch, quiet, trying to breathe out the something in your chest that writhes and constricts, or in tears, but he won't ask, only sit quietly with you, lean against you, the weight of him enough to reassure you of his presence. maybe you reach for him, curl into the hollow of his body, and he'll let you, hold you until the tears stop, or you can feel your hands again, or you fall asleep, to the steady rhythm of his heart.

you'll wake, or look at him, and he'll speak, then, maybe look back at you with those iridescent eyes that you love, as he asks, softly, if you're feeling better, if you want to talk about it.

he'll keep you company, either way, listening. there is a steadiness in the weight of his arms around you, in the even beat of his heart against your back. you'll have to move, eventually, one of your legs falling asleep under you, and you'll both laugh, and shift. he gently disentangles himself from you, to get you something to drink. you settle back down, curled around each other, talk quietly until the sunlight changes.

[thetriangletattoo]

dinner is served

[dizzybevvie]

the worsties ever

[purrfectlycontent]

the newest chapter has me thinking about kdj’s relationship with the fourth wall

[hypewinter]

Danny just wanted to enjoy the stars. Was that too hard to ask? Evidently so by the fact that he was currently dragging six foot two man in green into his room.

[tarucore]

screenshotting this one bc I can acknowledge that I’ve got shipper goggles on and op isn’t about that life which is fair but

I feel like batfam fans misunderstand the term parentification a lot and conflate it with Dick filling a parental role for his siblings, which might be part of the “oldest daughter syndrome” that’s so often pinned on him but that isn’t what parentification actually means

If I say that Dick Grayson was parentified, then that isn’t referring to him taking care of his siblings, it refers to the way Bruce treated him. As someone capable of taking care of his emotional needs and not as the child in need of care in the relationship

Parentification is a term that’s been around for decades, and while having to care for younger siblings might be a part of the definition, it focuses mostly on the role reversal of the parent-child dynamic. I’m not going to get into the psychology of it but being parentified has very little to do with if he actually acted as a parent for his siblings and everything to do with if he acted as a parent for Bruce

This is honestly why I prefer the term spouseification, which is less ambiguous than the term parentification and I feel accurately describes their “equal” relationship and the type of emotional abuse that Dick went through

Also from what I’ve read, Dick doesn’t act as a parental figure for any of his siblings except for Damian. While he might have given extra emotional support to Tim due to Bruce being Bruce, Dick still fits solidly into an older brother role. I’m not even going to touch on Dick’s relationship with Jason which is too weak to even be considered fraternal never mind parental

[themyscirah]

Complaining abt Suicide Squad yet again but the fact that they have Waller exposing the alien community to space racist attacks and talking abt how she got to her position through deceit and being a terrible person and stuff is just. Ahsfiwueh JUST SAY YOU DONT KNOW WALLER.

Anyways literally the 3rd mission of the Squad ever (and the first framed as smth Waller picked and not orders from above) was the Squad discrediting and stopping a rogue vigilante who was only arresting POC and funneling white people into white supremacy groups (of which he was the most prominent member) in SUICIDE SQUAD #4. and it's explicitly framed as this mission being personal for Waller that she's hiding from the government bc its illegal like. Guys. Please why are we having her incite (space bc comics) racist attacks now

Also the whole "Amanda got her position through deceit and being a terrible person" NO. she KEPT her position through being shitty and playing complicated political games!!! She wasn't always that way like there is a difference and it is IMPORTANT ppl PLEASEEEE. In Secret Origins #14 we learn Amanda's backstory and she used to be a normal, caring person! Like even after she entered into working in government and politics she wasn't automatically morally bankrupt like please people. She was originally given control of the Squad by Reagan (*sigh* 80s comics...) to distract and get rid of her because she was so successful at pushing progressive social policy in Congress. Acting like she's this static pillar of evil is such a waste of her character and so fucking uninteresting and disrespectful to her arc it drives me MAD.

Like I am NOT saying Waller is all sunshine and rainbows, she fucking SUCKS (said w love <3) but like there's a human being there. It's a progression, she has a character arc like please, DC, please!!! They've fucked up Waller so bad and made her so opaque and uninteresting she can't even be the protagonist of her own story for fucks sake!

Like I don't know how many times I have to scream it until DC hears me or remembers but WALLER IS THE MAIN CHARACTER OF SUICIDE SQUAD. ITS HER BOOK. yet right now she's a cutout to be used as the villain wherever the writers please. Even in her book we get none of her perspective really displayed, no exploration of her thoughts with any kind of understanding of the role she traditionally has played and was made to play in the story.