#so i had to go on a tangent

[limon-rat]

So, I might've seen it on the starcanwrecked confessions blog, but someone said that Nerdy Prudes "didn't hit as hard" and didn't feel like it fit with Guy and Black Friday because it didn't have that theme of want and I am here to debate that.

Nerdy Prudes Must Die absolutely has a theme of want. Pete's first solo is about how he doesn't want to be a loser anymore, how much better all would be if he was even slightly popular. He's said "I want to be invisible" but really he wants a world where he doesn't have to be invisible to survive. "All my life, I've just wanted a girl to like me" and now he has that. Pete wants a lot of things, things that aren't insane to ask of the world and he's one of the only ones that got them.

Grace doesn't understand her wants and needs and thus results in accidental manslaughter. Something in her wants Max and she's terrified by that because no one ever taught her how to deal with it. In the end, she can't. She can't deal with it and now she wants to enact the word of her god. She wants to punish the pervy dudes of the world.

Richie -much like Pete- just wants to be even slightly popular. He wants friends, he doesn't want to be alone. Yes, he's a slight nihilist, but he doesn't want to be a loser. Along the same lines, all Ruth can talk about is how she wants someone. She wants to be seen, she wants to be touched, she wants the spotlight, she wants eyes on her but it makes her physically ill to be perceived, so she can't have what she wants.

Steph wants to be out of the spotlight. She wants her dad to get off her ass and maybe even treat her like his daughter for once, she wants equity, she wants to keep her friends safe. And, as we all know, she wants Pete. She wants genuine affection, she wants someone that sees her as Steph and not "The Mayor's Daughter". She doesn't want that publicity because she doesn't care about it.

And, of course, Max. He has a god complex, he wants it all. He wants the popularity, the control, the look of fear in the eyes of those he deems inferior. He wants Grace Chasity, he wants what he's told he can't have. He wants to kill those nerdy prudes.

Nerdy Prudes Must Die is entirely about want, it's just not as overt as it is in Guy or Black Friday. The Hatchetfield Series is, ultimately, about greed.

[liedownquisition]

Every time someone, whether in-universe or in meta tries to say that Jason's a "loner" I think about two things:

First of all, the fact that Bruce is frequently referred to as a loner, both in universe and out, as if he doesn't literally constantly have his emotional support child and a rotating cast of lovers (sometimes multiple in any given story at once). In this instance, it's used to try and make Bruce seem "cool," which whatever ig.

Batman #359, which, is so fucking funny to me because this is before Batgirl and Talia showed up in this story. Catwoman too. It was a real fucking ensemble. He's berating himself for snapping at Dick, and sending some civilians (The Todds btw) to die, against Dick's advice, because he's being bitchy about Catwoman. Like, my man, you have a mental breakdown every time you're truly alone. You're not a loner but maybe you should be.

Secondly, is Jason a loner or is he just always alone and isolated? Is he a loner or does he just not know how to be any other way? Jason consistently through both pre- and post-crisis express a lot of desire to be around other people/build connections, as well as referencing factors that isolate him from them. (I'm not sourcing every incident here but here's Jay trying to bond with Bruce right after he gets taken in, and some stuff wrt Jason at school)

Detective #527 (Pre-Crisis)

Batman#395 (Pre-Crisis. This is him being jealous of Catwoman, sure, but given how often in this arc it's referenced that he's isolated from the other kids in school- despite being on some kind of presumably sports team. I think it's baseball? I'm trying to find the exact issue that it actually SHOWS him on said team but it is referenced in the issues leading up to when they switch over the histories.)

Batman Annual #12 (This is Post-Crisis)

In Brothers in Blood Jason's trying to reach out to Dick. I'm not saying he did it the right way or that Dick was wrong for rejecting that, but he did literally expressly say that he was trying to reach out to him. in his brief period that he worked with the Titans, it's explicitly stated that he'd had to sneak out from under Batman's nose to join up with them. Jason has a sparse few interactions with mostly adult heroes in Pre-Crisis and the only hero his age he gets to meet is Kid Devil/Eddie Bloomberg and that's nebulously canon or not since Pre/Post-Crisis was a soft, slowly rolled out reboot where they changed a lot of things in retrospect but also implicitly kept others. (N52 was also like this but I get the impression Crisis was marginally more organized.)

UtH was Jason reaching out to Bruce for connection. Again, not really the right way to go about it but he pretty obviously/expressly wanted affirmation that his relationship with Bruce DID matter to someone other than himself because he felt it had been stripped from him and false.

Someone who keeps reaching out to other people, but gets rejected because they did it wrong, is not a loner.

When those attempts fail and he reaches out less and less, that's not loner behavior, that's lonely behavior, maybe even a dash of self-loathing. When he starts sabotaging his relationships further he thinks they're already fucked, that's not loner behavior, that's bad coping mechanisms for childhood trauma. I don't care that they state it exactly that he's some kind of "loner," his actions don't agree with that statement.

Is his status something of a self-fulfilling prophecy at this point? Yeah. I keep seeing people refer to him this way and, jesus. y'all wanna ostracize him so badly sometimes. You don't want him here you don't want him there. You use the "loner" rhetoric to enforce the idea that his isolation is a good thing that he wants. They use it IN UNIVERSE from the mouths of characters who have biased views about him.

If he's such a loner why does he keep going back? Why does he answer every call? Like a beaten, but unfortunately faithful dog that can't help but return to their abusive master.

[gunstellations]

gentle mornings

[firelxdykatara]

I think part of what frustrates me about age gap discourse with respect to BTVS specifically is that framing Buffy's relationship with Angel as 'grown man preys on teenage girl' requires that you ignore everything about the context of the show, the context that their relationship occurs within, and also what it means for both of them as characters and for the show as a whole.

It's also just like, really boring?

Like before you get to any of the story reasons why that's just a stupidly reductive analytical framework, you have to start with this: in a story aimed at teenagers, the fantasy is of being special and desired by a sexy immortal, and because the story is aimed at teenagers, the main characters are (or start as) teenagers, since the coming of age narrative that underpins everything else doesn't work without it. Hard to tackle that transition from adolescence to adulthood with a main character who begins the series as an adult!

(And it's not as if coming of age stories for adults don't exist. Phoebe Halliwell is a very good example--unlike her older sisters, she starts off unemployed and kind of adrift and desperate to find a purpose, which she ultimately does as a witch and a Charmed One, and all of this is done while she, as the youngest, is in her early twenties at the series start, because the show is primarily aimed at adults.)

And the thing is, Angel isn't just some adult man preying on a highschooler for kicks because he can't find women his own age. As Angelus, he spent well over a century enamored with Darla and committing wanton slaughter and destruction by her side. As Angel, with the exception of Buffy, all of his love interests are adults, and his love for Buffy is not tied to her youth, innocence, or naivete, considering that it links and binds them so completely that they keep crossing in and out of each other's lives through the end of Buffy's show, with the door explicitly open for a future relationship once Buffy's finished baking.

What draws Angel to Buffy--and what makes their relationship so dangerously compelling and also ultimately spells its downfall as, within the text of the show, it is explicitly a tragedy--is the fact that she's the Slayer.

That's the key point--her status as the Chosen One! He is drawn to her (as all vampires are, to a greater or lesser extent, but it's no accident that her only other truly earth shattering romantic relationship in the series is with another vampire) because she's the Slayer, and because of the soul he was cursed to bear and the guilt he feels for the evil he committed as a vampire, he wants to protect and save her as part of his atonement. He falls in love with her because she brings light back into the darkness he has been cast into since being forced to bear a soul even as a monster. And he would be 241 years old whether he was turned as a teenager and could pass as one of her peers or turned at 26 (the show is inconsistent on the age at which he was turned and it really doesn't matter, since the buffyverse never tries to pretend vampires are 'frozen' at the age they're turned anyway), and yes, part of what is darkly compelling about their relationship is that the age difference is obvious (Sarah Michelle Gellar was 20 and David Boreanaz was 28 during season 1), but the reason Angel being an 'older man' is never considered super relevant (aside from a few lampshades) is because... it really isn't.

The important thing, the critical thing, the thing that matters in the context of their relationship is that Angel is a vampire. That's why when Angel pulls out his 'I'm 241, you're 16' spiel it rings so hollow--because that doesn't really matter to either of them and he knows it. He's trying to push her away because it's the only way he can really protect her, and even then it doesn't work, and they all suffer for it horribly, Buffy most of all. (And even then she can't stop loving him, nor he her, and that makes it all the more tragic when he realizes the only thing he can do for her is leave.)

Also, it really throws into sharp relief the fact that people care so much about Buffy being a teenage girl when it comes to her romantic relationships but not at all when it comes to her being fated to die. Something the show itself is also quite critical of, because that's part of the point--being the Slayer is an awful burden that none of them have ever had a choice but to bear, and Buffy was supposed to die at sixteen years old. The only reason she survives is because she broke the rules by trying to have a normal life in addition to being the Slayer, which is the only reason she has friends to help her and save her, and I'm supposed to look at all of that and care that her broody vampire bf was a 'grown man' when he was turned? Really?

I don't think so. You can't just be willing to take what the show says for itself at face value when it comes to all the fighting and killing and dying but then balk when it comes to sex. That just doesn't work for me. (I mean, you can, and a lot of people do, but it's frustrating, hence this post.)

[buggythemoth]

'play again?'

[julijbee]

the path of bones became a sentence for the stars to read, and the heavens have never known children since.

[coddda]

Hiiiiiii. Episode 25/26 lawlight analysis rant thingy here. I don't know how to write an intro for this so let's just get to it LOL

I think one of the reasons that the rain/foot scenes stick out so much (the. Sheer insanity of a Foot Massage Scene in an anime revolving around two guys trying to kill each other aside 💀) is the fact that the anime specifically suffers a bit in terms of adapting a few of the "emotional" moments in death note.

And I don't mean "emotionally impactful" exactly. For example I think the adaptations of scenes like Raye and Naomi's deaths were very impactful and the atmospheres of their final scenes were great, but I mean more from a characterization standpoint (if that makes sense). Being more focused on mind and logic games, Death Note as a whole isn't as invested in individual characters' deeper feelings as it is in its action (which isn't necessarily a criticism per say, it's simply part of the nature of a mystery thriller series). But just because they're fewer and farther between doesn't mean there are none at all. In the manga we do get to see, for example, how much Light actually cared for his family and especially Sayu, and how he actually felt more conflicted and suffered lack of sleep/appetite when he first used the Death Note.

The anime specifically as an adaptation is pretty good at adapting the main mind fuckery and action of Death Note, but its lacking in properly adapting scenes like the ones I mentioned above is a criticism I see somewhat often, and it's pretty fair imo. Compared to all the other adaptations, it certainly seems to fall short on an emotional level: the musical has entire songs going in depth about the characters feelings and relationships, the 2015 jdrama is. Insane and has its emotional moments in spades (because it's a TV drama, which are more focused on portraying emotional conflict and the like), even the 2006 movies has its emotional beats and L Change the WorLd is. Well. Oh Man.

Anime Light to a lot of people is like. Light but he's "already evil" (which I have my own thoughts on but I digress). Light but after using the Death Note for like 2 minutes he's already like "fuck yeah time to kill criminals". Basically the anime doesn't take as much time to delve into his less cynical sides or really delve into his already vague and harder to decipher feelings in general, he is noticeably colder from the get-go here, etc.

But that's part of why I think episode 25 manages to stand out so much tonally (apart from it being, y'know, the episode L literally Dies). I love the episode so much and could probably rant for hours about how much I love the artistic choices made in it but what I'm trying to get at here is that it's one of the very few moments where the show tries to go deeper into specific character's emotions, and one of the very few moments where the show Attempts (emphasis on "attempts" because, well, you'll see in a bit) to get more in-depth into Light's feelings apart from his cynicism/apathy/justice. ness.

L in these two scenes in episode 25 is, well, pretty damn open about how he feels. It's usually interpreted as him knowing that he's going to die, and you can see it. He visibly looks/sounds lost, somber, etc. He never really had much to hide around Light to begin with (since he doesn't really care about hiding himself the same way Light does) but especially not now and it Shows, and I personally thought it was pretty cool to delve into his thoughts/show how he feels this way. The somberness can be felt throughout the entire scene, even people who don't already know the plot of Death Note from the manga could probably tell that he's about to die.

In the manga, once L starts suspecting Misa again and Rem realizes what Light is trying to do, it goes straight to Watari and L's deaths, but the anime instead gives a distinct and unexpected pause in the middle of this where L contemplates his own death. It's fucking great, and the shift from straight action to slower emotional weight makes these scenes stand out a lot, since, like I said, the show usually focuses more on the former. But it's kind of ironic, too.

Not only does the anime open up L's feelings more in these scenes, but it also tries to dig deeper into Light's feelings as well through L. And it's really funny honestly because while, yes, these are the more "emotionally open" scenes of the anime Light still manages to be Incredibly avoidant and contribute almost nothing to the entire ordeal.

L is visibly upset -> "Yeah Ryuzaki, you're not making any sense at all" (Not addressing the obvious conflict from L)

"Tell me, Light. From the moment you were born, has there ever been a point where you've actually told the truth?" -> "[The most stale, over-explained, avoidant answer to a "yes/no" question that you could ever hear + blatant attempts to reframe the question]"

(L's half-smile here kills me) "I had a feeling you'd say something like that" -> [Nothing]

"I'm sorry" -> [Nothing]

"It'll be lonely won't it? You and I will be parting ways soon" -> [Nothing]

^ From this point Light continues to say literally Nothing for the rest of the scene. I'm not even joking, from then on the rest of Light's voicelines are reduced to nothing but vague noises of confusion.

Everytime L calls Light out as a person ("Has there ever been a point where you've actually told the truth?" / "I had a feeling you'd say something like that." / "Won't it be lonely?") he doesn't actually acknowledge anything. Out of those three lines, he only answers verbally to if he's ever told the truth, and even then it's the most blatantly people-pleasing answer ever, as it usually is with Light. And I don't think it's because Light just. Doesn't care about any of what L's saying at all, or that he doesn't know what the hell he's talking about (questioning Light's authenticity as a person, saying it would be lonely when they part), instead he's choosing not to acknowledge any of what this means about himself or him and L at all. He's like a fucking wall.

And like, for the truth question in particular, the show makes sure that you know it's not something that Light just. Doesn't care enough about to answer. The hard cuts to silence are a very rare but extremely effective way that the show conveys an extremely important moment (see: Light regaining his memories, Matsuda noticing Light opening the warehouse door before he escapes (not as much of a "direct" cut to silence but still)), and cuts to multiple angles/framings/zooms of the exact same shot are also used for the same purpose (see: Light hugging Misa when she was crying, Matsuda aiming his gun to shoot Light, Light regaining his memories Again). Just like the scene where Light gets his memories back, the moment L's question finishes the show utilizes both. That question cut Deep. There's is a solid Almost 5 seconds of silence before the sound of the rain gradually starts fading back in, and honestly that should be telling enough as is (but of course Light doesn't actually admit that. Or anything at all really, so). Oh also another fun detail! We do not see Light's face At All (except for the shot where you can see his mouth moving but not his eyes), for the Entire time that he's going on his spiel to L. We Will Be Revisiting This Later, by the way. This is not, in fact, the first time you're going to see this detail from Light.

The only sort of reciprocation that we see from Light during Any of these two scenes is when Light dries L's hair while L dries his feet. Biblical meanings/references aside it's interesting because it's the only time he directly does anything "for" L in these scenes, but even then he doesn't try to pass it off as anything meaningful really the same way L does ("You're still soaked", a purely neutral and factual statement. It doesn't Add Anything compared to L's. Sin atonement loneliness grieving stuff. While Light is showing his own reciprocation to this more personal moment he also tries to keep it impersonal enough that it doesn't actually have to mean anything deep). And when L says "I'm sorry" after he once again gets no response from Light. It's also after this that L gets that pained look on his face, like he knows that at this point he's not actually going to get anything meaningful from Light (again, very significant and rare from L in the show. We've seen him in distress (see: when Ukita died, hell, when Watari dies), but even then he mostly manages to keep his usually neutral expression), we never see him "look sad" like he does here):

I just think it's interesting that this is one of the few scenes in this particular adaptation of Death Note where they try to open up the character's thoughts/feeling (especially considering the fact that they. lowkey blunder in adaptations of original scenes from the manga), and L himself is being rather open (not that he ever really tries to hide what he thinks nearly as much as Light), and yet all Light contributes to it in return is like. Actually nothing. Bro fumbled it. There is no resolution to any of this, to any of what L asks at all, to any of the many opportunities for a meaningful conversation, and the only thing even relatively close to an answer that you can get from Light is what you can infer from how he acts in the episode after L dies, where he's just going through the motions, but hardly acting as if he's actually living at all.

(Honestly I think the transition from this scene with the taskforce to the subsequent scene with Misa says enough on its own. Light's expressions and tone says everything:)

(Oh sidenote but. This shit again:

"Light, this is our first date in forever. can't you enjoy yourself a little more?" ('Why don't you seem happy? We can finally be together since L is dead') -> No response, Light instead changing the topic to him wanting to move in with Misa without changing his mannerisms at all

Also there's that one detail again. You pretty much don't see Light's expression when he speaks here at all, except for one shot of his eyes, which is quite literally the exact same shot they used when he "saw" L, just altered for the new setting. You have No idea what he looks like when he's responding to Misa, although it's probably fair to assume that it's the same empty stare he has for the whole Two Shots where you can clearly see his whole expression in the entire scene.

Something something Light Yagami bad at feelings I think you get the point though)

I guess Light's Kind of showing what he's feeling now? He'll admit to himself that it's boring without L, but no more than that. Light never actually admits to anything "significant", and L's dead already anyway, so what would that even do?

And then we get, uh. Basically nothing from Light. For the next 5 Years. Except that he joined the NPA, so, uh, yay? Good job, Light you totally nailed it! Thank you for allowing us as an audience to delve deeper into your inner thoughts and feelings as a character so we can find out more about you as a person! Very helpful! Thank you for not sabotaging one of your few dedicated opportunities to look into yourself as a person and reflect on your relationships with others and being 100% honest with yourself! We stay winning guys.

Anyway, this got way too long for a scene that's over a decade old, and I've probably just said everything that everyone else has already said in this fandom before. But unfortunately this has been living in my head for way too long and I must scream. I just think this episode's neat is all :)

tl;dr Part of the reason why the rain/foot scene (tbh episode 25 in General) stands out so much is because the Death Note anime specifically was a bit robbed in terms of its more emotional character moments compared to the other medias, which makes more somber/introspective scenes like the ones in episode 25 stand out a Lot in comparison. But it's also incredibly ironic because it's one of the few moments where the show (or specifically L) tries to look deeper into Light's character, but because he is so avoidant for the entire duration of these two scenes he adds basically nothing at all. It's almost funny. Mostly sad. It's also very gay. Aand post

Okay actually nevermind one more thing I talked about how the jdrama is supposed to be more emotionally in-depth because it is a TV Drama and just for the record, same thing happens there! I could probably do an entire analysis of the Blue Scene in this context like I did with episode 25 but I'd literally be here forever, so uh, just take this iconic line as my main example:

Same Thing. L's statement "I wish we could have met some other way" is personal. It's his own wish, his own regret that he is expressing to Light. While Light's reply obviously has that same regret implied it's also phrased in a specifically impersonal way. It's closed off. "This is the only way we could have met" it closes off the topic and simply renders L's wish as ultimately futile. Light does not say that he Also wishes he could have met L a different way even if it was likely impossible, instead it's a cold statement of cynical fact.

Idk just. Something something L being able and Willing to be more openly sentimental/emotionally open towards Light/about Light vs. Light's inability to be honest with anyone including himself and his own nature preventing any form of meaningful reciprocation. Something something self-sabotage, y'know the drill. God don't even get me Started on how sincere L's tone is when he says "It'll be lonely won't it?"(at least in the eng dub) in the anime I could talk about his tone in that scene for ages. Also yes all of this relates to L Change the WorLd too by the way. Don't ask how it just does okay.

I do think that scenes like these (rain/foot scene, The Blue Scene. Uh. L Change the WorLd The Novel Adaptation) show, at least in those adaptations, that L does genuinely care for Light, and show that he values him as a friend not just in the mindgame-equal sense but also just like, a more sincere sense you know. Idk if that made any sense and that's a whole other topic for another day but you guys just have to believe me on this one alright please please believe me buries head in hands. Okay post over finally thanks for coming to my tedtalk hope you enjoyed my very-unnecessarily long analysis of the week

[sad-endings-suck]

Somehow I get the impression that even if Angel knew that Faith body-swapped with Buffy, he would be angrier about Faith coming-onto Spike while in Buffy’s body more than anything else.

[wonder-worker]

Wild how we know that Elizabeth Woodville was officially appointed to royal councils in her own right during her husband’s reign and fortified the Tower of London in preparation of a siege while 8-months pregnant and had forces gathering at Westminster “in the queen’s name” in 1483 – only for NONE of these things to be even included, let alone explored, in the vast majority of scholarship and historical novels involving her.

[fosliie]

QUESTION!! What if Samantha stopped going to Maxine's shows for a while? like would Maxine go look for her, ask why she stopped coming or just check thats she's ok idk fydhtgsrfd--

Because i'm just like SAM. YOU TORTURING YA SELF. GIRL PLEASE- (just a what if idk if it is in character- TvT)

No no, you got a point there! Why in the world would Samantha keep going back if it just gets her all messed up seeing Maxine?

She gives a different answer everytime. A new lead on a case, a certain drink they don’t sell anywhere else. She’d rather be caught dead then explain why, and the regulars are keen to pick up on fhis

Noooow I’d imagine if Samantha somehow gained the will power to not attend one (or several) of Maxine’s shows, it probably would bug Maxine just a teeeeeny bit

[blitzbuckz]

✨I SUPPORT THIS BITCH ✨

[thefirstimagifabricator]

re: ORV live action trailer - Gigantification with a gun

I (crappily) drew out the silly little orv-gun-meme comic I had an idea for two months ago lol

forgive my shitty editing done to make up for my even shittier paneling in this lmfaooo

twt post with original idea moment + link to the thread that birthed it below the cut lol

[corrodedparadox]

when will the tapestries be dropping?

Not too sure yet!! I’m aiming to have a small drop the end of this month/middle of next month, but the date is really up in the air until I get everything behind the scenes situated. It’ll have the tapestries, new prints, bumper stickers, and bad dog shirt and tank preorders will open back up!

Also, if yall have any specific art you’d wanna see as a tapestry let me know!! I can’t promise anything but it’s always nice to know what everyone’s interested in :)

[whump-in-the-closet]

Savior Universe

Worldbuilding that I'm too lazy to include in the storyline without an insane amount of exposition.

Savior Agency is based in a dystopian setting, somewhat current, somewhat near future; in a society similar to ours but with centralized power. 

This hero agency acts as an extension of the government, superseding law enforcement but not quite military 

Abilities are something dormant in every person but are only “unlocked” under severe stress/ pain. This isn’t publicized– emphasis is placed on keeping the creation of heroes a very tight secret, keeping the active number of heroes in each city manageable. 

It’s very rare to discover someone with traditional superhero abilities (i.e. invisibility, super strength, super speed) and much more common to have an ability that’s less stable/ less useful in combat (i.e. a polyglot who unlocks an ability to speak a language as soon as they hear it, someone who’s emotions draw plants to them, without really controlling them). 

Those with more typical superhero abilities tend to go very far in Savior, saving the city from dissenters and protecting average citizens from crime in very public stunts. Every hero has a purpose under the all-seeing eye of Savior. 

The law states these heroes have signed up voluntarily, and their compensation is in their newfound abilities. The contract doesn’t specify the amount of time they have to work for Savior. Although articles are published about normal people with superhero abilities, no one has encountered them outside the Agency.

Sometimes, ridiculously rich people or corporations acquire heroes as personal bodyguards and go against the law to achieve their personnel, paying Savior off under the table for their training. 

It’s not uncommon for dissenters or protestors against Savior to go missing and be coerced into signing on. Nor is it impossible for someone to have their enemies “recruited” by Savior. 

Training involves a whole lot of torture, mostly psychological, drugs, isolation, and beatings. Heroes who vocally resist their training are “muted”-- vocal cords are removed or severely damaged. 

Before heroes have unlocked their abilities, but after they’ve joined Savior, they will be under the instruction of a Mentor, whose purpose is to “break” the recruit down until they reach the lowest possible point where they can then unlock their abilities and continue onto training. 

Often, a Mentor is someone with powerful abilities who can withstand any attacks from the new hero lashing out at them with their discovered abilities, and then punish them for doing so. 

Training facilities are described as grey or beige, with “white rooms” for isolating training heroes. 

A typical uniform for a hero involves a blue hero suit and mask. A typical trainee uniform is a blue shirt and shorts. 

Outside of Savior, there are a few dissenters who help runaway heroes/rescued trainees. The movement itself doesn’t have a name as secrecy is key. Raids are common and feared. All involved in helping a runaway hero usually end up inside a training facility, outside of the law. 

[batbabydamian]

Met Joshua Williamson at NYCC during one of his signings! He said of all the characters he wants to protect the most at DC, it would be Damian because that’s his “baby boy” 🥺 Said he’s tired of people hurting Damian since he’s already gone through so much his whole life.

Asked him 2 questions!

What accent does Damian have?

Others have asked him but he doesn’t want to say, because he wants people to talk about it! He mentioned Damian has only lived in America for 4 years, and would naturally have an accent.

Who decided on Damian’s new hair?

Simone - Joshua said he didn’t notice it at first and then he was like “UMMM IT KINDA LOOKS LIKE TIM…”

He let it go because he thought about how Tim has had different hairstyles, and Damian is young and still growing.

[objectosexual]

I'm glad more of Tumblr is becoming more accepting of objectums + a lot of people are realizing that they're objectum themselves, but it really does feel like the current "in" thing right now so I hope this support for us continues even when people get tired of the eroticism of the machine