#so others can filter it out

[powwidge]

Society if WaCa fandom kept it's ship hate our of the ship tags

[fiepige]

Compilation of EVERY single time they changed Hobie's filter in the digital version:

Left: Theatrical release Right: Digital release

You might have to click on some of them to get a better look at Hobie, sadly I don't have a video editor that allows me to make better edits than these :')

[moeblob]

Lil warm up doodle because I'd been playing some Thropes and then watched some dubbed DunMeshi and am a Damien Haas enjoyer so. Enjoy a Shez.

[starflungwaddledee]

kirbytober 2023 21 + 26 : fav characters + ship [ prev || next ]

putting this at the top because it's extremely important but i received a message implying that some folks headcanon these two as drastically different ages. you may headcanon whatever you like of course, but in my work i firmly think that they're both full adults who are at least 25+. this is abundantly clear in my work. i'm not interested in headcanoning any of them as literal children and i would never touch that shit. dni if you think that sort of ship would actually be okay. don't be a freak. thanks.

very typical to take your favs and then also shove them together but isn't that the point. anyway i have literally never seen anybody else ship them (if you're out there... hello... 😭) despite them both being very main characters and i don't know why?? they could be so cute i think...

they are both industrious adventurers, prolific hard-workers (team task doers), and a little cheekily competitive!

i think that bandee is no stranger to a wide variety of close and intense relationships; he's beloved by many and loves them all equally but distinctly in turn. magolor on the other hand has been sooo isolated and lonely for such a long-ass time, he barely knows how to be friends let alone really care for someone. bandee is smart enough to be suitably wary but kind enough to give him a chance despite that, which i think would knock him off his non-existent feet instantly. in reply, magolor could give him something unique by loving and prioritising him utterly singularly, in a way bandee wouldn't even have realised he was missing

in awtdy (pictured in the sketch page; if you see a tattered looking magolor in my art it's probably this au) in particular they are both thrown into the angst soup together and come out insanely trauma bonded at the hip. their friendship/relationship is central to the plotline; together they're working on a solution to the timeline anomaly, while also hiding that they even really know each other the whole time

[nattikay]

@ avatar fandom:

it is perfectly ok to find a fictional character attractive, but constantly explicitly obsessing over your own lust for them is creepy and unhealthy

[destinationtoast]

background/future relationship tagging on AO3

I've encountered two opposite critiques/requests* for AO3 tagging of background or future relationships, and I don't think a single perfect solution exists. But I'm curious to see if there are strong preferences.

Scenario (see my tags for why I'm basing this on a specific situation instead of making it more generic): I'm posting a one-shot story to AO3 that is about A/B hooking up for the first time. But also, both A & B used to date C, and A is trying to help B/C to get back together, which seems likely to lead to A/B/C.

*If you're less familiar with tagging dilemmas AO3, here are the two different issues I've seen:

When I've tagged offscreen/potential poly relationships like A/B/C as relationships, I've gotten some complaints because that those relationships weren't onscreen, which disappointed people who were actively seeking out A/B/C.

When I've tagged only A/B, people who only want A/B and were trying to filter out A/B/C were unhappy, because A/B/C is discussed a bunch onscreen.

My opinion about the best thing to do here has wavered back and forth, as both of the above raise valid points. Very curious to see what others think is the best tagging practice!

[hawkinslibrary]

Stranger Things, Vol. 1 Track 01: "Stranger Things"

Significance: title track, appears every episode over main title credits; originated by the phrase, "stranger things have happened"; also a play on Stephen King's Needful Things Notable Appearances/Similarities: theme is used within other ending/cliffhanger songs; extended version occasionally plays over end credits; "To Be Continued" from the s2 finale ends with the theme; orchestral cover by Rob Simonsen plays over the ending scene of s4

[fisheito]

still thinking about them

[woetoy]

Pregnancy stuff does nothing for me but your art is so pretty and i follow to support a good artist. Also i'm an adult who doesn't get weird and whiny about kinks that don't cater to me specifically lmao.

Yeah some weird haters in the air today. We live in a society methinks 😑🚬

[karokawwo]

x reader fanfic so good until they call you "she"

[dinitride-art]

Lighting and Mike and Will - Full Analysis (Pt. 14)

This one is going to be long. I’ve touched on this scene [here] which was also the first time I started to notice the lighting. But uh, after going through all of the season prior to this, things have changed. 

So, get ready for the thing that makes me believe that there isn’t any other possible reason for this scene except the fact that Mike is very much in love with Will. (Also dialogue discussion is here. We’re going all out for the van scene. All in.)

S4:E8 - No, You’re My Heart. (#1) 

First things first, we’ve got an establishing shot. Not much to this, but there are a few blue cars on the road and the van is yellow. It also gives us the lighting on the outside of the van which can be compared and contrasted to the inside of it. It’s a sunny day so it makes sense for it to shine in through the windows. 

Argyle is a good neutral touchpoint for lighting. His face isn’t too bright or obscured in shadow, he’s being lit normally. However, I would like to highlight what he says here. I watched this scene a few times- usually when grabbing pictures I don’t have the sound on- so when I watched it through a second time I wanted to pay attention to the dialogue and sound. 

“Watch out Dominos, the dominos are falling,” is the line Argyle says in this shot. Mike is in the background when he says this. During this scene Argyle is shot at a side Angle, so it’s not just that Mike happens to be there. Mike is in this shot because he’s about to tip some shit over.

This line is important to what is about to happen next; the painting scene, the van scene, the whole thing really. 

And it really does knock over some dominos.��

Adding this here as another neutral lighting example. Side view of Jonathan with Argyle blurred out. His lighting is a little more focused than Argyle’s was above, but he’s also a relatively important piece of this scene later on. So, it makes sense for the emphasis to be more on Jonathan rather than Argyle.

This shot right here has a lot going on. In terms of lighting, we’re seeing Mike and Will normally, there isn’t any out of place angelic light just yet. But there is so much happening symbolically. (We also haven’t entered Mike’s view yet.)

First, let’s talk colours. We have red, blue and yellow present in this shot. The red and blue is on the blanket in the middle of Mike and Will and the yellow is to Mike’s left. 

Mike’s shirt pocket in this scene is notably pointing away from Will. It is, however, pointing to the yellow fabric to Mike’s left and to the shadow of ‘boy’ on his side of the van. That shadow comes from the back window, where the logo is. 

The logo is also important. First of all, the words displayed from Mike’s direction and towards Will. The other thing is that the word ‘boy’ is one of the only ones that we can fully read during this scene. And it’s in the middle of Mike and Will, pointing towards Will. The other words on the back window are blocked out by Will and Mike’s heads for most of this scene.

This here is how Mike lit during this scene. We can clearly see his face, but it’s not blinding us like Will’s will be. 

I’d also like to note how relaxed Mike is here. His body language and expression don’t indicate anything but answering Will’s question. He just asked about how far they are from Vega’s, there aren’t any alarm bells there. He’s got no reason to panic.

Until Will says, “Well once we save El,” and talks rather light heartedly about going to Vegas and messing with the machines to get a bunch of money. Which is pretty normal conversation.

Lighting wise, we also see the most distinct difference we have so far between Will and everyone else. This shot is an over-the-shoulder shot from Mike, so we’re looking at Will here how we have been for a whole lot of this season, through Mike’s eyes. 

And here is where we can see how the lighting in this scene actually starts to blow out Will’s face with the sheer amount and intensity of it. 

As soon as Will mentions El, Mike tenses up. We can also see just how different this shot is from Will’s. The angle of this shot also isn’t really an over the shoulder shot, we’re just looking from Will’s side view. Whereas Mike’s over-the- shoulder shots are much more over-the-shoulder/behind his head/don’t have his face in view.

Nearly the same thing again here, but I wanted to show the progression of the shadow behind Mike. ‘Boy’ is in frame again, and at this angle, where Mike’s shirt pocket is pointing. That shadow is manipulated throughout the scene to fall where it needs to in order to emphasize it’s point. It’s point being mainly that Mike’s shirt pocket is pointed at it. 

Then we flip back over to Will and we’re given the most blinding shot- although it does flicker so we do see some of his features at times- of glowy/angelic/’in Love With My Best Friend’ lighting we have seen so far. This one tops the one that just broke the record, only a few seconds after it happened. 

We cannot see his face here. 

(But also this shows Mike’s Over-the-shoulder shots pretty well. We can’t see Mike’s face here either, just the back of his head. It’s pretty different than Will’s side shot where we could see him while he was talking to Mike.) 

And now this. The heart. 

The little bit of light in the corner of Will’s eye is partially the reflection of the van window. It’s terrible quality here, but it’s there. The weirdness in light and reflection changes as we go through the scene. If anything, as the scene progresses, the heart just becomes more and more visible. 

After Will brings up El and talks about playing D&D and Nintendo for the rest of their lives, Mike starts acting odd. Will takes this as concern for El and reassures him that she’ll be fine. But Mike’s response is odd as well. He doesn’t seem overly concerned about El, he knows that she’ll be okay. There’s something else that Will isn’t seeing. 

In these frames above we also see the difference yet again between Mike and Will’s lighting. And again how there is a side angle instead of an Over-The-Shoulder shot. We aren’t looking at Mike from Will’s perspective at the moment. 

After Will brings up El, Mike asks, “But what if after all of this is over, she doesn’t need me anymore?” He stutters through this sentence like he’s nervous. His tone during this statement isn’t sad or heartbroken, it’s contemplative. He’s asking Will, ‘what would happen if El and I aren’t together?’

And then he looks at Will like this. ‘Boy’ in the background and his shirt pocket pointing to yellow, he looks at Will waiting for his reaction. He’s not looking for comfort here, he’s looking for an answer. 

And Will... it’s the same problem really, for the both of them. They’re both trying to say something to the other and neither can see it. 

Will immediately comforts him, “Of course she’ll need you. She’ll always need you, Mike.” Mike’s face kind of scrunches up here. Will is glowing the like the sun and Mike doesn’t look happy with his answer. He almost looks either disappointed or frustrated. Or maybe both. 

A little aside to this, in this shot here Will’s light in the corner of his eyes does this. 

And this. Now, the reflection from the van in Will’s eye is what this is being based on. That reflection is there in almost every part of this scene when Mike is looking at Will. But half of this isn’t always there. Later into the scene, there are quite a few points where it flickers back and forth between the heart shape and the reflection. 

I am going to look at the heart eyes because they are there and they are right in front of me. Mike is seeing literal hearts in Will’s eyes. I can’t not analyze the hell out of it.

Anyways, back to Mike. “I keep telling myself that but I don’t believe it. I mean-”

 Mike closes his eyes before he starts speaking. I’m pointing this out now to compare to Will later, but this is showing that Mike’s lying. Because Will does the exact same thing when he starts lying about the painting. 

‘Boy’ is also right next to Mike. Continually beside his pocket. 

Also here to do with lighting, is the window. It’s pretty subtle but it’s either green or Blue and yellow. I can’t exactly tell if the foliage outside is yellow or green. Either way, though, it’s some form of blue and yellow backing the scene. It’s just another thing to add to the every growing list of important aspects of the van scene. 

“-she was special- she was born special. Maybe I was one of the first people to realize that. But the truth is-” 

Mike- again- closes his eyes as he says this, indicating dishonesty that is established more solidly when we (eventually) get to Will and the painting And as we can see Will again we can see that his lighting is still carrying through the scene. Although not as bright as before, he’s still in his glowy/angelic/Mike view lighting. And we’ve got the window which is blue and yellow and/or green behind him. 

There are a lot of different pieces in this scene that are working together to tell us what’s going on here. And there is so much happening here. 

‘Boy’ is right behind Will. Like the disco ball drawing our attention to Will, this is used as a symbol within the setting of the scene, behind Will’s head, just being used in a different (but similar) way. The way that the ‘B’ is still visible and leads us to Will is amazing. 

What Mike is trying to say here has far less to do with El than he’s letting on. We’ve got expressions that point towards dishonesty and the entire rest of the scene contradicting his words, symbolism wise. Even prior events in the series contradict his words here. In relation to El, this doesn’t make sense, but in relation to Mike, it does. Mike’s saying something about himself, not necessarily his relationship with El.

He’s trying really hard to tell Will something and Will isn’t picking up on it. 

“when I stumbled on her in the woods, she just needed someone. It’s not fate, it’s not destiny, it’s just simple dumb luck-”

Here we can see ‘boy’ beside Mike’s head, pointing to Will and we can see the shadow of it beside Mike’s head as well, the direction his shirt pocket is pointing to. 

While Mike is trying to defend his position on his relationship to Will, the imagery around him is saying what he can’t. 

Mike doesn’t want El to need him. But if she does, he’ll be there for her. 

Mike jumped off a cliff for Dustin (although there were other underlying factors), he was with Will the entire time he was possessed, he was the one who taunted Billy and lead him into the sauna, he was the first one to trust El, he pushed Troy, he tried to get in a fight with Hopper at the end of season two over El, he and Max carried El in the fight at the end of season three, he told Dustin in season one that multiple people could be some ones best friend (because all his friends mean that much to him), he’s stubborn and can’t apologize ever (to anyone but Will) on his own but he cares about his friends. And he’s protective of them to a fault, like in season three when Max called him out for trying to control El, because he was scared even though she can make her own choices.

Mike was the one who ran in front of Jonathan and Will in the shootout. He would’ve been the first to be hit.

Mike cares a lot about his friends and he’s continually been reckless to protect them, to the point of being an asshole and a bad friend. 

Why would it be any different with El? If she needs him, he’s going to whatever it takes to protect his friends, especially at his own expense. 

“-and one day she’s going to realize that I’m just some random nerd that got lucky that Superman landed on his doorstep.”

This is where he starts to look at Will. It’s also where he says ‘superman’ which is why I think he backtracks so quickly. If he keeps talking he’s going to end up somewhere he can’t come back from.

“-at least Lois Lane is an ace reporter for the Daily Planet. But-” 

He starts going on with the metaphor, but stops when I think he realizes that either Will isn’t getting it or he finally realizes where this is going and he gets scared. Either way he cuts himself off.

“[sigh/scoff] sorry.” 

“No-.” 

We see here that Mike does indeed backtrack. He tries to drop the subject entirely. And we still have his pocket pointing at ‘boy’ and yellow, and ‘boy’ pointing at Will and we can see exactly what Mike is saying. He knows who he is. He knows that him and El won’t work, and now he’s thinking that maybe she doesn’t want their relationship either. 

And he’s trying to explain that to his best friend who he trusts and who he loves and the Van itself is saying ‘Mike likes boys’ but Will isn’t picking up on it. And Mike isn’t going to spell it out for him because that’s far too much of a risk.

“No- It’s so stupid given everything that’s going on.” 

‘Stupid’. This line here reminds me of something that seems to be in line with what’s here so far, ‘it’s not my fault you don’t like girls.’ When Will destroys castle Byers in season there he calls himself stupid multiple times and this specific word here could be implying the same feeling/situation. 

But Mike’s going to try and redirect because, ‘El’s been kidnapped by the people she ran from in the first place and I’m worrying about our relationship? About whether or not she’ll be okay without me? She’s in danger and I’m worried about being gay?’

(Or at least this is kind of what I’m seeing going on inside of his head. A lot of my dialogue analysis feels weirdly speculative, so I’m just going to mention that I may be reaching right here, just a bit.

But then again, there’s symbolism and light pointing in that vague direction. So, maybe I’m not. I don’t know yet. I think I’m right, though. Because there wouldn’t be this much here if that’s not at least in the right direction of what they’re trying to say.)

“It’s just I-”

“I don’t know-”

‘Boy’ has returned to the shadow beside Mike’s head and in this shot, we have the window one visible and pointing again, to Will. 

“I just- uh”

I think in this moment Mike knows exactly who he is. He’s trying to tell Will, but he can’t. The setting and the scene and the symbolism are telling us that Mike isn’t at a lost for words- they’re literally surrounding him- he’s just scared. 

But Will is the one of the only people he’s ever been honest with- that he’s vulnerable around. So, he’s trying to tell him. 

Will is wreathed in light, there are literal hearts in his eyes. Mike knows that he loves him.

But he’s not giving Will enough to go off of.

And Will doesn’t understand what he’s trying to say.

And then neither of them understand what the other is trying to say.

So then Will goes and breaks both their hearts in one fell swoop.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 (To be edited)

[ozymoron]

canw e just like not ever do discourse again please like no more infighting when none of it matters in the end why dont we just hold hands and feel love and not worry about whether its okay for a bi person to say faggot

[dhmis-autism]

i feel like the original series was red guy centered, the first season was for yellow guy, and i am BEGGING AND PRAYING that season 2 will be more about duck!! i will probably cry if anything happens to him though lol 💀 everytime writers break a comic relief character i just OUGSHGS.. it gets me.

h well I don't think you're wrong about that! Webseries being Red Guys time to shine, S1 of the TV show being for Yellow (esp the last two episodes I think? Even thought outside of that, he does get a lot of focus/he IS the one who talks to the audience the most directly). From what I remember hearing, the pilot was pretty Duck-centered.

But I think even if he GETS his big moment in the sun, so to speak, it's NOT going to be as emotional as the other twos. On top of him just not being a very um… let's say sentimental character, he's just not the make-you-cry type! It's just not him imo!

IDK, I operate under the opinion that… in his weird little head, the most important thing that he values over everything is keeping the three of them together. Both because he thinks of them as a weird little family AND because he really doesn't have anyone else outside of the trio. We also know from the interview, and you could maybe argue from the Family episode ( Who do you love?/Anyone who loves me back., I asked every member of my family who they loved the most, and they all said me ) that being loved is something that he actually values QUITE a bit! More than you would assume on first glance! He's weirdly upfront about it haha!

In that way, I imagine that if they were to TRY to pull something to put him in the spotlight in the way you're imagining (i.e. something emotional and focusing on his issues like they did with Yellow & Red) it would either focus on his desire to be loved OR his dedication to keeping the three of them together. But I would argue they both already did that in the Family episode AND put him through the worst case-scenario in regards to those more emotional aspects of his character ( here I think the worst case scenario to him is the other two rejecting him, harshly, unambiguously and to his face, multiple times and the three of them separating ). AND THE THING IS… THAT ALREADY HAPPENED! THAT DIDN'T BREAK HIM!

He had his little pout over it in his dress and was like FINE! I DON'T NEED THEM ANYWAYS! So, I really don't think that big "character-breaking" moment is coming. If the Family ep didn't get him I honest to God don't think there's anything else the house could throw at him that could get under his skin.

[emuwarum]

MY SHRIMP HAD BABIES!!!!!!!!!!!!!! SO TINY