#this is just gold though

[bet-on-me-13]

Reformed Dan but misunderstandings suck

So, Dan has been Reformed for Years at this point. You could go with the Fandom Typical version of just chilling out, or you could go with the AGIT version of the Redemption. Either way, Dan is fully reformed and trying to find his way in the World.

Unfortunately, not everybody knows/believes him.

You know all those Time Traveling Heroes who came back to stop some great catastrophe? That was Dan.

Impulse is fucking terrified of this guy, cause he Grew Up in the Central City Stronghold and saw Phantom tear down the Walls protecting the City in person.

Booster Gold grew up in the Metropolis Stronghold, so while he never really saw Phantom in his timeline he still did know of him. I mean, obviously, he murdered every hero on the planet and subjugated most of the world, but he doesn't have much personal stake in that.

Eobard Thawn hates Phantom. Thawn himself grew up in a world where Phantom killed every Hero in the world, and he was terrified that Phantom would track him down when he tried to become the new Flash. But once he became a Walking Paradox he saw as Time itself changed to erase Phantom from existence, he got really jealous. Why did Time decide Phantom was bad enough to erase, why not him!? He's Evil! He's a Terror on the Timeline! He deserves Clockworks attention dammit!

And then, they discover evidence that Phantom has come back in Time,

So now, any and all Time Travelers are trying to find the guy who single-handedly was the Apocalypse, and want to kill him to save the world. Or out of Jealousy in Thawns case.

Either way, no matter where Dan goes to try and settle down, a bunch of annoying Heroes always find him and attack him, yelling about "Stopping his Plans" and "Saving the Timeline!" And "It should have been me dammit!"

Honestly Thawn is the most annoying one, he just runs in and rants at him about how he is jealous of how much attention Clockwork gave him. Dude, just sdmit your crush already and leave me alone. (I'm not sorry)

[fruitypieq]

I really do love following people who hate each other. I'll see some shit like "STOP POSTING ABOUT TAYLOR SWIFT SHE SUCKS SHE IS THE WORST" followed by someone else reblogging 5 Taylor Swift gifsets in a row

[jeeaark]

Never seen an illithid recoil so fast when trying to give it smooches. Turns out there's a very good reason for it!

Wanted to draw my guardian boi one last time. First time the Emperor suggested it, got a lil affronted

Like, Squid bud, you don't think Greygold 'gets it'? You don't think Greygold had a bit of the 'don't belong's? the not-be-yourself-to-fit-in? Greygold gonna accept the shit out of you, buster. Gonna figure out dat squid biology one comedic lesson at a time.

Also. dat hair. I like to imagine when the emperor saw what would instantly gain Greygold's trust, the illithid was like-This is....Way too dreamy. Had to tone it down, Clark Kent dat Hunk-orc up with a hair-bun.

[wilteddreamsofbaldursgate]

Overindulgent father Astarion who tells his children they’re allergic to any kind of jewellery that isn’t made of the highest grade Dwarven crafted gold. 

It’s not even because Astarion might have a certain aversion to silver, no, he just raises his children to have standards, thank you very much. 

And it doesn’t end with shiny things, oh no… 

The Ancunín brood is known to be dressed in perfectly woven cotton, silk and soft leather clothes, no matter the occasion.

They’re seen playing with expensive toys, reading artfully illustrated books that certainly belong behind thick glass, not in children’s sticky hands. 

There’s even talk that one of the children is not as naturally inclined to music as his parents claim him to be, surely his lyre must be enchanted—the instrument certainly looks extravagant enough! 

And then there’s always this air of effortless haughtiness surrounding the Ancunín children whenever their nannies and servants are parading them through town as if they were perfect little dolls; objects to show off the wealth their parents acquired in quite the mysterious ways. 

So, it’s no secret that Astarion and Tav are pampering their children—some might say they’re even spoiling them rotten. 

And maybe they are, especially Astarion.

But he doesn’t see why he should raise them any other way, nor does he want to.  

When it comes to his children, Astarion has his own standards, and as long as Tav agrees with him nothing really matters. 

Because, these people, they don’t know anything about the Ancuníns. 

They don’t know that it’s not unusual for Astarion to wash out dirt and mud and strawberry stains from comically small finery, leaving behind only the memories of a day spent playing in the garden, chasing after ducks, picking flowers, lazing in the sun…

That any holes and tears the children’s clothes might suffer are quickly mended, making them look as good as new in no time. 

Nor do they know that Astarion doesn’t mind fashioning a brand new dress to match that of a favourite doll, either. Or to embroider a pretty vest with the likeness of that stray cat the children seem to adore, although their father would rather they don’t touch the mangy animal. 

No, those people know nothing at all...

“Not tired!” Astarion’s youngest cries; the vehement denial of her father’s earlier accusation is cut short by a telltale yawn.

The room still smells of fragrant lavender oil and peaches even when the bath water has already grown tepid, just one or two degrees above what Astarion would consider too cold to be enjoyable. 

Amused, he raises an eyebrow at the protesting toddler before he lifts her out of the copper bathtub with little effort. 

By now, he knows every step of this game.

“Tut-tut, my dear child, what did mama and I say?” Astarion kneels, quickly wrapping a soft towel around the child to keep her warm. “We only tell lies outside of this house.”

Unfazed by her father’s gentle scolding, the girl crosses her arms that haven’t yet lost their puppy fat across her chest, reminding Astarion a little too much of a very displeased Tav. 

Suppressing a sigh, he leans back to consider the pouting child, wondering what could possibly be upsetting her this time—the list is growing longer by the day, after all. 

“What’s the matter, dear?” Astarion asks gently, hoping it’s something easily fixable as it’s growing rather late. 

“Want apple!”

Decades ago, Astarion might’ve rolled his eyes—he knows exactly which stupid apple the child wants, it’s been haunting him all day—but once he started to treat his children’s problems as if they were his own, his life has grown somewhat easier. 

“Why, let’s get an apple on our way to bed, then. Would that be alright, Your Highness?” 

The girl promptly nods her head, allowing Astarion to pat her hair dry before dressing her in a clean night dress. 

She rests her cheek against her father’s shoulder as he carries her first to the kitchen to grab a fragrant apple and a knife, then to her bedroom where they settle on the cosy window seat, just like they do every night.

Soft moonlight is pouring through the windows; the child giggles at the way the knife’s blade is catching the silver light as Astarion peels and cuts the apple into even pieces.

“Here you go,” he finally says, giving the slice of apple one last examining look before surrendering it to the impatient little hands reaching for it. “A sweet treat for my little sweet. Doesn’t it taste so much better when we don’t eat it off the floor, darling?” And when it’s not crawling with ants…

The appeased toddler nibbles at the juicy fruit as Astarion carefully combs through her still-damp curls. 

Her hair’s getting long, he notices, knowing that taking care of it will become more time-consuming each day. 

Once, Astarion would’ve thought this task tedious, brushing out hair that’s not his own, oiling and braiding it for no other reason than knowing his children enjoy him doing it. 

But that’s why he loves doing it in the first place, he supposes.

Astarion can tell by his toddler’s heartbeat that sleep is about to claim her. 

The half-eaten slice of apple is still clutched in her little fist as he cradles the child to his chest, slowly rising from the window seat to put her to bed. 

He’s just about to lay the child down that the fruit drops to the floor, his daughter’s tiny hand clutching at his shirt instead.

“Thank you, papa,” she mumbles, more asleep than awake.

Astarion pauses.

He breathes in the clean, yet unique scent of the little girl that is forever engraved in his brain, the same way he knows under which exact constellation she was born. When she took her first steps, what her first word was. Soon, he will have to memorise her favourite colour, and what she likes to eat when dirty apples won’t be that appealing anymore. 

By now, Astarion knows this game by heart, knows that with every year that passes, he has something new to learn about his children.

And sometimes he wonders what it’s like to grow up with clean bed sheets and full bellies. Sleep filled with naught but warmth and happy memories. Ever open doors and tears that are dried by tender kisses. Living in a house where mistakes and anger are welcomed, safe. 

He wonders what it’s like for his children to know that their father’s love comes without conditions. Not now and not ever. 

Sitting down on the bed, Astarion holds his youngest a little closer to his chest, unwilling to let go of her, yet. 

He’s often accused of spoiling his children when most people can only just grasp the very surface of his love for them, the bare minimum of what he feels for his one and only, precious family. 

These baseless accusations are as unimportant to Astarion as the people voicing them.

He’s raising his children to have standards, wants them to take their father’s love for granted, to accept nothing less but pure devotion.

It’s the only way Astarion knows how to love them, the only way that comes most naturally to him. 

Astarion looks down at his little girl, now fast asleep, a gentle smile tugging at her lips. 

After all these years—all these children—he’s still in awe watching them sleep in his arms as if no harm in the world could ever befall them.

And it won’t—not if Astarion can help it. 

“No, thank you, my heart,” he whispers, pressing a kiss against the crown of the toddler’s head. 

When it comes to his children, Astarion holds himself to the highest standard.

[arielluva]

using the dream i had where utena had white streaks in her hair as inspiration, i made these designs!!! i wanted to keep them recognizeable, but also have more fantastical elements to them. i dont know if their (mostly utena's) outfits make too much logical sense, but since they're inspired by a dream, do they have to be?

[funkytrashcan]

Epiphanies about what I like in my media

little guys facing the Horrors

little guys becoming the Horrors

incomprehensible/incomplete/vague lore (that i try to comprehend and interpret anyway, for the laughs)

see also: "is this a bug or feature"

cool tech

sad old isolated women learning how to move on from past traumas

world is absolutely fucked but we find beauty and hope in it anyways

random god(s)

finding meaning in our messy lives, making friends along the way

[starryjaybird]

My go at an alternate, more elegant (but hopefully still appropriate) Supreme Leader outfit for Kylo Ren.

[aroaceleovaldez]

Thalia's color is ultramarine, Jason's color is cyan, Percy's is teal, Bianca's is green, Nico's is olive, and Hazel's is gold.

The big 3 kids make a color gradient in order (Zeus [sky] > Poseidon [ocean] > Hades [underground]) hope this helps

[buggachat]

sometimes the haze lifts from my brain and i see clearly and objectively and i am forcibly reminded that adrien just has a fucking huge ass caution sign on his bedroom door w a bear on it. (and a shark for his bathroom)

literally why. adrien? why

[titsthedamnseason]

eras tour lookbook: my favorites edition

[echosong971]

The Petrification Disease is a nasty thing...

[marley-manson]

Hawkeye and Frank are the two most diametrically opposed characters on Mash. They clash politically, ideologically, emotionally, intellectually, and even physically on more than one occasion. There is virtually nothing they agree on. But they do have one significant similarity: both Hawkeye and Frank are notably, pointedly effeminate.

Hawkeye is the central protagonist, so he's written to be likeable, even admirable, especially in the first five seasons of the show when satire dominated rather than character drama. He's the character who makes the correct political points and voices the show's ideology, and male audience members are encouraged to identify with him and aspire to be like him. He's witty, he's smart, he's charismatic, he dodges consequences a lot, he's highly skilled in his work, and he has a strong personality and natural leadership qualities.

Frank is the main antagonist up until the end of season five. He's written for audiences to hate him, mock him, and occasionally be horrified by him. He's dull-witted, incompetent, awkward, easily led and manipulated, and always gets his comeuppance. Few audience members are likely to aspire to be more like Frank Burns.

And yet, while most likeable protagonist/detestable antagonist duos in American popular media would also be differentiated in terms of gender performance as a matter of course - the effeminate villain being a standard stock character, always set against a ruggedly masculine hero - Mash takes a different approach.

From his core personality as a sniveling, weak-willed follower, to the way other characters, including Hawkeye, routinely make fun of him by comparing him to a woman or insinuating that he's gay, Frank Burns certainly fits the part of weak, emasculated villain. What's more interesting, and much less commonly seen in Hollywood media, is that Hawkeye is portrayed as just as unmanly, and just as, if not more prone to having it pointed out in the show.

Often Hawkeye's jokes at Frank's expense include the implication that Hawkeye is attracted to him himself, and not necessarily as "the man." He jokes, "Guess it's a marriage, Frank. I know I can do better, but at my age, can I wait?" in Hawkeye, Get Your Gun; he switches from calling Frank one of his vampire brides to taking the feminine part in post-coital pillow talk after siphoning his blood in Germ Warfare; he kisses or tells Frank to kiss him in Major Fred C. Dobbs, For the Good of the Outfit, and Bulletin Board, etc.

Other times, the jokes Hawkeye makes about himself are virtually identical to the jokes made at Frank's expense - their respective attractions to Margaret as a potentially dominant sexual partner, eg, with both Frank and Hawkeye portrayed as eagerly submissive. For instance, in 5 O'Clock Charlie Hawkeye jokes about tying Frank to Margaret's tent, then dismisses the thought with, "He'd probably love it. I know I would." And Hawkeye/Trapper and Frank/Margaret are sometimes paralleled as dual couples, Hawkeye and Frank usually being framed as the more feminine partner in each.

And of course, unconnected to Frank, there are many, many more examples of Hawkeye's effeminacy, both in jokes and in personality traits.

Hawkeye is a self-professed coward who is loud and proud about how terrified he is to be stuck in a war zone. He's emotionally open and highly empathetic, always willing to listen to others' problems and discuss (or scream about) his own. He abhors institutional violence and faces every enemy combatant with his hands firmly in the air. When authority is thrust upon him he strives to relinquish it, and uses it as little as possible.

More shallowly, he has little interest in sports and exercise, derides masculine hobby magazines like Field and Stream and Popular Mechanics, is incapable of performing mechanical tasks to the exasperation of others at least four times (Comrades in Arms which explicitly frames this emasculating, In Love and War, Patent 4077, and Hey, Look Me Over), mocks traditional masculinity in many ways, and enjoys musical theatre and Hollywood gossip. And he makes and takes literally hundreds of jokes about being unmanly and having sex with men himself, many more than he makes at Frank's expense.

But while the jokes are at Frank's expense and meant to belittle him, they're rarely made at Hawkeye's expense, especially in the first five seasons. Hawkeye doesn't make the jokes out of self-deprecation, he makes them out of pride and a desire to differentiate himself from the army men he's surrounded by. He's almost always in on the jokes others make about him, rather than offended - Potter telling him to file a paternity suit against his rival in Hepatitis makes him laugh delightedly, and Trapper's remarks on his effeminacy, such as Miz Hawkeye in Hot Lips and Empty Arms, are sometimes lightly teasing but always a regular aspect of their dynamic that Hawkeye enjoys playing up. Frank doesn't make any jokes directly mocking Hawkeye's masculinity that I can recall, beyond vague "pervert" and "degenerate" remarks, which, while often historically homophobic, in the show's context tend to be treated as a reference to his heterosexual endeavours.

Frank's effeminacy is a point of mockery and derision, but Hawkeye's is a point of pride, and not intended to make him any less likeable to an audience. Antagonists don't get to score points off of Hawkeye by mocking his feminine traits, but Hawkeye makes fun of Frank regularly by mocking his feminine traits.

This difference in framing can partially be explained by the nature of their respective gender performances.

While Hawkeye and Frank are both effeminate, they're effeminate in many opposite ways. Frank is weak-willed while Hawkeye is strong-willed. Frank is unappealing to most women, while Hawkeye is something of a lady's man. Frank cannot face his fears to rise to a challenge, but Hawkeye can. But on the flipside, Frank refuses to admit to fear while Hawkeye openly proclaims it. Frank strives to attain authority while Hawkeye refuses it or takes it on only begrudgingly. Frank is obsessed with guns to a freudian extent while one of Hawkeye's most famous monologues of the show is a speech about refusing to carry one. Frank worships the concept of traditional masculinity even while he can't perform it himself, while Hawkeye mocks the concept and would refuse to perform it even if he could.

The Sniper is an excellent case study of these contrasts. In this episode, Hawkeye is effeminate and at ease with it, while Frank is desperate to prove himself masculine. Frank and Margaret flirt with strong Freudian overtones while Frank shoots a gun while nearby Hawkeye flirts with with a nurse with a line about "tasting" her. Hawkeye connects with the nurse he's wooing by relating to how scared she is and huddling in fear with her, while Margaret demands that Frank prove his masculinity by going out and taking down the sniper himself. Frank carries a gun while trying to approach the sniper, while Hawkeye carries a white flag. Frank tries to make fun of Hawkeye for wanting to surrender, but he can't bring himself to approach the sniper while Hawkeye does.

This contrast of gender performance is a consistent aspect of Hawkeye and Frank's dynamic throughout the show, but The Sniper makes it a central theme so it's a useful example to show how their relationships to masculinity are a deliberate aspect of their dynamic.

And while Hawkeye makes fun of Frank's femininity, it's significant that he also regularly makes fun of Frank's masculinity - his love of guns (eg The Sniper), his sexual affairs (eg the exchange about Frank as a "fantastic performer" in Yankee Doodle Doctor), his numerous attempts to exert authority (eg Welcome to Korea), his desire for socially approved success (eg Hot Lips and Empty Arms), etc.

Both masculine and feminine sides of Frank are comprised of negative character traits, while Hawkeye embodies the best of both - emotional expression and healthy ways of coping by talking about his feelings; bravery but not machismo; intelligence and skill as a doctor rather than an officer; empathy and a willingness to listen; sexual prowess but largely through his love of foreplay rather than his dick game (which, in the context of the early 70s, is a somewhat feminine attribute that distinguishes him from a typical traditionally masculine man); etc.

Hawkeye demonstrates some of the most appealing and healthy qualities of both masculinity and femininity while Frank demonstrates, or strives to demonstrate, the more toxic qualities of both. Through including a few positive masculine traits in the mix, the narrative is able to depict Hawkeye as likeable, admirable, and desirable in his effeminacy while Frank is depicted as loathesome in his. Hawkeye gets one of many, many women in The Sniper by showing vulnerability, while Frank only appeals to Margaret, and Margaret is portrayed as borderline pathological in her sexual attraction to violent masculinity (the scene where Frank excites her with his gun, for example, also includes an electra complex joke, and there's a running rape kink gag in this episode as well).

Another aspect to consider when it comes to differentiating Hawkeye and Frank's respective femininities is hypocrisy. Similar to how Frank and Margaret's affair is mocked because they can't admit to it while Hawkeye and Trapper's affairs are glorified, part of what makes Frank's effeminacy so mock-worthy, while Hawkeye's feminine qualities are a source of pride and rebellion, is that Frank refuses to admit to them.

Frank desperately wants to be the ideal heroic army man and often play-acts the part, poorly. When Hawkeye mocks him by calling him a woman, for example, he's drawing attention to Frank's failure to live up to his own ideals. And when Hawkeye calls himself a woman, he's mocking those same ideals. The message is that Frank is pathetic not so much for failing to be traditionally masculine, but for wanting to be traditionally masculine at all.

Ultimately the ways Hawkeye and Frank perform masculinity and femininity are pointedly in opposition, from which masc and fem traits they embody, to how proudly they embody them. The show itself draws attention to these gendered similarities and differences between Frank and Hawkeye through a constant barrage of jokes, and even whole scenes and episodes. In this way the show portrays Frank as a hypocritical loser who wants to be masculine but fails to embody all but the worst traits, and Hawkeye as a cool, admirable guy who disdains the traditional pillars of masculinity and embraces his own effeminacy.

[ganondoodle]

(wip- OC)

felt like i needed to do one of my typical character (re)design things tm so i chose this lad who doesnt even have a name still, he will get his cool coat back dw uwu

idk if im making him more or less unique/interesting bc of how my OCs usually look these days ... he fits well to the other updated designs .. but maybe too well :/

(also not a demon but one of the ... animal/sea people like ki'ita, this lad isnt directly based on a specific one, just kinda ..tentacly)

[tokyo-daaaamn-ji-gang]

7TH NEW WAKUI ART, IT'S SHINICHIRO!

[missjamiekaye]

It's in my headcanon that they started to finally mutually fall for each other in Countdown to Infinite Crisis, but all of it was unspoken before things happened.

So I redrew a few panels of this page and extended the scene. :')

[darkiecat]