#undercut because long

[104thsquadfam]

-Hello everyone this is completely random but I wanted to say hello and introduce myself to the new people that followed me since I never actually got around to doing it, so...

Hello my name is Ace, I am 28 years old, non-binary but you can call me whatever makes you most comfortable. I used to be touchy about it but I've grown out of that.

I've been roleplaying since 2006 and I enjoy meeting new people to rp with. I may be shy at first but I try approaching others and half the time I worry I annoy people so I try to limit my interactions with others so I don't become a bother but that's just my brain being the bully it is.

I am always open to rp whether it be through an ask, plotting, or any openers ( which anyone is free to interact with should I make any again). I welcome OCs as well! I love seeing and hearing about people's OCs they're always fun to get to know. If you rp a cannon character I won't gatekeep how you should rp them, hell I don't even rp my babies 100% cannon and that's cause I interpret how they act. It makes it more fun and unique but I understand some people don't like that.

Overall I just like to have fun so I never really tolerate hate being thrown around or sent in asks ( anon or not), that is the only time I would ever block anyone.

I have absolutely 0 triggers when it comes to topics in rps, but if you do please dm me and I will tag them for you. I can't help make you feel comfortable if you don't tell me what your triggers are and believe me I want you all to feel as comfortable as possible I never want to make any of you feel uncomfortable.

If I write my character angry with yours please know that it's not directed at you. I love you all I truly do, doesn't matter if I don't know you personally, I love you. I've seen it so many times where people take what my characters say personally so please...it is not directed at you, I am actually very docile, loving, and scared of making others mad.

I roleplay all characters from aot/snk but here is a list of the one's I do here on tumblr....can also find the list here on my blog.

Mikasa

Reiner

Bertholdt/Bertolt

Annie

Eren

Jean

Marco

Connie

Sasha

Krista/Historia

Armin

Ymir

Erwin

Levi

Miche/Mike

Falco

Porco

I might add more in the future. I am considering bringing Onyankopon to tumblr.

I apologize for the long post I just wanted to properly introduce myself since it's been some time since I last did something like this.

Anyways I hope you all have a wonderful day and if you read all that I commend you.

[zivazivc]

What do the band mates look like now?

Hed's a dad, and Les finally found a shirt that fits him

[thejasontoddarchives]

Brothers in Blood will trick you into thinking it’s just a silly crack scenario brought to life and Jason just concocted this plan for shits and giggles. Then you get a single page like this:

Nightwing (1996-) #121

that reveals he wanted/desperately needed shreds of acceptance even if it was coated in layers of resentment irritation and doubt after going through this:

Batman (1940-) #650

And it had to be from someone who isn’t Bruce

[niinnyu]

Here's why I think the Gojo bait is not great writing and why you should maybe think so too (Spoilers till jjk 260).

We've spent the last few chapter consistently establishing a few things about our protagonist (Yuuji) and our antagonist(Sukuna).

1. Yuuji's father's soul is a reincarnation of Sukuna's twin: This instantly creates a connection between Sukuna and Yuuji.

As if you needed one outside of Sukuna's constant mockery of his former vessel's lack of "competance", and that most of yuuji's biggest losses can be attributed to Sukuna, building his wrath brick by brick. But surely adds to it all.

2. Yuuji feels incredibly lonely right now: Anyone he's created any sort of meaningful (?) Bond with outside of just 'hey you're an ally I can fight alongside with' is currently either dead or greatly incapacitated.

3. Also ofc the absolute damage that Yuuji has started incurring on sukuna. Damage that the slew of sorcerors before him couldn't. Forget about everyone teaching him abou love, Yuuji will show him Burning Rage.

This while also having hinted at Yuuji being possibly strong enough to do so on his own. He can go head to head with the King Of Curses with or without the help of his fellow sorcerors once he is able to harness this power.

Anything that was Gojo vs Sukuna feels absolutely irrelevant with the build up that Gege themself has been creating through the past few chapters.

Gojo's form right at the end of the chapter undercuts the pacing completely. Readers are more interested in those last 2 panels of Gojo which are completely removed from and rather jarring to the buildup between Yuuji and Sukuna. Fan interest in Gojo isn't their fault because that's what the chapter makes you focus on.

The only way I see this continue the buildup is if this is somehow Yuuji's doing or done with his knowledge, in which case it'd have been better to end the chapter by showing that Yuuji is aware of it and has an ace up his sleeve, bringing it back to the 2 relevent characters, and for people to stew in what Yuuji could be up to for a week.

But no matter what Gojo's visage there means, Yuuji in this moment has been so greatly undermined, not by his lack of strength, not by Sukuna outright demeaning him, but by the writing itself. By Gege.

And oh, how Yuuji deserves better.

[nullbutler]

something something identity something something culture

[ohitslen]

More short haired Woowoo to improve my mental health

Closeups under the cut :)

It should say the buzzed undercut back but I’m so not going to change it now lmao

[shitpostingkats]

*chuckles sagely* I have extremely extensive and niche hair headcanons for yugioh characters you haven't even heard of, boy.

[gwensy]

everyday by the pure graces of god i resist the urge to cut off all of my hair

[tortoisesshells]

if you were in control of a dark shadows adaption (or, hypothetically, could alter the original; whichever you find more interesting to think about!) what does your ideal version of 1795 look like? are there things you would change? things you’d want to keep?

Let me preface this by saying I do genuinely like or appreciate a lot of the 1795 arc! When it's at its best, it's a tragedy born out of hubris and the terrible things we'll do for the people we love (or the terrible things we'll do to hold on to love. or the problem of love without respect). I'm up to episode 741, and the confrontation between Joshua and Barnabas over the latter's coffin is still one of the best scenes in the show, for my money. That said; Broadly speaking, most of my problems with 1795 either have to do with characterization, or with historical context: that DS's unwillingness to delve into historical realities undercuts its ability to talk about monsters, and that it completely mishandles Vicki to the point of functionally ruining the nominal main character (who, to be fair, was already being pushed out).

Historical Context: DS loves the past, conceptually, but it really doesn't deal in historical conditions, and that's on full display in 1795 - witchcraft trials? zippers? claiming a house built in the early 20th century, with the attendant architectural style, was actually built in the years leading up to 1795? okay. I forgive that, because we do live, narratively, in a world with witches and vampires and curses and passenger rail service north of Portland, ME after 1965 - and in a make-believe world where the costumes are as good as a budget of a crisp single and a pb&j can make 'em. I say this mostly lovingly: DS simply is not the kind of show that cares about historical plausibility, let alone accuracy. Plus, Reverend Trask was great, and on the basis of giving Jerry Lacy scenery to chew on, the witchcraft trial plotline is excused.

More seriously and damningly, I do think it's a glaring omission on a show being made and aired in the late 1960s to have three characters said to be from the (fictional) wealthiest family of planters and enslavers on Martinique and have that go unexamined and unpacked, especially when commentary on class in Collinsport has been a constant undercurrent (sometimes more of an under-trickle, or under-vague-breeze) since episode one - and because Joshua Collins is very explicit about how beneficial the connection between the two families will be for the Collinses, who always need cargo for their ships. [Since David Ford's here, you'll forgive the reference to 1776: "Molasses to Rum" playing vaguely in the background] But that's the problem with Post-Barnabas DS. Since there's a Collins running around befanged and literally drinking the blood of others, the show's lost interest in discussing how, exactly, the Collinses became wealthy and powerful, beyond the odd occasional reference to the fishing fleet and cannery or, in 1795, the shipyards. We've got a real vampire, what do we need all that metaphorical monstrosity and class/race/gender analysis for?

As a choice the show's made, I think it fundamentally undercuts one of the show's most reliable and interesting points of commentary: how charming and human some monsters are, or that humanity and monstrosity are not entirely mutually exclusive conditions.

also speaking of monstrosity. the show excuses Barnabas for so much outright evil because he preys on sex workers, primarily, and other assorted poor men and women of Collinsport, who the show ... doesn't really see as people. but that's a separate but not unrelated rant.

Characterization: really, this is about Vicki. So much of what I dislike about 1795 has to do with Vicki's characterization changing for the worse (granted, I think this problem starts much earlier, but see digression a below) once she hits the ground in 1795, AND that the 1795 arc continuously insulates her from the important parts of DS's narrative. If the whole point of Vicki landing in the past was to explain how it all began (whether that's Barnabas's vampirism, or the opening of the great house at Collinwood - Sarah's ghostly goals are unclear here), she's party to neither: Vicki spends very little time in Collinwood, and is kept completely apart from even a hint of knowledge that Barnabas is a vampire. In effect: Vicki, as nominal main character, gets sent into the past, but not as a character - she's just a windowpane, or a magic mirror as far as her importance to the narrative goes. Which is unfortunate for her, because as a character taking up space, she's given screen-time without agency, intelligence, or inner life. The only change that being dragged by her puppet strings through 1795 effects in Vicki Winters is a rope-burn from a failed hanging, an infected gunshot wound, and a I-wish-he-were-more-permanently-dead rebound boyfriend whose response to Vicki panicking about being hanged was to slap her for being hysterical.

Forgive me for being unimpressed.

As far as fixing it goes - there's where I've been striking out. She's fatally passive in 1795 as written. Why doesn't Vicki try to figure out how to get back to her present? (and if she doesn't, perhaps ... gesture at why Vicki might feel like there's not a lot to return to in the present? She nearly jumped from Widows' Hill about 10 episodes before 1795 started.) Why does Vicki persist in making herself suspicious, when she was introduced as a character hampered more by inexperience than true ignorance? In the idea 1795 that lives in my head, why wouldn't Vicki try to figure out who the real witch was, because - given her experiences with the supernatural! - surely a witch might be any help in getting her out of the 18th century and back into the present? End of day, she needs a real plot which doesn't end with her in prison unconnected to the Collinses. Whether that's searching for an escape hatch back to the Swinging Sixties, or Sarah's ghost giving her clear instructions - some kind of a goal! - Vicki either shouldn't exist in 1795 (recycle Moltke as another Collins sibling? that would add a wrinkle to the question of Vicki's antecedents) or she has to be given something to do.

&, finally ...

Digression A: In fairness to the 1795 arc, I think the arc was only following a pattern of characterization and plot involvement that started with Barnabas's arrival: first, that Vicki initially wasn't really involved in the Barnabas plot because she was more involved with the Liz & Jason plot, and, unfortunately for Vicki, everyone still talks about Barnabas, where no one (alas for Patrick and Bennett!) talks up the blackmail thing; second, I think, that the one-two punch of the definitive end of the era of metaphorical monsters & the Burke recast meant that a lot of the dramatic tension that Vicki was carrying either got dismissed or dissipated. We're not playing Jane Eyre any more, we're doing Dracula: Vicki's relationship with Roger and David no longer bears any dramatic weight. We've completely sidelined the question of Vicki's origins, so whether or not Liz is her mother doesn't matter (and the revelation and dismissal of Liz's not-actually-monstrous conduct sort of defangs that relationship, too? oh, Liz isn't actually a murderer? so mother or not, there's no strain on her relationship with the conspicuously virtuous Vicki.). Burke's no longer threatening to burn down Collinsport for revenge, and all of his various relationships with the Collinses or Collinsport denizens have gotten abruptly normalized, so there's no tension to his relationship with Vicki any more: he's rich (don't ask where the money came from), he's in love with her, and now he's chummy with all her friends/stand-in family members. He doesn't even have conversations that are totally just about pens or guns with Roger, for god's sake. The show kicked out all the pillars Victoria Winters as a character had been built on, and it only gets worse after 1795. No wonder Moltke left.

[cold-neon-ocean]

Returning to the rainbow basketball boy anime as I always do because it'll never leave my heart

Hitting Midorima with the undercut beam because his Last Game hair was kinda criminal ngl sobs

[scribefindegil]

constantly fighting the urge to put "(He'll be fine!)" in the author's notes every time I do anything even remotely scary or upsetting to a character in a fic chapter

[regallibellbright]

Sometimes I think about my ideal Batman story, in which the Joker is killed by some nameless random Gothamite in the middle of a scheme with no build-up whatsoever, no mystique, just some henchman who he's turning on just saying "fuck it" and shooting him or some hostage managing to get free and then hit him repeatedly with their own chair until he doesn't get back up. It's quick. No one stops them. They're all too shocked it's working to stop them, and at the end of the day, EVERYONE wants that clown gone. That's the first action sequence and it's done by the end of issue one, preferably even at the three-quarters mark. (As far as I can tell he is considered dead at the moment, but it was climactic and showy and while he presumably exploded we all know he'll be back and probably be revealed to have never died at all somehow, and I want him dying in the most anticlimactic way possible.)

The rest of the arc's just dealing with the fallout. We see his body at the coroner's and confirm it is disposed of (thoroughly and in secret, so there's nowhere for assholes to visit or necromancers to try and resurrect.) People across Gotham throw parties. Some people OUTSIDE Gotham throw parties. Batman is in the cave making sure literally every means of resurrection is NOT available to the Joker, thank you VERY much, because he gets to be JUST shy of fourth wall-aware and therefore recognizes this is never going to stick and he'll be back as soon as the next writer comes on. No alternate universe versions are able to come through. There is no DNA from which to clone him. It wasn't a body double, a Doombot, or an elaborate illusion. He has been 100% confirmed to be 100% dead like three times in this issue alone. No time traveling Jokers to account for. Everyone else thinks Bruce is overreacting but when the Joker does inevitably come back ideally Bruce does get a scene being utterly unsurprised because on some level he understands that he is stuck with this fucking clown forever no matter what he does.

We get a mention that the random Gothamite IS put on trial for murder but it's unanimously ruled self-defense. This is the one circumstance where I'm willing to give this Gothamite a name. It is important to me they never appear again after this. They are here to kill the Joker and then recede back into the crowd.

Because the point is that the Joker dies like a fucking loser, because he's not some unkillable mastermind force of chaos, he's just a clown whose biggest win was killing a twelve-year-old, a feat he only got away with at the time because of an incredibly convoluted and even MORE incredibly racist plot point about him somehow getting named an Iranian ambassador. (No, seriously. That happened. It is every bit as terrible as you're thinking. There's a reason why adaptations cut it, but it's TELLING that the writers felt the need to come up with this contrived reason for why the Joker could kill Robin and live to tell the tale so they wouldn't have to utterly BREAK Batman as a character whether he breaks the rule or not.) Jason Todd is alive again. His second biggest win was shooting someone I'm pretty sure he didn't know was a superheroine, which was entirely incidental to his desire to torture her father which was ITSELF incidental to his desire to prove a point to Batman. And I have the DEEPLY mixed feelings of a disabled person who thinks Barbara Gordon's treatment in TKJ and especially editorial's approach to it was atrocious but who still deeply appreciates Oracle as a wheelchair user and such a nontraditional superhero, but ultimately: Yeah that's no longer a win for him, either.

So the Joker dies, it's made entirely clear that he is dead, he dies in a way that underlines how fundamentally pathetic he is and how fundamentally RIDICULOUS it is no one in Gotham did it before that point (because if you're going to die either way, why not go down swinging?), everyone celebrates, eventually even Batman's hypervigilance is appeased enough to eat some cake, and we get a good few years without that fucking clown everywhere until he inevitably returns. Hopefully by that point, everyone in reality considers how absolutely BORED they are of the Joker as some Ultimate Evil Super Successful Murder Clown of Doom, and when he does come back it's a version who's much more funny than scary.

Yes, my favorite episode of BTAS is Joker's Favor, but I don't think that changes the fact that the clown is overplayed and that having villains around who routinely kill is just narratively and objectively a bad choice to put with a character who you're defining by "does not kill". Like, you as the writer are weakening your own central thesis and then you have to come up with elaborate justifications why Batman Not Killing is right (because these comics are nominally still being sold to children, and also editorial will never let you ACTUALLY do it) when you could just solve the problem by not having the villains Batman fights routinely kill people. Knock it off. Yeah it's unrealistic but superheroes are inherently unrealistic, and yes, I'm including Batman, do you KNOW how much any given injury writers consider routine ACTUALLY fucks you up long-term?

Don't even get me started on Victor Zsasz.

Anyway I saw DC's doing a Joker Year One next year and just wanted to get that off my chest. Carry on.

[vertexline]

I miss my long hair ;a;

[dragongirlbunny]

we need a haircut soon and cant decide between

trim the ends & get an undercut

cut one side really short

overall reduction to around jaw-length

[werewolf-transgenderism]

very badly need to cut my hair but my bathroom mirror is tiny and I don't want to fuck it up

[dullahandyke]

Oh can we fuck off with the realising of things that would make me happier in a gender way!!! Bro I cant even think about achieving them until I come out n that's not happening until the leavings over so stop fucking giving me concrete things I could do!!! Aaaaa!!!