#using tags to take notes on this

[zenkor123]

From October 4th, after Gale tells him Peeta knows what pains Katniss but Is lying to himself.

WIP undergoing rework(specifically Peeta's manner of speaking)

"The only time she ‘loved’ me was when either I or the crapitol were forcing me on her, he confessed his infatuation forcing her to love him for food, her heart was always yours Gale it's why he gave Katniss the locket as some pathetic  type of apology, I know the limitations of restraining orders but words cannot describe how much I hate what the runt did to her, I'm sorry” 

I notice a brief puase until Peeta takes a deep breath and begins spilling words out:

“Annie, I don't get it, I was unfairly jealous of her, 13 should be the peak of her life, she has Gale, her family is safe, most of the  people who she knew growing up are alive. She as Mockingjay can fight snow. Yeah I did horrible things to her, she had to do certain stuff after her father died, she survived 2 arenas, but there are people far worse off than her. Like me for example. After my return, only 13 really cared about a doomed mad mutt slowly clawing his way to something resembling sanity. But we all know that she isn't in the bathroom to pee, sighs there's a brokenness to her, she's numb and is as quiet as an avox.

Annie sighs: “The heart works in mysterious ways” 

Tong says to Peeta: “Finnick injured himself rather than be seperated, if she cared about you she never would have left you in that state, fuck her”

“But Tong, the time she did visit I called her a piece of work and said she was small and ugly”

Tong responds: “would that bother Finnick, if Leeg went through what you did I would never abandon her ever. shallow teenage relationships  and actual connections are not the same thing”

“Maybe your right,if I had a love for real and she was hijacked I don't think I could handle the hurt, I would need to be institutionalized. They showed me footage of how I was, it's pretty brutal, If she really was my lover I wouldn’t want to be near me” ” Peeta says. 

“No not real Peeta, do you think this is easy for Finnick, it would hurt but most would never cower. It's not you, I think she'll get over whatever is bothering her" Tong replies

"Have I told you I really love your morphling bottles" Leeg said to Peeta

"Thanks!" Peeta says smiling

"I must say, in your second games, the Mockingjay really had us fooled during the beach"

"I'm confused about that as well"

"My 2 credits: it's called the hunger Games, for a reason though only she knows"

"She's only 17 and she's already gone through hell and back she's just so young. And when she's back she has to be the Mockingjay, If I was her lover she would probably handle the pain of a mutt lover, like a 17 year old" Peeta says.

"In D13 she would constitute an adult, now your infantalizing her, in D12 as you know she hunted for food. But if she isn't mature enough to be by your side when you need her the most

But I don't need her! It's my recovery not hers!

Tong ignores the interruption

Then she was never mature enough to have a lover. Let's compare her to you,

Me?

"Yeah, you suffer from constant episodes, yet you still have the strength to fight through them, despite surviving the capitol you still haven't given up. If someone was hurt I have no doubt you would run to the persons aid. Delly said you were making progress you were no physical or emotional threat to her yet she discarded you no longer had any use to her.

"You think to highly of me are you flattering me, I don't think I could handle a hijacked Lover honestly. This sounds like one of my jackered rants. She was only practical becuase she had to survive, it's District 12, but she feels strongly, she did all this to feed her family and keep Gale alive. She's not naturally a cold manipulator as your portraying, Its something she was forced into just like everyone in District 12. "

Its hard for someone from D13 to imagine, the bater and competition for the daily meal, but do you have any hard proof that she ever had a lover?

"Maybe Gale but no"

Tong says "yeah when did you do anything normal together, without a gun to your head?"

Peeta just nods.

“None that I know for sure, in the arena we had to play up that star crossed lovers strategy and get those sponsors, am I right? Peeta says

“in my opinion yes, acting in love is not the same thing as real love unless your the capitol."

Leeg speaks up "you are perfectly in the right for being mad at Delly for pulling the rug from under you and at Katniss for not doing one thing to help, she could have answered all your questions and don't give me the emotions excuse that just means she wasn't willing to put any effort into you. But that bitch lost her chance, if she cared about you she would feel something when Coin challenged her but that bitch can't feel anything. Why the fuck does she deserve to be the Mockingjay?"

"She doesn't strike me as that much of an actor, but being fed lines by me, or Haymitch and having a gun to your head does wonders for your acting skills. And even before I imposed this, she had to let's just say um perform for supper. That's why I believe she fell for Gale, she didn't need him and their relationship was one of willing equals"

Hmm

"The one good thing about this sickening act is that she isn't as hurt by my mutation as she otherwise would be. I would be a full scale psychological torture device if it was real, as if kneeding her larynx isn't bad enough."

"There's lots of lies in the games, it must be so confusing for you" Tong says

Peeta responds

"That's becuase that's what Panem is, it's a giant twisted game. And even if I was able to ask Katniss which are lies and truth, she probably doesn't even know. When I was verbally assaulting her about if she loved me or not she said "That's what everyone says" now I gave her grief over this but I think that's her honest answer the full details are something she wouldn't want to discuss in public or she felt ashamed over her confusion."

Tong laughs : "from what your describing I don't want to know it makes me feel sick".

"I was hijacked to feel mad, then I felt a longing at times for it to be real, but now I just cringe when I rewatch the lovey dovey part of the games. So much fucking implications, lies and subtext. I'm glad I don't have to touch it anymore."

Leeg says "Never forget that your supposed lover and wife left you to fend for yourself. That's why children in 13 call her catpiss"

Tong laughs.

"I don't think I'm the same person, it's probably a good thing that I'm not, I don't see why she would want to help me. I'm talking about Katniss's Perspective if she was my lover, objectively she doesn't have to do anything"

Leeg "your compassion is why she never will deserve you,we're all talking about her moral backbone which she has none"

Peeta says "ugh, Im glad she can't hear us but even if I was her lover at one point, there's nothing I can do to help her. There are simply some things that I will never know. In all likelihood we weren't lovers but if Gale was mutated I don't think she would behave differently but who knows? So anyway, how's the military sector den going?"

[limbcom]

"Holding your hand doesn't have to mean that I accept your friendship," the liar said to the truthful, trying to lie in front of the only person who understands his intentions.

He knows, of course, that the liar did not lie. For the liar is also the truthful.

[hinamie]

subject, specimen, spectacle;

should i say that you're dead?

[aerialworms-art]

Lifespans.

(ID under cut)

[Image ID: A three-way venn diagram floating against a starfield. The circles are coloured; one yellow, one light blue, one a darker shade of blue. The yellow is the smallest, the two blue ones over double its size, with the darker blue the biggest. The yellow is half covered by the two blue circles, while it takes up a small amount of the two blues. The centre overlap between all three is labelled "the precious few years we three were together".

There is very little overlap between the yellow and the darker blue without the lighter blue.

The work is signed 'aerialworms'./End ID]

[ouransisters]

Correct me if I'm wrong but Danny learned Esperanto and Purple Gorilla Sign Language in high stakes situations in a short amount of time. Danny has also called the feds on Vlad and laughed as they destroyed his castle

Therefore

In a demon twins au- and given the chance -he would learn his grandfather's native language and culture (from a ghost cause the guy is like 600) and use it to roast the ever living shit out of his grandfather. Just present it in the cruelst way possible

[enderpawu]

walking through the city and dying inside ! (hes so real for that)

this time wanted to make more of a comic cus i am silly like that :3 also for anyone who doesnt know, this is for my hc au! its called "time magic" and if u like this then consider checking out my page, still a work in progress but arent we all.

[cheriboms]

everybody was very nice on my last post(s) so !!! more cole and manfred be upon you :D

[garblegarden]

waiter waiter! more human guy please!

same thing as usual i just like drawing him

[bitegore]

I made a character sheet to plot your OC's development over time! (There's supposed to be a character name in the big white space next to "over time" but it got eaten a little lmao)

You can use this for whatever you want, and you don't have to credit me. Feel free to change or edit anything you feel like. Please don't tag me if you credit me - just link to the original post.

Credits, explanations & a transparent version under the cut :D

Credits:

The actual image was made with the free NBOS character sheet creator, which is a sort of dated but free and solid text-layout sheet maker intended for ttrpg style character sheet creation.

Fonts used were Bisdak (titles) and Rockwell (body). Both are free! You can use them to fill it out if you like.

Inspired by a comment @maybe-solar-powered-calculator made on this other post about filling it out for characters at multiple points along their arcs. Thanks for putting the idea in my head :D

This is explicitly released under a CC0 1.0 deed, ie: you can do fucking whatever you want with it and I don't care and you don't have to tell anyone where you got it from and no one gets to stop you.

-

Last time I made one of these I got a bunch of questions on all manner of things, and I can never keep up, so I'm just appending a set of notes for how to use it and a glossary because I know some of these phrasings will be confusing.

Ignore or change anything you don't feel like works for you here. You can do whatever you want forever.

Suggested / intended use & general notes:

This sheet could work for something story-level, if you want. But it's really only good for individual arcs; if the character goes through multiple arcs in your story, then they're going to fit poorly here. In that case, you're probably better off doing versions for each arc, or just adapting this to a different format more suited to your thing.

Also, if your arc has a nontraditional structure - divorced from the typical "rising action - climax - conclusion" type of structure where there's a clear 'important turning point' - it may not work as well either.

The mindset section is meant to come at it from a 'golden mean' standpoint - that is, everything on either extreme of the slider is 'too much' and therefore bad. It's not bad-to-good! The far right side is a flaw too. They're only grouped the way they are on basis of the specific OCs I personally had in mind when I put it together.

Growth is labeled 'worse'-to-'better' but it means, like, active decrease in that area vs active increase; if nothing changes, it should stay at the center even if it sucks. The category is about contrasting changes, and sometimes changes are for the worse!

The entire sheet is very deliberately subjective. It should really be answered from the character's perspective - how they feel about it, not what's necessarily true. Technically you can do whatever you want and I can't stop you, but it's a better tool if you approach it from the point of view that the character may believe things that aren't true - that will define their behavior way more than the objective facts of the story.

-

Definitions:

This part is long as hell - recommend using ctrl+f to find the specific words you're stuck on. I defined everything.

General categories:

Mindset: how your character thinks about themself and how they act. Their understanding of their own approach to life. Attitude, viewpoint, decision-making process, that sort of thing.

Circumstances: the relationship between your character and the world around them. Where they are, what that place is like, and how they feel about it.

Growth: how the character and their impact - their attitude, their behavior, their immediate surroundings - changes over time.

Outset: the start of the character's arc.

Present: the 'center' of the arc. If you're planning something ahead of time and it hasn't 'happened' yet, then this is the near future.

End-game: where they are after the conclusion of the arc.

Mindset terms:

Center of the world: "If I have a problem, it's the only thing that matters to me." Self-centered, self-absorbed. Doesn't necessarily mean anything beyond that - they don't necessarily have to be unpleasant to be entirely focused on their own life.

my life isn't relevant: "Everyone else's problems are so significant, I don't pay any attention to my own". Someone who ignores or neglects their own life in service of some other thing, or doesn't consider their own behavior to have any real importance.

Only see enemies: Paranoid. Everyone's out to get them. Anyone who seems nonthreatening is hiding their potential for danger and everyone who seems threatening is a threat. The character must remain ever-vigilant, lest the cashier at the 7/11 suddenly stab them, or their best friend turn out to secretly be trying to poison them to death.

Only see friends: Naïve. Everyone is a good actor who wishes everyone else well, and if they don't seem like they're acting from a place of kindness or care then you probably don't understand what they're up to. The character is pretty sure the stranger holding that knife is, like, someone to chat up maybe, they're clearly only hanging out in this dark alleyway because it's a nice spot and no other possible reason.

overthink everything: Ten thousand thoughts per every single action taken. Maybe they never get around to acting at all. They have to consider every possible outcome. What if by eating lunch they accidentally trigger the apocalypse?! Who's going to think about these things if not them?!?!?!

impulsive to action: Act first, think never. What do you mean "consequences of actions"?

Unilateral decisions: "I will make every choice and no one else's opinions or thoughts are relevant". Discounts outside suggestions. Firmly convinced that they know best in any situation, and will brook no disagreement with their views when it comes to actually doing things.

Command me, please: "I don't know what to do and I don't know what to even start with, someone please tell me what to think". No confidence in their own views. Will not make any decisions unless forced and even then will beg someone else to please tell them what to do. Has no idea what's best and is pretty sure anyone else will have a better idea.

can't ask for help: No one will ever help the character; they have to do everything themself, even the things other people have repeatedly offered to do for them and have much more experience with. Doesn't necessarily mean that no one will help them or that they are explicitly barred by some real-world circumstance; just that, for whatever reason, they refuse to ask for help. This is an attitude thing - will they ever reach out? No? Then they're here.

too reliant on others: Have they ever solved a problem alone? Do they believe they're even capable of doing so? The character all the way at this end of the scale absolutely never expects to be able to do anything themself, has no trust in their ability to solve a problem, and needs someone else to come save them from it. The kind of person who needs ChatGPT to do their homework. Again - doesn't actually mean anyone will help them, or that the people they're relying on are reliable - just that they think they are helpless without ... well, help.

Weapon maker: This has to do with problem-solving strategies and not actual weapons. The weapon-maker is a character who views every situation as a conflict that cannot be de-escalated or solved by cooperation, and responds appropriately. The most fundamental weapon maker character turns everything into an argument, a fight, a war, etc. There are a bunch of other responses to conflict, though - they might avoid problems that need solving because they avoid conflict generally too. Fundamentally what you want to answer here is: when they see a locked box and they don't have the key, do they respond to it the same way they'd respond to someone telling them "you can't open this box"? And how do they respond to that? Typical weapon-maker approaches: - brute-force the box open or try and then give up if it doesn't work; and also get into an argument that might turn physical with the hypothetical person - shrug and give up immediately, in both situations so on and so forth. Another hallmark is that they kind of suck at problem-solving and give up if brute-forcing a problem doesn't work. This is not someone who is picking locks unless someone else told them to - they have one solution, it's to make everything into a conflict, and then to win that conflict by beating them or to give up because they think they'll lose.

Tool maker: This person approaches every situation like it's a puzzle, not a fight - up to and including actual fights. Tool-maker characters generally assume that a situation can be solved by just finding the right approach and doing it the clever way. There's the same fundamental question as above - if your character sees a locked box and has no key, would they approach it differently than someone telling them they're not allowed to open the box? 'Typical' tool-maker approaches: - I can trick the person into giving me the key by saying the right things, and I can also pick the lock because fundamentally there are 'right answers' to both of these - If i make friends with this person, they might change their mind, because now we're cooperating. I can still pick the lock because there are 'right answers' there. - The person has a reason for wanting me not to open the box, so I can definitely figure out what that is and solve the reason so then they'll let me open it. I can take whatever it is even if they really want to keep it if I just find the right answer. I'm going to break this box into little pieces because that's the easiest way to get into it but I could probably open it some other way if that wouldn't work.

A note - the center of this bar is someone who generally has different responses to different kinds of situations - like, in the box example, they'd approach the box and the person with two different general attitudes and processes - but generally responds to those situations using the same kind of decision-making process for each category every time. Most people are nowhere near either extreme. Characters tend to be classifiable into weapon-maker and tool-maker because they are fictional and it's easier to define one kind of approach than many. Approximately average approaches: - pick the lock if no one's around, but give up if someone is there because someone telling me not to open the box is a conflict i think i'll lose but a locked box is just a puzzle that i can solve - argue with the person, but give up on the box, because they're approaching the box as a puzzle and they don't think they have the skill to get into it, but the person is someone who can be convinced or bullied into handing over the key

I made this particular dichotomy up, which is why I think I get a lot of questions on it whenever I put it into anything, but I also don't know of any other snappy way to describe this sort of thought or approach variance, and it's genuinely useful for character writing in my opinion.

Pessimist spot-finder: Generally a downer but not necessarily. This kind of character just approaches everything with a close eye for problems, issues, reasons to find fault. If they're miserable, it might be why, but like, they can be a cheerful spot-finder if you want, I just wanted to get at "the glass is half empty" and "the glass is half full" more than anything.

Optimist upside fan: The opposite. "The glass is half full". If there are problems, they can find something about them that's not so frustrating or bad to focus on. Pretty damn good at overlooking minor issues if there's no reason to fixate on them. Not necessarily cheerful.

Abysmal company: could not give less of a damn about treating people the way they 'should' be treated. Maybe they take pride in that. Maybe they just think it's irrelevant. Either way, they know they treat people badly and they don't see any reason to stop. Does not necessarily mean that they treat people badly if they think they're doing the right thing and are wrong. Doesn't mean they're actually pleasant or unpleasant to hang out with, either, unless you really want it to mean that.

Decent to others: treats people well as a matter of course, or at least they sure think they do. Makes an effort. Would probably care and/or consider changing their behavior if someone said they were treating someone poorly. As before - they can be completely un-self-aware and just think they're doing right by people while treating them completely horribly.

Morality is irrelevant: 'abysmal company' for broader approaches to life and problems. Maybe they just know they're myopic and don't think other people's problems matter. Maybe they just gave up on trying to differentiate between 'good' and 'bad' and outsourced it to someone else or stopped paying any attention. Maybe they just like to take morally unjust actions and can't be bothered giving a damn when someone points out that they're morally unjust, or maybe they're proud of it. Kind of a villain trait generally, but not necessarily - it doesn't have to mean they act badly, just that they don't care if they do. Also, this is about how they choose their own actions and view their own behavior. They can think morality is relevant for other people as long as they ignore it when they act themself.

Always in the right: feels morally righteous in every decision they make. Standard superhero type of trait. Doesn't necessarily pass judgement on others, doesn't necessarily act well according to everyone's moral code (see: blue and orange morality), but they are extremely principled and will never deviate from the moral code they personally believe in. And they do genuinely believe in it.

Circumstances terms:

Generally terrible to generally excellent: how subjectively decent is your character's situation, overall? If they think everything is horrible, but the situation is charmed to everyone except them, then it's generally terrible.

Need for changes to passive tolerance: will they do something about it? Do they feel like they have to?

No agency in action to decisions are huge: agency being "how much power do I have to make changes here?", this just asks how much they have. No agency means that, no matter what they do, nothing will happen - they might be locked in a cage or somehow otherwise completely unable to use any sort of power at all, even the power of just leaving. The other end of the spectrum is where every decision the character makes makes a huge difference, not just to themself but to everyone around them as well. They can start wars, they can have anyone they want killed, they can do anything whenever they feel like it. If they think they have no agency even though they do actually have agency, they don't have agency here. If they feel like they have all the agency in the world and can do anything, then they do even if it's not true. It's perceptual again.

Stakes are deadly to mistakes solvable: what are the consequences of failure? Will you die, will you lose status you can't afford to lose, will you lose belongings, will you have to apologize, will nothing happen at all? Mistakes solvable is where they think every mistake is solvable forever - the character pushes someone through a woodchipper and they come out and to fix it, maybe an apology has to occur, but not much else. Does not necessarily mean no one gets hurt or killed as long as the character thinks there are no permanent consequences. This is the most important one on this section to keep subjective because it will greatly influence how your character approaches situations. A character who thinks everything is deadly-stakes may go to cartoonishly-extreme lengths to avoid turning a report in a day late. A character who thinks all mistakes are always solvable may push someone through a woodchipper and then just assume they can say they're sorry and it'll all go away. The setting and their approach do not need to be applicable.

Needs go unmet to attended with care: how do the people around them treat them? Do they pay attention when the character needs something, or do they ignore it? Does the character have to do everything themself around here, or are there people who will help out?

Regarded poorly to regarded well: how do they think other people see them? Are they respected, are they liked, or are they disliked? Do people broadly trust them or are they pretty sure everyone regards them with suspicion?

Nothing changes to changes in seconds: functionally the 'stability' meter of your setting - is the situation generally stable, or are things constantly changing? Does your character feel like every five minutes, there's a new problem that needs dealing with, or do they feel like nothing has ever happened ever?

Growth terms:

Changes in place: do they go somewhere else? Does the physical setting otherwise change (eg; earthquake, war, etc) ? Are there any other reasons that the 'vibe' or 'experience' of the place is different from before?

Change in power: does the character's percieved agency (see: no agency in action to decisions are huge) change? Alternately you can use it if they've gained or lost power in some percieved way (deposed, assigned a commanding position, etc).

Change in bonds: do their relationships with people change? Have they made new friends, lost old friends, changed the nature of their relationships with friends or partners, etc?

Change in beliefs: straightforwardly, have their beliefs, morals, etc, changed?

Change in hurts: have they undergone some horrible experience? Do they have past trauma from some pre-arc horrible experience they're healing from and/or discovering they're more powerfully subject to? Did they experience a physical injury that they're recovering from or which materially changed their life? Did something recent dredge up old issues? So on and so forth.

Change in hopes: Do their desires for the future look the way they used to? Do they care about different things now? This is something the character is not actively working for, but may be tied to actual goals.

Change in fears: are they overcoming fears? Growing past them? Gaining new ones? Are they scared of shit different from how they used to be?

Change in goals: Not the same as a hope because it needs to have a specific, achievable outcome the character is actively working toward. Do those material goals look different? Perhaps they no longer want to work against something, maybe they didn't have any goals and now they do. Or maybe they've realized the goal is impossible, or something has happened to make that goal unachieveable. Whatever it is, if there's a change, it's a change.

Change in self-awareness: their beliefs about who they are and what they're like, and what their circumstances are. Have they gotten more self-aware, have they gotten less self-aware, or has nothing changed?

Change in relationships: their relationships' overall health and resilience, as far as the character is concerned - which doesn't mean they're necessarily good, just that the character thinks they're how they're supposed to be. Have they improved? Have they gotten worse? Have they not changed?

Change in knowledge: do they feel like they know more about the world, their place in it, the people around them, etc? Not necessarily how to do things - just general information and awareness.

Change in social standing: how does others' regard for the character change over this part of their arc? Do people like them more or less? Are they respected more or less than before? Has nothing changed? And so on.

Change in skills and abilities: do they feel more skilled than they were before? Do they feel like they know how to do as many things as before? Again - not necessarily rooted in reality - a classic example of a character being wrong about this is a 'big fish in a small pond' character who used to be the high school sports star going to college on a sports scholarship and discovering they're not the best any more, and suddenly feeling like they're the worst - when they're better than they've ever been in an objective light. Use a subjective viewpoint for this.

Change in agency in life: how does the character's percieved agency change? Do their decisions matter less now than ever? Do their actions make way more happen than before? (See: no agency in action vs decisions are huge)

Change in outlook: Here's the upper/downer part. Are they more or less hopeful for the future? Do they think things are more terrible now? Are things improving as far as they're concerned? Or has that not changed?

Change in goal progress: how do they feel like they're progressing on the goals they've set for themself? Are they getting further and further away? Are they getting closer?

If some of this doesn't make sense and you want a clarification, you will have to tag me to get my attention, because I'm turning notifications for this post off the minute it leaves my immediate social circle.

Transparent version: (sorry you had to scroll so far)

[memen18-m5r3]

hello surviving centricide fandom...I bring you some wacky food

(i'm also animating a small portion of Centricide 3.5 but since I can't tell how much more time it's gonna take I'll show you some sneak peeks! :3)

((since I'm a certified yapper, I added some additional info + translations to all the images descriptions! not sure if it qualifies as ID so feel free to add upon it if necessary))

[limboni]

A fanart for chapter 2 of "The King of Beltane" by @crkfaeau !!

It's fantastic fic! Both fics of this author are fantastic!

I can express how much I love them!!

Recommend 100000%!!

P.s. tags won't let me add more tags for some reason, so just so you know - It's a rare instance of me not taking a whole year to post stuff… don't hold out hope on this for the future, I appear once in a blue moon

[azuvist]

@messymoonmad said he took a biology book and yeeted it after finding out sea urchins reproduce externally hhhfds.

Mention of @aerbitions ' Poseidon uwu. Took this comic idea from them!

Bonus under the cut

[bonebrokebuddy]

I get that this is due to people not read comics but, if you want a fun lighthearted batfam dynamic, I cannot recommend enough putting your story and characters in the Silver Ages. I see so much fanon material that would fit in this setting perfectly and it pains me that it’s not more popular or well known.

If you don’t know what the silver age of comics is, I’d recommend checking out this article!

And here for the 1956 Comics Code Authority.

It might not be in continuity anymore but the silver ages were such a large era of comics that defined the characters. And the format & restrictions of the silver ages allows you to easily bypass several common issues folks have with plots. In modern comics, there’s constant interpersonal drama because there has to be, if you resolve all those issues then you can’t sell more comics & they lose a lot of tension.

But due to the Comic Code Authority that is no longer an issue!

Randomly ignoring a dark past that makes connection between characters difficult [the poor aging of Jason’s bag of heads making it difficult for him to reunite with the rest of the batfam, for example] because it doesn’t fit with the theme you want?:

Comics are episodic in this era. Think of it like a early 2000s TV show. Things that happened in past comics/episodes often won’t affect the current story at all as the setting resets to default at the start of every comic. Additionally, literally all gore, torture, or explicit descriptions of murder is banned due to CCA restrictions, so you can choose to have it simply never have happened!

Characters that don’t fit at all in a story but you want a crossover for?:

The Silver Ages had SO MANY crossovers of heroes solely bc it sold comics. How compatible they are doesn’t matter in the slightest. The thinnest of reasons why they met works perfectly. You can even just have the characters know each other already and go “I know who can help me with this case! [Insert character you want here]! I met them in my last trip to Antarctica!” You only need maybe one sentence, two if you’re feeling frisky, to explain why they met and then you’re free to run wild.

Want a character to randomly acquire a superpower or meet a long lost cousin they have for one comic and then it’s never mentioned again?

I cannot state how frequently this happens. Silver Age comics were pretty much written cover first. Meaning the cover was made and the story was written after with the philosophy of “if my comic cover is more bizzare and eye catching then kids will buy it!” Like, there are multiple comics where Superman’s head got turned into an ant and Batman gets powers practically every other World’s Finest issue. Like it’s not even an “au” to do these things. That’s just what the Silver Ages were like.

Comic science and comic physics run rampant as well as bizarre villains! You can have so much fun with this!! Heroes often play the straight-man in bizarre scenarios with over-the-top villains in this era, making that aspect shine brightly can make for an inherently funny plot. You could either keep it fun and light or turn it into a psychological horror as the characters realize they can’t disobey the CCA code and have to follow a specific plot.

Also the restrictions of the CCA at the time would also help create some fun and unique plots if you wanted to keep the plot time-period accurate.

There’s a lot of restrictions but there are still many ways to create conflict in your fic! Plenty can come from the CCA directly!

Canon or HC LGBT+ characters could be pressured to not come out or face tremendous backlash. Time accurate homophobia, essentially.

McCarthyism and paranoia ran wild. Oh no someone suspected your blorbo of being a communist/socialist and now it’s ruining their life!

Characters dealing with how the CCA’s restrictions/their reality is inherently bigoted and can’t be themselves. (See: comics on topics of racial & religious prejudice aren’t allowed, characters can’t speak in “slang” or “vulgar language” and “good grammar” is emphasized (often targeting minorities), and the sanctity of family must be respected (no divorce, no queer people).

Also! Crazy over-the-top villains with deadly stakes are played with a lighthearted tone. Play it straight and suddenly your comic changed genre into horror if you think about it for more than a second.

Characters that used to be antihero’s are just straight up villains now or suddenly wake up with massive gaps in their memory and no one else can tell them why. There is no grey with the CCA. Just good and evil. Because that would make the villains sympathetic and we can’t have that!

If you want to just have a fun, campy and lighthearted tone however, that’s the Silver Age’s bread and butter. While keeping the CCA’s code in mind is good to keep a Silver Age story feeling time accurate and Silver Age-y, it’s definitely not necessary to follow each and every rule.

Here’s some more links to free silver age comics and places you can go to find information on silver age comics if you want to learn more that aren’t fandom wikis but rather made by nerds with a passion to catalogue and share their interest to others.

Your local library has a decent chance of having an omnibus of 50s-70s comics or you can order one from a nearby library if your local one doesn’t carry them.

A local comic shop or bookstore. Silver age omnibuses & “50 year anniversary/best of” type collections are usually present and have a good variety of silver age comics.

Jenny Blake Isabella (the creator of Black Lightning) has delightful reviews of the Batman Silver Age Omnibus on her blog that add context, critiques, and overall are a delight to read

Takes some hunting but this Silver Age Comic blog has a bunch of single issue reviews of Silver Age Batman comics.

Want a specific issue to read? Here’s super brief summaries of soso many issues curtesy of The Comics Archives blog.

The Internet Archive also has a few:

Batman & Superman world's finest. The Silver Age. Volume one

Justice League of America, the Silver Ages volume 1

Batman: the dynamic duo archives. vol 2 (I cannot find volume 1)

A good tip to find legal and free comics decently intact is to search [comic run title/character hero name & issue number if you have it] + “blog” + “review”.

There are so many in-depth reviews of comics in blogs by comic fans out there that practically share most of the comic panels in the post while giving context to past issues while the poster adds personal insight and opinions on the comic. Is it going to give you the whole issue unfiltered? No. But it allows newbies to get insight from old fans and old fans to get a new perspective on a comic they’ve already read. Blog reviews are such an underrated way to get new fans into comics considering how great of a resource they are! Don’t know if you’ll like a comic run? Read a bunch of reviews on it from different blogs! It’s truly so underrated.

I see a lot of dc fans that don’t read the comics because they don’t like the violence and dark tone of modern comics or don’t know where to start. Simple solution: Why are you reading reading modern comics then? Give the Silver Ages a try! They’re utterly corny and campy & I love them dearly.

They fit all of those bills with the CCA. Plus, with the episodic stories of that era, you can just pick up an omnibus, open it at a random issue and start reading. Hell, you can toss a stack of silver age issues in the air 52-pickup style and read them that way and you’re still be fine. You rarely, if ever, need knowledge from previous comics as they’ll often directly explain what happened to you. If you really need previous context, just like modern comics, they’ll directly tell you which issue(s) to read first.

Lastly.

It’s good to keep in mind the “By it’s time. For its time. Of its time” rule of comic analysis when reading old runs. Comics are: relevant during their time of publishing, for its intended audience (in this era, young american boys with a non-nuanced worldview) & with little care of how it’ll age, just that it’ll sell.

How history ties itself to comics is fascinating but also it’s good to be a little “👀👀 uh zoinks scoob that was a bad narrative or character decision that didn’t age well” and not dismiss it because that poor interpretation does have historical value as how it shows the moral, social, and political conflicts of the time in a neat little bow. Even if that bow is like, puke green.

Writers of comics will follow the misogynistic and racist ideals along the historical & social conflicts and ideals during the time of the comic’s publishing date. It’s uh, just kinda something ya gotta deal with when reading a lot of old comics runs. Most collections of silver age Batman/best ofs don’t often have comics that aged super badly but if you end up encountering any, it’s good to keep this in mind.

If anyone is inspired to write something based off of this, please tag me so I can read it!

[plague-of-insomnia]

i really think people nowadays assume that they’re OWED fan content, and completely forget the PEOPLE behind the content they claim to love.

people don’t leave kudos. they don’t comment unless it’s nasty/critical. they don’t reblog.

and you wonder why you can’t find any content? maybe it’s bc the creators you claimed to love so much stopped sharing their work bc people didn’t seem to appreciate it/treated them like shit

we aren’t some AI spurting out crap. We’re humans putting little pieces of our souls out there for you to share a little joy.

i just wish more people would remember that, and be a lot more appreciative than entitled little shits.

[aurorangen]

Knowing Leif Pollock, the famous artist, was here, Nancy could not miss the opportunity to serve her esteemed guest. "Hello hello!!! It's an honour to have you dine with us again Leif and Daphne! And your wonderful guests today," Nancy beamed at everyone and then made introductions with her new visitors.

Soon after, the table was making amiable chatter with the head chef, with Bryce in particular, relishing his surrounding atmosphere. "This place is beautiful chef! How long have you been running the restaurant?"

"Thank you so much! Oh not long actually, it's only been a month," Nancy recalled. "My fiancé's parents recently retired and have passed down the restaurant to us. We had plans to locate in Tartosa and start a business there, but we decided to stay here. To continue our legacy."

Nancy looked around the dining area, enthralled by yet another magical evening due to her supervision. Castillons was where she embarked on her journey as a professional chef after graduating from culinary school. And now she is its proud owner along with her love, Hugo. "It's my dream come true to own a restaurant…and this place, it's quite special to me."

After recommending some specialties for dessert, Nancy wished the party a pleasant night and returned to the kitchen.

Note: IT'S NANCY'S RESTAURANT!! 🤭 Did you see this coming? I thought it would be a clue to say Bistro here, which you could link to Hugo as he is French. The lore is that Castillons is a bistro (first opened by Hugo's grandfather) turned restaurant by his parents! But this post was the first thing I thought of once completing the backstory (we got there in the end). I was like I need to introduce Nancy's restaurant in some way and what better opportunity than this ☺️ It was Nancy's dream to open/run a restaurant, so I wanted to make this a special place by building it myself. It took a while because I hadn't done the interior and lately, I keep on having a lack of motivation. I have so many ideas, just no mood or inspo to play. (I kept forcing myself to make the post or scroll simblr but it always tired me out, making me unproductive. But I gave it time and inspo came itself.)

[imerian]

Vr46 academy keychains

Set of five charms that all match in different ways

˚　　　　✦　　　.　　. 　 ˚　.　　　　 . ✦　　˚　

Open for detailed pictures of each one

✩₊˚.⋆☾⋆⁺₊✧ *ੈ✩‧₊˚

ִֶָ 𓂃˖˳·˖ ִֶָ ⋆★⋆ ִֶָ˖·˳˖𓂃 ִֶָ

:･ﾟ✧:･.☽˚｡･ﾟ✧:･.:

˖⁺‧₊˚⭒✮⭒˚₊‧⁺˖

. ݁₊ ✶. ݁ ˖ˎˊ˗

I ran out of tags so I'll say it here but i would greatly appreciate a reblog, especially if you share your thoughts on these pieces in tags (⁠｡⁠•̀⁠ᴗ⁠-⁠)⁠✧

(Also i forgot that bez have matching part with luca so I didn’t add that to tags sorry