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venus-haze · 8 months

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You're My Best Friend (Homelander x Reader)

Summary: Homelander was a test tube baby, raised in isolation in a cold, clinical lab. But that doesn’t inspire America, does it? Vought tasks you with creating the idyllic backstory for its hero, and what starts as a limited comic run spirals out of control when Homelander himself demands your help in making the story a reality.

Note: Gender neutral reader, but no other descriptors are used. Based on a request by @crash-and-cure as well as a bastardization of one of the sweetest love songs ever written (sorry, John Deacon!) This got kinda meta? Do not interact if you’re under 18 or post thinspo/ED content.

Word count: 2k

Warnings: Emotional manipulation, I guess some gaslighting on Homelander’s part? Do not interact if you’re under 18.

When Vought hired you to create their long-awaited Homelander origin comic series, you were thrilled—until they gave you so little information about his childhood to work with, you weren’t even sure you could come up with one comic, let alone the ten they requested. The details about his childhood were minimal, not even a full printed page—a loving mom and dad, played baseball, did well in school, strong sense of justice from a young age, his friends called him “Johnny.” Your requests to meet with Homelander so you could get some stories from the man himself were constantly denied.

You almost considered dropping the project, until you decided to throw caution to the wind and pull from your own childhood and set it in good ol’ generic suburbia. Some of the storylines were based on your own experiences or things that had happened to people you’d grown up with, though you changed enough names and details to not link it to anyone in particular. Except yourself, of course. Using a pseudonym professionally meant you felt no need to change your own name in the comics. Sure, making your cooler fictionalized self Homelander’s childhood best friend was a bit self-indulgent, but no one would know, really.

To your relief, the editors at Vought loved your ideas, making minor changes before bringing the storylines to their comic artists to bring it to life. The result was Finding Homelander: A Boy’s Journey To Be a Hero. The issues flew off shelves when they were first released, ironically praised for their relatability and authenticity. Vought extended your contract, asking you to produce the cartoon adaptation and another ten issues.

Still, in all of that, you’d never met Homelander. A representative from Vought emailed you to let you know to tune in to his interview on a talk show one day, saying that he’d be talking more about the cartoon project on it. You recognized the host, Tracey, always chipper and having some extravagant giveaway for her audience members. Daytime TV was never your thing, though.

“I think what resonates with so many people is how relatable your childhood is,” Tracey said, holding up a copy of Finding Homelander issue #3, where he saved ‘you’ from getting hit in the face with a baseball at one of his games, catching it with ease. It’d been the happy ending to a short storyline of him struggling to find his place on the team and you encouraging him to not give up. “You and Y/N were pretty close, do you still keep in touch?”

“You know, Tracey, not as much as I’d like, unfortunately. Adulthood can be so busy, you need to cherish those childhood memories,” Homelander said. “I did give them a call when the comics first came out, and wow, the laughs we had over those old antics of ours. Talk about a walk down memory lane!”

You guessed the bullshitting was all part of the promotional circuit for Homelander. Knowing this childhood of his was your own fabrication, you couldn’t help but wonder what else about him was fake. Maybe he wanted to maintain his privacy, you could certainly understand that. You couldn’t shake the voice in the back of your mind that said it wasn’t so simple, that the narrative Vought pushed was a cover to hide something in Homelander’s past.

“Now, I’ve heard rumors of a cartoon show based on the comics in the making, is this true?”

“It is! I’m excited for this project, getting back to my ‘roots’ so to speak. I’ll be voicing myself, of course, but it’s funny you’d bring up Y/N, because they’ve agreed to voice themself, too.”

“How fun!” Tracey exclaimed over the roar of the talk show crowd’s applause and cheers. “I guess this is the hopeless romantic in me, but I hope this reconnection leads to something a little more. I’m just a sucker for childhood sweethearts!”

Homelander laughed along with the host’s giggles, “Well, you never know.”

You balked at the television, mouth agape. Surely he couldn’t be talking about you. ‘Y/N’ could be anyone with your same features. Vought had probably hired a professional voice actor for the role and were pushing the authenticity angle. The whole situation felt odd.

When you checked your work email again on your phone, you nearly dropped it on the floor.

SUBJECT: Meeting with Homelander This Week

The email contained a list of days and times throughout the week wherein Homelander would be free, apparently wanting to meet you to thank you for the success of the comic series and discuss upcoming work. Yeah. That last part you sure as hell wanted to discuss too. You responded with the soonest time available, in a meeting room in Vought Tower the following evening. As soon as you hit ‘send’, you wondered what exactly you were getting yourself into.

Anticipation filled your gut as you went about your day leading up to meeting the supe himself. What would he be like, really be like? Was there even a version of Homelander that wasn’t hopelessly manufactured for the masses? You knew then that his upbringing was a lie, and thus stood the probability that so much else was, too.

When you stepped into that meeting room, you hadn’t been expecting his face to light up at the sight of you.

“Homelander, hi, it’s great to—“

“No need to be so formal, Y/N! You can call me Johnny, just like old times,” he said cheerfully, in on a joke you clearly hadn’t been aware of.

“Sorry, Johnny,” you said, playing along. “It’s great to see you again.”

He pulled you in for an unexpected hug that you returned. “Figured we should catch up before things really start getting crazy, don’t you think?”

You nodded, your nose brushing against him as you did so. Just as your lips parted to offer an apology, he smiled, shooing away the assistant who’d accompanied him out of the room.

He sat down, motioning for you to do the same.

“Gotta say, I’m a fan of your work,” he said.

“Thank you,” you said. “I’m not sure I understand exactly what’s going on, though.”

“What’s there to understand? I’m not allowed to know more about my best friend, our lives together growing up?”

“How did you know it was me?”

“Wasn’t hard for me to put two and two together, but considering everyone else around here has their head up their asses, they have no idea,” he said, before lowering his voice conspiratorially and giving you a charming smile. “I haven’t told anyone. What’s a secret between friends?”

You nodded, overwhelmed by the intensity of his attention on you. “What do you want to know?”

He sighed, resting his head on his hand. “Everything.”

So you told him. Not quite everything, of course, but enough to abate his curiosity. At least for the time being. His interviews were sharper, more specific with details rather than rattling off whatever had been in the comics. You watched in shock as convincing photos of his Little League days were posted to his social media accounts, anecdotes provided by his increasingly frequent conversations–or more like interrogation sessions–with you, but in his style, of course. It was almost scary what the graphic design team at Vought could accomplish, not that you’d ever know how, exactly, as they were all under the same strict NDA that you were.

He started spending more time with you, too, and after a while, it did seem like you were old friends. Part of you flinched whenever you called him Johnny, because Johnny wasn’t even real, but with your complacency, this fabrication was slowly morphing into a strikingly tangible memory. With each conversation, he drew you deeper into the world you’d been paid to create for him until you found yourself slipping up.

You’d been showing him a goofy stuffed monkey on your desk, a cute little thing with big sparkling eyes. A prize for getting two out of three at the ring toss. Probably spent more money winning it than it was actually worth, but it was about the effort, the memories made.

“You remember, don’t you? You won it for me at the county fair,” you said without thinking.

He laughed in agreement, as if he actually had. Except he hadn’t. Your high school boyfriend won it for you a week before graduation. Sensing the mood shift, he set down your prize and looked at you with the same intensity he had when you first met.

“It’s been a while since we were there, huh?” he said. “Why don’t we go back?”

You furrowed your eyebrows. “Go where?”

“Home.”

With a strong arm around your waist, he took off for your hometown. You could hardly tell which way was up or down, he was flying so high, but he didn’t seem to mind the way you clung to him at all. When he finally landed, you recognized the community baseball field where all of his fictional games were set.

“Geez, it’s like nothing’s changed,” he said cheerfully.

You looked at him in disbelief. How long was he going to expect you to go along with it? Or maybe the question you should have been asking was, how long were you going to enable him? The end wasn’t anywhere in sight as he took your hand, and you walked him through your childhood, further enmeshing him in it until you arrived at the house you grew up in.

The middle of the day, no one was home, and so you let yourselves in like you owned the place. Suddenly, the house seemed too small for a man like Homelander to occupy, but he was engrossed in the details of it. He scanned the kitchen, no doubt inspecting the contents of the fridge and cabinets with his x-ray vision. Moving onto the living room, he stared at photos on the wall, the magazines and DVDs that were strewn on the coffee table, giving away your parents’ taste in entertainment.

“Which one was your room again?” he asked.

You swore you could feel his breath on the back of your neck as you wordlessly led him to your room. Each step down the hall felt dangerous, as if you were about to walk into a trap. Face-to-face with the closed door, you opened it, standing aside while Homelander looked around, from what you had hanging on the walls to the knick-knacks you’d left behind.

An uncomfortable tension settled over the room when Homelander closed the door of your childhood bedroom. An odd blend of hurt and amusement spread across his face as he observed the way you were eyeing him, body ready to fruitlessly run from him the way a rabbit would a hawk.

“C’mon, after how long we’ve been friends, I would never hurt you,” he said, as if reading your mind. “We’ve been through so much together. I mean, we were each other’s first kiss.”

You froze. Issue #9. That was something Vought’s editors had added, claiming a romance angle would make the series appeal to the younger female demographic. You hadn’t thought much of it at the time.

He slyly backed you into the wall, leaning over you as you slinked down the slightest bit.

“Show me how we did it,” he whispered, his hand caressing your cheek. “So clumsy and nervous, I can even feel you…quivering.”

“Homelander, I don’t know what you’re—“

He tsked. “Y/N.”

You let out a shaky breath, “Johnny—“

He hummed in satisfaction. “It’s alright. I know it’s been a while.”

You let him kiss you, sweetly in a way that put your actual first kiss to shame. His lips were soft against yours, his tender movements intentional as he cradled your face, pulling you the slightest bit closer to him when you kissed him back.

A sense of familiarity settled over you, warm and comforting like pulling a blanket out of the dryer on a chilly evening. Every time it seemed like you were beginning to overthink the situation with Homelander, he drew you back in with the kiss, a more than effective distraction until you pulled away with a dazed smile on your face.

#homelander x reader #homelander x you #the boys x reader #the boys x you #the boys tv #the boys amazon #homelander #homelander the boys #the boys

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cantsayidont · 4 months

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Despite its protestations of progressive values, STAR TREK media has always explicitly presented (and, with only fleeting exceptions, consistently celebrated) the Federation as an expansionist imperial power, engaged in a large-scale project of colonialism.

The usual apologia/rationalization for this, both from the franchise itself and from its fans, is that the Federation is also a post-scarcity socialist utopia. However, that is expressly not the case in TOS, despite the attempts of the later series to insist otherwise.

Indeed, the plots of some of the most famous and acclaimed episodes of TOS are specifically about resource extraction and ensuring the Federation's access to crucial resources, including lithium (in "Mudd's Women"), pergium (in "The Devil in the Dark"), and dilithium (in "Mirror, Mirror," et al). We are told repeatedly that the Enterprise has a mandate to use force to secure these resources if gentler methods fail. Moreover, while the Federation has a strategic interest in these resources, it's clear at various points in TOS that their extraction and exploitation are, to a significant extent if not exclusively, overseen by private interests for profit. For instance, in "Mudd's Women," Harry Mudd remarks:

Well, girls, lithium miners. Don't you understand? Lonely, isolated, overworked, rich lithium miners! Girls, do you still want husbands, hmm? Evie, you won't be satisfied with a mere ship's captain. I'll get you a man who can buy you a whole planet. Maggie, you're going to be a countess. Ruth, I'll make you a duchess. And I, I'll be running this starship. Captain James Kirk, the next orders you're taking will be given by Harcourt Fenton Mudd!

In "The Devil in the Dark," Kirk ultimately takes a regulatory position — he will not permit the pergium miners to kill the Horta or continue to destroy her eggs — but at no point does he suggest that stopping the pergium production that threatens the Horta is a viable or even acceptable alternative. The accord he proposes is contingent on the Horta's agreement that she and her children will support the mining efforts on her planet, since Kirk emphasizes that "a dozen planets" are depending on the miners to supply needed pergium. (What would have happened to her if she hadn't agreed is not stated, but the episode strongly suggests that she would have been severely punished for noncompliance with Kirk's mediated solution: forcibly relocated to some kind of Horta reservation away from the main mining operations, perhaps.) When the Horta does agree to this proposal, Kirk assures Vanderberg, "you people are going to be embarrassingly rich," which once again suggests that while the miners may have contractual agreements to delivery pergium to Federation worlds, they are still a private, for-profit business, not a Federation department or nationalized entity.

Profit is also Ron Tracey's motivation for breaking the Prime Directive in "The Omega Glory": He believes that he's discovered a "fountain of youth" that he can own, monopolize, and exploit, and that the value of that resource will be enough to buy his way out of legal trouble for his regulatory violations.

We mostly don't see the Enterprise crew handle money except on away missions in other cultures or times, but there are a number of indications that the Federation in this era has not abandoned money: For instance, Harry Mudd's list of past offenses includes purchasing a space vessel "with counterfeit currency," while in "The Apple," Kirk rhetorically asks if Spock knows how much Starfleet has invested in him, which Spock begins to answer, "One hundred twenty-two thousand two hundred …" before Kirk cuts him off. More tellingly, in "I, Mudd," we have the following exchange:

KIRK: All right, Harry, explain. How did you get here? We left you in custody after that affair on the Rigel mining planet. MUDD: Yes, well, I organized a technical information service bringing modern industrial techniques to backward planets, making available certain valuable patents to struggling young civilizations throughout the galaxy. KIRK: Did you pay royalties to the owners of those patents? MUDD: Well, actually, Kirk, as a defender of the free enterprise system, I found myself in a rather ambiguous conflict as a matter of principle. SPOCK: He did not pay royalties. MUDD: Knowledge, sir, should be free to all. KIRK: Who caught you? MUDD: That, sir, is an outrageous assumption. KIRK: Yes. Who caught you? MUDD: I sold the Denebians all the rights to a Vulcan fuel synthesizer. KIRK: And the Denebians contacted the Vulcans.

Whether Deneb is a member of the Federation at this time is unclear, but Vulcan certainly is, and so we may assume that Vulcan and presumably the Federation itself are also part of "the free enterprise system."

The first indication that the Federation does not use money is in STAR TREK IV, and it's not obvious there if Kirk's remark that "They're still using money" is talking about money more broadly or just physical currency, which the Federation may have phased out even if it still uses credit or electronic transfers of monetary value. (Certainly, McCoy's attempt in STAR TREK III to charter a starship indicates that he had some means of paying for passage, since the captain of the ship specifically demands more money upon learning of the intended destination.)

If we accept at face value the assertion of TNG and DS9 that the Federation has genuinely abandoned the use of money, rather than simply going cashless, the most reasonable Watsonian explanation is that this has been a relatively recent development during the 70–80 years between the TOS cast movies and TNG, most likely related to the development of replication technology (which the Federation did not yet have in Kirk's time).

Of course, from a Doylist standpoint, we could chalk up some of this incidental dialogue to the franchise's evolving construction of its own setting, in the same manner as anomalous references to Vulcans as "Vulcanians." Roddenberry and his apologists might also insist that he always meant to depict a socialist utopia, but was prevented by the nattering nabobs of negativity (i.e., the network's BS&P); I'm very skeptical of such claims, but the writers were acutely aware that depicting what Earth is like in Kirk's time would be opening a can of worms, which is why we didn't actually see 23rd century Earth (even briefly) until the movies.

However, the focus on resource extraction and its ramifications is such a load-bearing story element in TOS that the revisionist assertion that the Federation was already a post-scarcity socialist utopia in Kirk's time (as both DISCOVERY and STRANGE NEW WORLDS have attempted to claim) would require really substantial retcons of the original show, perhaps to the extent of insisting that some of those events never took place at all, or happened radically differently than what's in the TOS episodes most STAR TREK fans have seen. For me, anyway, that crosses a line from willing suspension of disbelief to "don't trust your lying eyes," and suggests a frustrating and somewhat disturbing determination to insist that TOS is something much purer and nobler than it is rather than grapple with its actual conceptual flaws and ideological shortcomings.

#teevee #star trek #star trek tos #james t kirk #harcourt fenton mudd #spock #gene roddenberry #i love tos -- truly -- but it doesn't claim to depict a utopia #and its hypocrisies and moral failings are substantial #i am very disgruntled by strange new worlds and discovery #because they clearly WANT to redo tos #but rather than rebooting it to align with their current vision #they've opted for this revisionist death-by-a-thousand-retcons approach

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almacambiondaughterofsaleos · 8 months

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I Just Smell The Passive Aggressive Vibes In This Post

Seriously, this is so Vivziepop to be all fake sweet while underneath her teeth she is just clenching in fury at how she couldn't put her name on this project. Also Vivziepop as been a fan of Tracey for years, so I imagine this would seem like a slap in the face to her even though I think she has a very good reason why she would reject it.

#helluva boss #hazbin hotel #vivziepop #vivziepop criticism #vivziepop critical #vivizepop critique #anti vivziepop #lackadaisy

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pwlanier · 3 months

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Pair of white high heeled shoes for use with artificial/prosthetic legs used by Tracey Baynam, a teenager living with thalidomide impairments, Europe, 1975-1985

“The trouble was they were like an old comfy pair of shoes. By the time you’d got used to them and they were all comfortable you were too big for them and you’d got to have another pair.” Tracey Baynam, talking as part of the Thalidomide Society’s oral history project

Many children living with limb difference caused by thalidomide eventually rejected prosthetic or artificial limbs. For Tracey though,

“I wanted to [wear the limbs] because I was trying to be normal and a normal person wasn’t in a wheelchair, a normal person was standing upright”

As she grew up, she persuaded her limb fitter Fred to make a set of prosthetics to accommodate four-inch stilettos, which he did in his spare time. For each pair of artificial limbs, she had four or five sessions with her fitter, Fred Rose, accompanied by her mum when she was younger. The first task was to make plaster casts of her lower body for the limbs to be altered to fit her body shape. Over the course of the sessions, tweaks and adaptations would be made. However, they were still heavy and could be difficult to move.

“They were never comfortable even the best pair Fred ever made me in the world were never comfortable.”

After years of walking with sticks to help her balance on her artificial limbs, Tracey developed osteoporosis in her shoulders. She had also married and had an active young family and decided to use a wheelchair. Occasionally she still wore her prosthetic/artificial limbs while using her wheelchair, in her words to ‘appear normal.’ After a while though the prosthetics “hung around into the bedroom for ages and ages. Then they just got moved to the loft… It wasn’t done lightly… I needed to put them out of sight so that I’m not tempted because they hurt my shoulders.” After appearing on BBC programme, ‘Call the Midwife’, Tracey donated her artifical egs to the Science Museum.

Thalidomide was a compound found in drugs prescribed to people in the late 1950s and early 1960s. Although today it is associated primarily as a treatment for pregnancy related nausea, it was also prescribed to anyone experiencing symptoms of colds, flu, headaches, anxiety, and insomnia. Thalidomide causes nerve damage in the hands and feet of adults, but when taken in early pregnancy it causes impairments such as limb difference, sight loss, hearing loss, facial paralysis, and impact to internal organs. One tablet is enough to cause significant impairments. Researchers later identified that there was a link between the impairment a person is living with, and which day of the pregnancy thalidomide was taken. UK distributors withdrew the drug in 1961 and a government warning was issued in May 1962.

Science Museum

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pochunts · 9 months

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GERALDINE VISWANATHAN GIF PACK

— ✰ on the page linked below in the SOURCE LINK, you will find ( TWO HUNDRED AND SEVENTY-THREE ) hq gifs of GERALDINE VISWANATHAN sourced from her role as MAYA KUMAR in THE BEANIE BUBBLE (2023). geraldine is 28 but was 27-28 while filming this project. she is of malaysian tamil & white ( swiss ) descent, so please cast her accordingly. all gifs were cropped at 245x145 and were made from scratch by feifer for roleplaying purposes only. therefore, i am taking full credit for these.

gifs feature: Tracey Bonner, Zach Galifianakis, Sweta Keswani, Sarah Snook.

warnings/triggers: Stuffed animals, flashing/strobing lights, alcohol, falling items (balloons).

CLICK HERE FOR MORE GIF PACKS OF GERALDINE

RULES FOR USAGE:

DO: LIKE or REBLOG if you found these helpful or have any intention of using these.

DO NOT:

add or compile into other sources ( gif hunts, gif sets ).

edit or claim in any way ( redistribute or resize into smaller forms - gif icons. giftangles, etc ).

use to portray the faceclaim in smut rps or real-life celebrity groups.

use these gifs as imagery/visuals for smut writing.

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woundgallery · 1 year

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#tracey emin #feminist art #abortion #art #motherhood #word art #installation #contemporary art #project

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siobhans-world · 2 days

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WIP: Sneak peek of some art I'm working on to go with my final chapter of Telling Tall Tales, which I'll post sometime next week:

Mrs Sandwich, Aziraphale and Tracey 💗

Ahhh! I'm so excited and sad for it to end. I've LOVED writing this story.

#good omens fanfiction #ineffable husbands #crowley #aziraphale #aziracrow #good omens #gomens #aziraphale x crowley #goodomens2 #good omens fanart #aziraphale fanart #Tracey #mrs sandwich #ineffable idiots #go fanfic #ao3 fanfic #fanfiction #go fanart

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k00288674 · 5 months

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Marina abramovic

(artist research)

I found the work of marina abramovic quite interesting to view and to experience.

Her work " The artist is present", is a spectacular performance piece where she sits and stares at whoever is willing to sit and stare at her.

I love the idea of art being able to stare back at us, making us feel a mixture of emotions.

Eye contact, can be so hard to maintain as well while interacting with people, even though it sounds so simple to do. So I love this element of her holding her gaze determinedly, provoke different reactions from the person opposite her.

Her work, "Rhythm 0" is also a disturbingly spectacular piece too.

She let people do whatever they wanted to her body, for many hours, with acts becoming more violent as the hours went by.

She put herself as an object (like how women can feel) and represented, I feel, toxic masculinity and how power and lack of boundaries can become very dangerous.

Overall, in my opinion, she is excellent at creating an uncomfortable feeling within people, something of which I feel resonates with my own project work.

(Some work found in book, "The artist body" by Tracey Warr and Amelia Jones.)

EDIT

My use of the word uncomfortable was not intended to be negative. I was conveying how I feel her work is very deep and is heavily thought provoking.

#art #lsad #tus #disrupt #disruptproject #feminism #piano #toxic masculinity #marina abramovic #performance #uncomfortable

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helluva-dump · 4 months

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At this point, the hazbin/helluva critical community has fallen flat. And when I say that, I mean that it lacks potential. Like, I thought we were criticizing about the characters and the show itself. I thought we were talking about it's issues and what Viv could approve on it. But now, these people are just targeting fans of Viv's show who are just going on about their day, taking screenshots of harmful posts and posting it on the critical blog just to shit on them. You can't even consider that "critical" now when you're just being an asshole. They wonder why Viv and her fans think the critics are so bad. On top of that, these people love to make assumptions about Viv harassing Gooseworx all because she's a "terrible person" like please stfu. "She probably did this" and they don't even have any proof. Maybe consider that Viv actually enjoys tadc and it's success? What is all of this "viv is mad because the amazing digital circus is more successful than her shitty shows"? I dunno, man. That critical community is just so fucking dumb and stupid. They're not even talking about the shows anymore. They just bitch and fuss about everything.

For real, I had never seen such a critical community this much of a train wreck as the fandom is.

I mean hell, I engaged with the SVTFOE community before (and that show has the EXACT same problems as Helluva boss) and the critical blogs were very chill.

I feel like what didn’t help is how immature and unprofessional Vivziepop acts publicly. But at the same time…. I can’t really blame her for getting defensive when these antis dogpile her on everything.

And yes, the screenshots making fun of harmless posts of fans were red flags to me. Like dude, we have rabid fans and Stans do that to us, why the hell are you stopping to their level??? (I’m not gonna include the voodoo controversy because that to me needed to be talked about. A lot of POC fans and criticals had every right to discuss that and Viv should had given an apology or explanation over that. With closed religions that always got stereotypes due to colonizers, you need to be careful when writing about them. )

Oh God don’t get me started on the whole Vivziepop and Gooseworks relationship assumptions… that actually annoyed me too and I’m sure there’s no bad blood with them. I get she had bad blood with Tracey and possibly Ashley, but I don’t think it’s fair to assume she’s like this with every indie creator.

Honestly, its both of their fandoms that are acting unhinged. But I even seen hardcore fans of Viv like Dani praising TADC and Gooseworks, so I doubt the whole fandom are planning to sabotage them. TADC isn’t a rain full of sunshine either, they too have so much bad apples there.

Also my big issue with this community I’ve noted some critical blogs that claim they wanna make an original series (well one already made a webcomic) but they NEVER stop bitching about Viv and go on and on how they never do this to their project… unmmm dude? If you constantly compare your project to Viv’s, your gonna lose your audience this way. This can make you come off as an a logger and a very petty person to others. Trust me, this is NOT going to make people want to be interested in your original projects.

It’s also very unprofessional to do this publicly. I get looking at bad writing motivates you how to not to things… but the constant comparing is going to make you look like a very petty person to your outside audience. And they feel like your project won’t have agency on its own without being “better than Helluva/Hazbin.” I say this because I too am working on an indie project I want to make to a webcomic. And I REALLY don’t wanna ruin my reputation that way.

That’s what Zeartist did when he made his shitty ass books and would constantly hitch and whine about twilight on his life journals. And he would always bring up his original series and how it’s “better” and how he wouldn’t write such garbage like Stephanie Meyer.

And guess what???? His books are just twilight 2.0 but even worse 😂😂😂 he ended up doing the exact same thing stephanie did, bitches out over criticism, and yeah a huge hypocritical asshat.

That’s why constantly comparing your project to another person’s to seen as better is NOT a smart idea. Please have some self awareness there if your actually planning to make a webcomic or an original series.

Also… I’ve noticed people that have beautiful startled would waste it on blind hatred. Like that “I HAtE VIVZIEPOP” blog. Like godamn, their art is beautiful but they had an unhealthy hate obsession with Viv… why waste your energy on that when you can make something better?

I’m not talking about rewrites, AUs, or redesigns because to me those are like fanfics and for fun. The stuff I do is mainly just for fanfic fun and a writing/world building exercise for me. But also a little bit of self indulgence since I sitll admire Viv’s characters. You can enjoy something without giving your support to the actual creator. I’m trying to show my support to the team behind it.

(I’m even planning to buy fan merch from one of the clean up artists on their shop. To me it’s the ethical way of getting Hazbin/Helluva merch without directly giving it to Viv but to her artists instead. )

#helluva boss critical #Hazbin hotel critical #have some self awareness yall #anon ask #ask

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