when people act like the only problems kon ever has are a) tim dating bernard and b) lex luthor
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“i, criston cole, a grown man in my early twenties (when the show starts), met the princess when she was 14 (in hotd) and 8 (in f&b), groomed her, and then had sex with her while she was intoxicated (and still a teenager) but my stans seem to believe that i, A GROWN MAN, was the one taken advantage of and raped.”
even though she was a child in f&b and these were unsubstantiated rumors. even though he’s been an adult since the show started and she was still a kid. even though he’s been her closest confidant for years and watched her grow up. even though the writers and producers and show runners and actors ALL AGREE that it was meant to be consensual in the show. CRISTON is the one who was taken advantage of? CRISTON is the one who was raped? either get real or get slapped because i have no time for that type of bullshit.
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it’s so funny going into monsterfucker spaces and seeing people argue about whether Venom is a tame monster crush or not and I think I figured out why ppl argue about it. I think there’s two separate levels to liking Venom and people just don’t specify which one they’re talking about
the first is what most people think of: you want Venom when they’re in a separate host and in their more humanoid form. they look like just a really tall guy, and you’ve got some monster traits involved but not quite as many as level two. this is the tame level.
the second level is when you want to be their host. you’re pulling an eddie brock— you’re fucking the slime that lives inside of you and cannot take on a humanoid form outside of yourself. it’s just a mass of black goop that lives in your organs and speaks to you in your head. this is why some people would consider Venom a more extreme monster crush
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the thing is, i love The Narrative, but i also absolutely adore a truly character-focused tragedy where everyone’s downfall is caused not by larger narrative forces, but by hundreds of tiny decisions made by characters who, despite their best efforts, just suck.
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tw // injury, bruises, blood, degrading tattoos
276 days later - Eri the Orphan
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There are a lot of very different, very strong opinions on this scene--but I personally love how they handled it.
Nai is a character that commits many, many atrocities. Multiple genocide attempts, that whole thing with Vash and the dependents, so fucking much. But every villain is the hero of their own story.
And don't get me wrong, the scene where Knives chops off Vash's arm in Trimax? Absolutely brutal, shocking, and impactful. I love it. But this moment, for me, highlights that Knives isn't purely made of spite and hatred. He's full of fear. He's so afraid to lose what he loves.
I hate him. I hate what he does to the characters I care for, I hate how he demeans and violates others, I hate, you know, the excessive murder. But I get it. I've made fucked up choices trying to protect those I care about, I'll probably do it again. And that's what makes him one of the best antagonists I've ever seen.
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Fixing history using the power of editing and my editing skills!!
For today we have, New Titans (1980) Issue #100
✨ Wedding Special ✨
@robstarblog @robstaryeah pinging yall just in case so that this doesn't get lost in oblivion (It'd be painful since I worked 5 hours non stop on it lol)
I think the most time was taken by the final panel and adding in the finishing touches since I pretty much had to change everything to the pixel level, quite literally lol (I'm serious, I did)
Welp I hope the results were worth it! And with that, another one gets a good ending!!
I kinda didn't add sleeves in the first two panels of the final page because it didn't look good and looked janky with how I was editing it so yeah please ignore that-
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when you're the only person who keeps living through the time loop, the people around you cease to be people and become mere characters. your treatment of them doesn't matter because they're not real and they won't remember. the only way to give anything meaning is to end the loop; their actions don't affect the loop and therefore are meaningless. you're the only one who has the ability to change the future, so anything you do in service of that goal is justified.
but. kim dojka looks at yoo joonghyuk and says no, actually, these characters are people. whether they remember or not is beside the point because they are real right now. and you don't give your life meaning by achieving some accomplishment that retroactively makes everything that came before worth it - you give your life meaning in the living of it.
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post/734733274896809984/do-you-ever-worry-your-own-writing-might-come-off that makes sense. i was asking because i'm afraid of accidentally writing misogyny myself and i kind of admire what you do
Hmm... I wish I had better advice to give you on this front, but honestly, the only thing I can tell you is to consider the perspective of your female characters.
Women are people. They have thoughts and feelings of their own, so like... just let them have their own arcs. A lot of the worst misogyny in WC comes from the way that the writers just don't care about their girls (or, in the case of tall shadow, actually get undermined and forced to rewrite entire chapters), so they're not curious about their lives, or WHY they feel the way they do or what they want, or any direction for their character arcs.
Turtle Tail as an example. She'll often just end up feeling whatever Gray Wing's plot demands. She's gotta leave when Storm dumps him to make him feel lonely. She shows up again to love him in the next book. Lets her best friend Bumble get dragged back to Tom the Wifebeater, but is sad enough about her death to be "unreasonably angry" with Clear Sky, and then calms down and accept Gray Wing is right all along.
And then she dies, so he can have his very own fridge wife.
In this way, Turtle Tail's just being used to tell Gray Wing's story. They're not interested in why she would turn on Bumble, or god forbid any lingering negative feelings for how she didn't help her, or even resentment towards Clear Sky for killing her or Gray Wing for jumping to his defense. She isn't really going through her own character arc.
She does have personality traits of her own, don't misunderstand my criticism, but as a character she revolves around Gray Wing.
So, zoom out every now and then, and just ask yourself; "Whose story is being told by what I wrote? Do my female characters have goals, wants, and agency, or are they just supporting men? How do their choices impact the narrative?"
But that's already kinda assuming that you already have characters like Turtle Tail who DO have personalities and potential of their own. Here's some super simple and practical advice that helped me;
Tally the genders in your cast. How many are boys, how many are girls, how many are others?
And take stock of how many of those characters are just in the supporting cast, and compare that to the amount you have in the main cast.
If you have a significant imbalance, ESPECIALLY in the main cast, fire the Woman Beam.
It's a really simple trick to just write a male character, and then change its gender while keeping it the same. I promise women are really not fundamentally different from men lmao. You can consider how your in-universe gender roles affect them later, if you'd like, but when you're just starting to wean yourself off a "boy bias" this trick works like a charm.
Also you're not allowed to change the body type of any girl you Woman Beam because I said so. PLEASE allow your girls to have muscles, or be fat, or be old, or have lots of scars. Do NOT do what a cowardly Triple A studio does, where the women all have the same cute or sexy face and curvy body while they're standing next to dwarves, robots, and a gorilla.
Or this shit,
If you do this I will GET you. If you're ever possessed by the dark urge, you will see my face appear in the clouds like Mufasa himself to guide you away from the path of evil.
Anyway, you get better at just making characters girls to begin with as time goes on and you practice it. It's really not as big of a deal as your brain might think it is.
Take a legitimate interest in female characters and try not to disproportionately hit them with parental/romance plots as opposed to the male cast, and you'll be fine. Don't think of them as "SPECIAL WOMEN CHARACTERS" just make a character and then let her be a girl, occasionally checking your tally and doing some critical thinking about their use in the story.
(Also remember I'm not a professional or anything, I'm just trying to give advice)
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Kakashi: *shows countless times in canon he cares about his students and wants to train them, but a lot of that training is outright skipped for ‘more interesting storyline’
Weirdo’s: nah, Kakashi didn’t teach any of his student’s anything and didn’t care about them at all.
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You know what I will hate?
If someone else has to point out how Buck or Eddie feels. I know that’s a popular trope, but honestly? Fuck that.
Fuck having to tell a queer person who they’re supposed to be with, how they’re supposed to feel. I actually hate that so much. Because why, why is it that after being told we’re supposed to love certain people, and we realize we don’t, we’re told from ALL SIDES who we are supposed to love after we come out. From the people who don’t accept us to the people that do.
I don’t want Tommy telling Buck that hey man you’re in love with Eddie
I want Buck to realize and accept this on his own, it’s HIS choice it’s HIS life he’s finally free so Let Him Have The Control
I don’t want Marisol to tell Eddie he’s not in love with her, he’s in love with Buck. I actually HATE when fans decide the girlfriend has to take upon that role.
I want Eddie to have his own oh moment. I want Eddie to have this soft, happy, light feeling of being free.
I don’t want Christopher a literal chick to tell Buck and Eddie they’re in love.
I want them to discover it together on their own. I want them to talk to Christopher separately and together about it. Don’t involve a child in the love lives of adults.
I do not fucking want Hen (or Karen and Josh) to look at these two and say I called it.
THEY ARE ALSO QUEER!! They KNOW what it’s like to feel the need to keep this part of yourself a secret, to be scared, to be overwhelmed with emotions, to finally feel free.
I want them to be so so unbelievably happy and proud of Buck and Eddie and to not take away from their discovery of themselves. 
I don’t want past girlfriends showing up and saying they knew something was off.
Because you know what? Let’s not make queer characters uncomfortable and guilty for something that wasn’t their fault, something they weren’t even AWARE of, or to feel any pain for a relationship that is very much over.
I don’t think you guys understand how much you seem to demand for us to get buddie as queer, to have Eddie and Buck as queer, and in the same breath want to take what that means away from them
Them realizing they are queer is not something that other characters should have a huge opinion or input on. It should be THEM worried about what others will say and think only to find out they are so loved by those who truly matter.
Coming out as queer is HUGE. It’s not easy, it can be confusing and it’s overwhelming. Let Buck, and if it happens then Eddie as well, go about their own journey their way. Stop forcing other characters, straight or queer, to be in it. It’s not about anyone else but them. It’s not a simple love story of two men that are already out. It’s about realizing hey, this thing I thought I was my entire life? It’s not true.
Let them process that and take it in and explorer what is a completely newworld.
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I have the general rule that I just, don't let myself give a shit about other people's dumbass opinions but I have one pet peeve that I just. Can Not let go of. and it's posts that go
How to write [Minority Group]!
Step 1: Make sure all your characters are exactly like me the op, or are exactly what I like to see in media.
Aside: Anything else is impossible, unrealistic, bigoted and you'll go to hell forever.
Step 2: They also have to use the exact language I do to describe themselves btw, no matter the time period or setting. See the above aside for further explanation.
Step 3: you should never ever even think about the actual mechanics of what makes a trope problematic in its impact in the real world. J ust memorize this list of things that should be banned in all fiction (for being problematic because I don't like them/someone else I agree with said they should be banned)
Step 4: Nuances in identity don't exist <3
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I cannot imagine being a Damian stan right now. You've got both Zdarsky's bullshit (where he clearly doesn't give a shit about your boy) and The Boy Wonder (where Juni Ba clearly gives so many shits about your boy) coming out on the same day. The whiplash must be insane. I hope y'all get some nice warm soup for your efforts jfc
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a court of silver flames gets the award for book where i've said "god i wish everyone in this book would die" the most
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2023 reads
The Deep Sky
scifi mystery thriller
on a deep space mission traveling from an environmentally devastated earth with hope to restart humanity elsewhere
when they’re halfway, an explosion kills 3 crew and pushes them off course
the only witness is the Alternate who has no specific role, and she has to figure out who caused it & if they might continue to sabotage, while they're figuring out a way to get back on course with limited resources
flips between present and the past: of her childhood and training for the mission, her identity struggles, and relationship with her mother
questions the ethics of ‘restarting’ humanity elsewhere vs putting resources into fixing earth
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so often i see people try to downplay violet and minervas relationship like it wasnt Real enough or was some Inferior Romance that her relationship with clementine could Never compare to, and i find it so annoying and boring
she LOVED minerva!! and its okay that she did!! she was her first love!! childhood best friends turned girlfriends!! seeing her being so heartbroken and miserable about what happened to minnie, how deeply and desperately she missed her, hugging that bed frame so pathetically. but clementine makes her CARE again. makes her LOVE again. slowly violet becomes comfortable with the idea of opening her heart up to people again, after trying so hard not to because the pain of losing people she cared about was too much to bear (especially when she blamed herself for them being gone)
then she learns minnie didnt die. shes falling in love with clem while grappling with the fact that minnie might still be out there??
then she meets minnie in the woods. but minnie has changed just like she has. theyre both different people now. and slowly violet is forced to come to terms with the fact that the person she loved so deeply isnt that person anymore??
violet at the beginning mourning minerva and blaming herself, to shooting her to save clems life. she LOVED minerva once, but she doesnt like the person she is now. and shes not gonna let her hurt anyone else she cares about. shes done mourning her by the time they get to the bridge, only crying out for tenn
like idk i just find their relationship evolution to be so interesting and sad as shit. the fact that they once loved each other so much and it has now come to this?? but violet makes her choice and she Chooses clementine, because she admires and loves clementine, probably similar to the way she used to admire and love minerva if the way she talked about her is any indication
i just think "i never thought i would ever feel this way again" is way more interesting than "wow minnie Never made me feel like This"
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