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gojocumdumpster · 10 months

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i saw you were desperate for requests😈 i have arrived with one

gojo x reader where reader helps satoru with megumi and tsumiki. He struggles being a single father of 2 so he calls up reader for support😞

(THANKS SO MUCH PLEASE IM DESPERATE IN NEED! I didn’t know if you wanted s/o so ima do best friends and make his kids toddlers)

Lending out a helping hand

!best friend gojo x best friend reader to lovers maybe? If y'all want part 2 lemme know or if it has a lot of likes I'll just make another one.

Warnings: Gojo being annoying and sfw and a little bit of nsfw because I mean it's gojo.

Afab reader

Gojo had been a single father that had a big impact on his life, he had 2 jobs. A sorceror and a teacher at a high school. You were there for Gojo since day 1. From taking bathes together as babies to working together as adults, he did piss you off a lot but you were always there to support him. *Ring ring* You hear your phone ringing you rolled your eyes thinking it was a scammer company, until you checked and saw a contacts name say "Papa Smurf 🧌". A smile appeared on your face as you answer the phone. "What's up Papa smu-" You say before getting cut off. "Y/n please help I'm struggling to help the kids." He says in a desperate tone. "What's happen-" You say before getting cut-off again. "Please Y/n this isn't the time just pack some clothes and come over." He says before hanging up to attend the 2 fussy toddlers. Thank's to you Superhero y/n was here to save the day! You didn't know how long you were going to be there so you packed 2 suitcases of clothes and personal items. You headed out locking your door to your modern apartment saying your goodbyes.

You drove to his house and pulled into the driveway. Grabbed your suitcases and knocked on the door. Through the door you heard crying from the 2 toddlers. Lord what were you about to deal with it. *Click clack* He unlocks door and sees you. He gives you a big tight hug picking you up and setting you back down. "I missed you so much" he says making way for you. "I did too." You say smiling. As you walked inside the house dishes were piled up in the sink, toys everywhere. You saw the 2 toddlers sitting on the ground in the living room crying. You headed towards his room placing your stuff down. "Sorry this house is a mess I'm under a lot of stress right now and I don't have the time to do them.." He says scratching the back of his head. "No it's all good I came to help you Sato." You say heading over to the crying toddlers. You picked them up one in each arm and sat them down on your lap as you hushed them quietly humming a tune. They slowly start closing their eyes as they fell asleep. Gojo was amazed of what you did, it would take an hour to get them to sleep if it was Gojo. You quietly standed up heading to the toddlers shared room. You placed them in there little beds as they fell asleep. When you came back out Gojo was knocked out on the couch.

You chuckled and started picking up all the toys around the house. You placed them in there toy bin and made your way to the kitchen. It seems like gojo and the toddlers already ate so you put the leftovers in containers and into the refrigerator. You rolled up your sleeve as you started washing the hill of dishes, washing the toddlers plates, silicone silverware and sippy cups. After you finished that you wiped down the counters and cabinets, you wiped your forehead as you headed to his bedroom getting your clothes to take a shower. While getting your clothes you saw a portrait of gojo and you as little kids. You smiled blowing the dust off of it. You walked into the bathroom as it was clean the bathtub had bath toys for the toddlers to play with on the side of it. You were about to turn on the shower. Until Gojo busted in with his clothes and towels smiling at you. "Gojo..no get the fuck out." "I don't think so." He says closing the door locking it smiling. "Come on just like the old days let's take a bath together!" He says taking his shirt off flexing his muscles. "Gojo no." You say rolling your eyes "Gojo yes." He says smiling. "Fine..Fine..don't try anything gojo." "Can't promise that" he says."Well turn around" You say. He rolls his eyes and turns around. You had already started the bath. You covered yourself as you 2 were both naked sitting face to face in the tub. "You don't have to cover yourself." Gojo says. "Whatever" You say uncovering your hands. "Damn those tits got bigger!" He says reaching to grab them. "Gojo!" You say splashing water at him. "Okay okay I won't touch them yet." He says staring at them. You guys bathe and head to the room you guys are sharing. "Don't try anything gojo." You say turning away from him going to sleep. "Whatever." he says smirking. You were in a deep sleep, gojo pressed up behind you hugging your waist kissing your cheek. It's never to late to lend out a helping hand.

#gojo satoru #gojo headcanons #jjk gojo #jujutsu kaisen #jujutsu kaisen headcanons #gojo brainrot #gojo x reader #jujutsu sorcerer #jujutsu gojo

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the-grim-and-sanguine · 7 months

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Writeblr? Introduction? IDK

Hi y'all! I'm a dumbass who forgot that if I deleted my main blog that all side blogs connected to it will also be deleted! So blogs I've had since before 2017 are now gone and I'm the only one to blame! I'm not upset at all /sar.

ANYWAY, here's my FRESH and NEW blog! I know a lot of y'all (if anyone reads this) will know that you'll get a different viewing experience depending upon where you read this but the image included above is what my blog looks like on the web!

ANYWAY! Y'all can call me Concerned (cause I'm concerned about everything all of the time) and I've been using Tumblr for...too long. But I've only been on the Writeblr side since 2019? My partner talked me into it. I was never super active but that's cause I'm an anxious person who doesn't know how to do a proper interaction. But I'm working on that! More about me under the cut!

I'm 25, and (unfortunately) unemployed due to the many (many) things wrong with me. Physically wise, I deal with vertigo and some hyper-mobility issues. Mentally, I got the depression (w/ psychotic features), anxiety, and PTSD.

I'm also Autistic! And currently struggling with autistic burnout (going on two years? I think?).

Outside of writing, I like to game (mostly Overwatch and Genshin Impact, but I have other games I like to mess with) and play with my dog, a giant fluff monster with two brain cells.

Bleh

My WIP's that I need to write for more:

Blink City - superheroes x influencers x monsters?

Foray - sci-fi fantasy? Think vaguely Nimona? Flying cars mixed with magic and royalty? Focuses on growing up and healing from trauma

Sanguine - it's a mix of paranormal fiction and realistic fiction? Focuses a lot on loss of memory (kinda) and identity, as well as healing from trauma

ALSO ALSO If you have made it this far (thank you if you have) - the DO NOT CLICK button on my fancy page does ACTUALLY WORK and the link will be updated MONTHLY (if and when I remember) so if you want a funny/memey YouTube video please check it out!

If you can figure out what this photo and my blog have in common you get a sticker ⭐.

#writeblr #writeblr introduction #not quite a writeblr #about me #about my blog #wip: foray #wip: sanguine #wip: blink city #my wips

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dark-nimbus · 7 months

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A Rant on Representation in Media (mostly comics)

CW: ableism, disability erasure, mentions of fat phobia, mentions of fetishization, lmk if there’s anything I missed

I can’t believe that here in 2023 we still have to say this, but fuck it this year has already been hell enough so why not add another thing

Representation, whether it be for disabilities or culture, race or religion, any marginalized group— ALWAYS MATTERS

I spent the majority of the other night dealing with people trying to downplay the impact of Barbara Gordon’s paralysis being retconned. Wanna see how that went?

“Oh, but it’s okay if Barbara Gordon still has some mobility because there’s paralyzed people that regain their ability to walk”

Her spinal cord was completely severed, she was left fully paralyzed from the waist down

“There’s a 60yo fighting in a Kevlar bat suit and shifting clay people, but Barbara getting her legs back again is a problem?”

Okay, can clay people restore a spinal injury? Can Batman punch a nervous system into fully functioning? What relation does that have?

Aside from the fact there’s zero connection between the two, paralysis actually fucking exists. Batman and clay shifters, believe it or not, don’t. Lemme know if you find an irl Batman or Clayface that needs representation. Go on, I’ll wait

“Barbara being able to walk again isn’t disability erasure, there’s other paralyzed characters”

The definition of disability erasure is literally terminating someone’s disability under the belief it makes a person less than. The fuck you mean it’s not?

And how many paralyzed comic characters can you name? I’m willing to bet it doesn’t come to 50. Every character belonging to an underrepresented group matters. Whether their representation is taken away completely with that one character’s erasure or not isn’t the fucking point. You’re still fueling the already negative stigma around disabilities and sweeping disabled people further under the rug

“Her disability erasure doesn’t matter, DC will just paralyze her again in later issues”

I’m sorry, are you completely paralyzed from the waist down? Do you embody each and every paralyzed person and their experiences? No? What makes you think that you get to determine whether the erasure of something you don’t even have matters?

As for DC re-paralyzing Barbara, it’s been retconned since 2011. Even if they do plan on undoing whatever whack job microchip magic they’ve got going, they sure as hell are taking their sweet-ass time

I can’t believe people were actually arguing in favor of Barbara’s disability erasure, but here we are. Representation has always mattered and always will, and yet media loves grossly misrepresenting everything. Barbara was such a strong character as Batgirl, and flourished in her character development even more as Oracle. Her struggles, overcoming them, and learning to love herself and value her abilities beyond the mantle made her a well-loved inspiration for many. To have all of that stripped away and undone with a microchip was just as insulting as it was a destroyed opportunity for character growth

And unfortunately that’s not the first conversation I’ve had regarding the representation of characters

Oh, you thought I was done? Ha! I wish. How about Spiderverse?

“Oh but Sun-Spider can’t be a superhero, she’s wheelchair-bound!”

Professor X. The Chief. Oracle.

And just to cover all my bases: Bucky Barnes, Daredevil, Hawkeye, Doctor Mid-Nite, Hornet, Jericho, Cyborg. And that’s not even going into characters with much more hidden disabilities. Disabilities never stopped anyone from being able to achieve anything, nor should it ever

“Fat spider-people? Really? That’s just unrealistic”

Yes, really. What’s the problem with that? Surely it’s not the webbing, which have been proven to be durable enough to support buildings. No way it’s how they’re shaped when there’s a car, a horse, and a whole ass T-Rex spider variant

Some people really forgot the whole concept behind the first Spiderverse movie. How Stan Lee made it clear that “anyone can wear the mask.” It doesn’t matter your body type, whatever disorders or disabilities you have, your ethnicity or your upbringing. Being a hero is so much more than that, and the diversity of each spider-variant only reinforces how Spider-Man represents everyone

But let’s go even further with voice acting

“So what if Sunspot is being voiced by a white person instead of an Afro-Brazilian voice actor? It’s animated”

Oh wow I wasn’t aware that representation stops at the sound machine. Yes, Sunspot’s newest voice actor is Brazilian, but with a character whose ethnicity plays an integral part in his story, you’d think Marvel would figure casting an Afro-Brazilian VA would be more authentic for the role than the fourth white dude in a row, but no. Of course not

And with each VA they cast, Marvel pushes Afro-Brazilian VAs out of this role they’d intimately understand and be passionate in representing. VAs that Sunspot fans would love to see knowing that their favorite character (or even themselves) would be understood, rather than being hollowly voiced with characteristics that don’t match the person

“If Sunspot should be voiced by an Afro-Brazilian voice actor does that mean Magneto should be voiced by exclusively German Jewish voice actors? It’s not a monolith”

And neither are Brazilians. Hell, neither is any religion or race. That’s why we want an Afro-Brazilian VA. There’s so many nuances that can only be breathed into the character by someone who understands because they themselves have lived that life. It may be small but those nuances are what make the character feel alive to their audience, and the closer a VA is to the experiences of their character, the more genuine the character feels

Portraying animated characters doesn’t fall completely on the writers and artists. Artists may take control visually, and writers may be responsible for plot and voice lines, but it’s the VAs that are in the spotlight. VAs are the ones that gives these characters character. And those characters can’t be fully and properly represented for viewers if it’s not all there

Representation always matters. Its significance doesn’t go away with erasure, and it definitely isn’t less important because other people who aren’t among that marginalized group refuse understand. Disabilities don’t define who someone can be, nor does body type, or culture, or religion or any other background. It doesn’t stop at the sound machine. Anyone who says otherwise are just adding to the ignorance most media uses to excuse the already shit representation of the entertainment industry

Every marginalized group is valid. Every minority deserves to be portrayed as they are and not feel like they’re being fetishized, infantilized, or inaccurately represented for the sake of plot

Little me, the queer adopted Asian kid with raging ADHD, severe anxiety, and shit communication skills deserved more than the fetishization from anime characters and shouldn’t have needed to wait until they discovered Cassandra Cain, the first character to show that superheroes could look like them too

And people that never struggled to find themselves represented in media sure as hell don’t have an excuse to encourage lacking representation and feign ignorance when common decency and basic human empathy is free

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newbornwhumperfly · 10 months

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@whumpmasinjuly day 19! (list your favorite whump blogs)

@haro-whumps - their villains strike true fear into my heart and i absolutely adore the way they don’t shy away from the harsher, nastier sides of any of their characters (including the heroes), making whump that feels deeply complex and conflicting! i love their broken whumpees and sadistic whumpers and deeply human caretakers so much. galo and the group whumpee family are my first beloved whumpee ocs & ren lives rent free in my head as an all-time scary bastard! your ocs have such distinct personalities and struggles and you find such a way to make every single depiction of fear and anguish utterly unique, so every new whumpee feels fresh and exciting!

@much-ado-about-whumping - my goodness, what a fucking exquisite grasp of prose he has! i fell deeply in love with déomas from the moment i met the poor boy (as well your wonderful boy andreas) and every day am envious and admiring of bel’s skill at portraying complicated survivors! i love how you write aftermath as well, with the non-linear healing and gut-punch of lasting trauma making your whump work so unique to me! and god, if there is a mastery of non-con whump (and the realism and thrill and ache of all requisite traumas) you’ve truly grasped it with both utter sensitivity and delightful darkness (and also a profound rethinking of sexual trauma survivors for me in a very real way).

@whump-tr0pes - god, athena, so many books and every one of them rocked me to my core? your characters fucking challenge me so deeply and i love it, and your master of character development and change and growth and regression and everything is just…beautifully broken and incredible. your writing makes me uncomfortable in the best way possible and at the same time satisfied with every little arc - it’s such a gift!

@whumpthisway - first ever whump blog i followed three years ago, has been both a gateway to excellent creators and is very generous with tagging, something i deeply appreciate!

@whumpzone - cerys, your passion for engaging with your audience really warmed my heart when i started following you and i adore how engaged you made your audience feel to participate in your storytelling! you also have one of my favorite caretakers of all time in the wonderful linden! both your series are beloved rereads forever and ever, both of their storytelling progressing and developing so beautifully to natural endings. it’s so goooood.

@ashintheairlikesnow - a titan of this community, i am overawed by the sprawling scope and detail of her worldbuilding. her writing has reminded me again and again how good stories can be when you let your characters influence the world! your depictions of trauma and institutional abuse have impacted me and my thinking quite a lot, no joke, and you have a scary-good ability to capture banal evil.

@secretwhumplair - has an exquisite ability to capture fear, truly enviable how bone-deep their written terror strikes me!

@whumpster-dumpster - keeps churning out creative and inspiring prompts after all this time, i’ve gotten so many good story ideas from red!

@whumping-every-day - though absent for so long, i still absolutely adore her writing & her vampire whump (ash and callum) is absolutely top of the line in visceral brutality!

@whump-me-all-night-long - has such a good ability to balance casts of characters in her stories (my personal favorite being the jewelry box) with distinctive personalities and a wonderful imagination for new ideas!

@wolfeyedwitch - perhaps my personal favorite at writing superhero/villain whump and has such a great ability to capture the trope of team vs. outsider angst!

just a short list of the blogs that i bow in admiration and delight of every day!!! you all are so incredibly talented & i love you! 💖

#all of you get me through the goddamn day with your enthusiasm and excellence and kindness 🥰💖🥰#whump community #not whump #wij23day19 #whumpmasinjuly2023

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eclipsebyler · 2 years

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You ever think about how both El and Mike in S4 (or maybe throughout all seasons) are both dealing with self-insecurities? Their issues are incomparable of course, but there are a few similarities.

Both of them are scared and are struggling to be themselves.

With El, she was worried that she was a monster. With or without her powers, she felt that way. She especially had a difficult time when she lost it because at least she could save people and be a superhero to everyone when she did. She felt like she had to do something, to prove something, just so she could be worthy. She depended her self worth on what the important figures of her life think of her. She was insecure and hesitant with herself, it's clear in the way she's influenced by other people and how she lied about her real situation in Lenora. She is struggling.

With Mike, he was worried that he was just this "random nerd" who didn't have any good traits to be proud of. He was scared that El (or anyone) might not need him at all. He's scared of losing people time and time again, and him not being able to do anything to protect and save them. He always tried hard to be a different person than who he truly was, tried hard to impress someone, and depended his self worth on the opinion of important figures of his life. He's also struggling.

Both of their arcs have been intertwined since the beginning, and we could see these two characters trying to find that validation with each other the most— in their relationship. And time and time again, we'd see them not get that— and it was mostly evident in S4.

El thought Mike saw her as a monster that needs to be feared. Mike thought El saw him as just a random nerd who isn't needed. They make each other insecure about themselves. They didn't get the reassurance that they need with each other: they're loved just the way they are.

They're similar in those little ways and yet there's also a clear difference— while El was trying to find her self identity, Mike was trying to repress his.

And their individual arcs seem to be resolved by different people, or rather, a different person.

For El— we've seen her grow throughout the seasons with the help of many people. The party (yes, that still includes Mike. Pre-relationship, they had great dynamics aka platonic Elmike). Hopper. Kali and the group. Her mother and aunt. The Byers. And her memories getting back in the lab had helped her stand up for herself and realize her worth. But in the end, one person had really helped her see that it's okay for her to be just the way she is: Max.

"Not Hopper, not Mike. You." This specific line from Max had made such an impact on El and this was focused on by the end of Vol 2. Max had befriended her without conditions, and hung out with her and respected her choices. I think that's what El appreciated with Max the most: she gave her freedom and choice because that's the normal thing to do. Max made her feel normal. She's the first person that didn't try to tell her what to do, nor to hide her and be overprotective of her. She can do anything she wants, she can be anyone she wants to be: and Max supports her. In a few days, El has learned so many things about herself and she finds that she loves it and it's all thanks to Max's help.

And like El, Mike also has a few people who have helped him be comfortable in his own skin but one person essentially sticks out and helps resolve his arc in S4: Will. "Without you, the heart, we'd all fall apart." In one painting, in one speech, Will had easily eased Mike's worries about his insecurities. And although Will was veiling his confession with El's name, it doesn't change the fact it's his words. It's his feelings. And what I love most about his speech is that he doesn't only focus on El (himself), he also tells Mike that the party needs him as a whole: essentially saying everyone loves him for just the way he is. He didn't need to prove anything to anyone. He's always loved and needed without conditions. Will always intended to give the painting to Mike as a gift, to make him feel loved and appreciated— not as a confession for his love. Will's love for him is so selfless, beautiful, and pure.

El and Mike's arcs have been intertwined with each other, have been dealing with a few similar insecurities, and yet — it's not with each other that they find their needed reassurance. They don't grow as better people in their relationship. No, instead, they learn that with other people.

For El, it's with Max. And for Mike, it's with Will. And I think that already says a lot with which relationships S5 would focus on and which relationships would make more sense for the story's conclusion.

#el hopper #mike wheeler #mlvn analysis #byler #elmax

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isfjmel-phleg · 8 months

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We need a Flash adaptation in which Barry is dead.

That sounds harsh. Hear me out.

I haven't seen every Flash adaptation ever, or even most of them, but I have noticed a trend in recent ones, namely the CW series and the JL film that I made the mistake of watching. They feature Barry as the Flash, but neither of them really portray the character as he is in the comics, at least in terms of personality. The series gave him some of Wally's traits (and plotlines!). The JL movie decided to make him more like Bart, and not even in a good way.

Heaven only knows what was going on with that movie, but the series Wallified Barry so frequently perhaps because there's comparatively little material featuring Barry. He was created in the Silver Age, and most of his stories are very characteristic of that era's cheerfully chaotic and nonsensical approach to writing. That (presumably) doesn't translate well to twenty-first-century viewers. There are much fewer recently-written stories featuring him, especially when the 2014 series started, because Barry was brought back into the comics only rather recently. It was canon for twenty-four years that he was dead.

And what an impact that death had. It resulted in Wally's having to take up his adored mentor's mantle while struggling with his perceived inadequacy to live up to Barry--a major part of his characterization for a long time. Bart too has the legacy of his grandfather hanging over him; he's more removed from an angsty connection to it because he never knew Barry, but he feels the weight of the expectations placed upon him and has a complicated relationship with those expectations. Barry died saving the multiverse--essentially died a martyr by superhero standards--which puts him on a pretty tall pedestal to those left behind. The internal and external conflicts resulting directly or indirectly from Barry's death set the tone for the Flashfamily for a long time. And those stories from the late 1980s through the 2000s established a lot about the characters and mythos.

So in a continuity that brings him back...what do you do with him and with all these characters whose journeys have been built on his absence? Hence the Wallification of Barry in the CW series. Just transfer some of the more familiar characterization and plotlines to him, and there you go. (Which results in a flattening of Wally's character, so they give him some of Max's characterization, etc. etc.)

I think it would be a fascinating angle to explore stories that reflect the Post-Crisis state of the Flashfamily in which Barry is dead but still looms over everyone as the idealized representation of all that they must become.

An adaptation, say, of Wally's early years as the Flash as he grapples with feelings of inferiority that hold him back from reaching his full power--lots of flashbacks to his relationship with Barry, but colored through Wally's not-quite-accurate perception (his uncle wouldn't really want him to be so hard on himself! he wouldn't want to be remembered as an impossible standard of perfection!).

Or maybe an adaptation of the legacy struggle that ensues when Bart shows up and there's a possibility of Wally having to pass off the mantle.

Or an adaptation of Iris's Life Story of the Flash but framed in terms of the family's responses to and perceptions of Barry's life and how that affects them and interacts with who he really was before the lens of his martyrdom.

Say, a series of adaptations that sets all that up--and then, and only then, bring Barry back to life. Right in the middle of all that drama, of a family dynamic that's built around his not being there anymore. And let them all have to adjust to that.

The Flash comics have become at their heart a story about family. Barry's death played a vital part in getting the narrative to that point. So an adaptation that wishes to capture the dynamic of the family shouldn't ignore that. I'd like to see someone have the nerve to do it.

#comicsposting again #the animated YJ series kind of gets at this by killing off a beloved speedster #...just not the right one and it definitely produces a different dynamic and shuffles around characterizations to other characters #not saying it's ineffective...just different

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laidee-flegman · 6 months

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superhero shadow work journal prompts

I got really inspired by one of the prompts I made last week, so I decided to make some more with that theme! So here's some shadow work journaling prompts surrounding your superhero origin story! Enjoy!

The Arch-Nemesis Within: Identify the internal struggles or negative patterns in your life that feel like your personal arch-nemesis. How have these challenges shaped the villain in your story?

The Sidekick of Self-Doubt: Explore moments in your past when self-doubt acted as your sidekick. How did it influence your decisions, and what strategies did you develop to overcome it?

The Catalyst for Change: Recall a specific life event that acted as the catalyst for your superhero transformation. How did this event push you to grow, and what strengths did you discover within yourself?

The Lair of Fear: Shine a light on the darkest corners of your fears. What fears have you conquered, and which ones still lurk in the shadows, waiting to be faced?

The Training Montage: Reflect on the skills and knowledge you've acquired through life's challenges. How have these "training" experiences equipped you to face adversity with resilience and strength?

The Secret Identity: Explore the different roles you play in your life, such as a friend, partner, or professional. How do these roles contribute to your superhero persona, and are there aspects of your identity you keep hidden?

The Superpower of Resilience: Identify a setback or failure that could have defeated you. How did you bounce back, and what did you learn about your own resilience?

The Origin of Strength: Reflect on a time when you discovered a newfound strength within yourself. How did this strength emerge from a moment of vulnerability or challenge?

The Quest for Acceptance: Explore your journey toward self-acceptance. What aspects of yourself have you struggled to embrace, and how has this journey shaped your superhero identity?

The Alliance of Allies: Identify the people who have been instrumental in your superhero journey. How have these allies supported and influenced your growth?

The Villain's Influence: Reflect on toxic relationships or negative influences from your past. How have these villains contributed to your character development, and how have you overcome their impact?

The Climactic Battle: Describe a pivotal moment in your life where you faced a significant challenge head-on. How did you emerge victorious, and what did this battle reveal about your inner strength?

The Symbolic Costume: If your superhero persona had a symbolic costume, what would it represent? How does this costume reflect your strengths, vulnerabilities, and values?

The Mask of Vulnerability: Explore moments when you've had to remove the metaphorical mask and be vulnerable. How has embracing vulnerability contributed to your heroism?

The Cityscape of Challenges: Envision your life as a cityscape filled with challenges and obstacles. How do you navigate this landscape, and what strategies do you employ to overcome hurdles?

The Rebirth: Recall a transformative experience that felt like a rebirth. How did this experience mark the beginning of a new chapter in your superhero journey?

The Legacy of Lessons: Reflect on the lessons you've learned from your past struggles. How do these lessons contribute to the legacy you want to leave as a superhero?

The Cape of Compassion: Explore moments of empathy and compassion in your superhero journey. How do these qualities define your heroism, and how do you extend them to yourself and others?

The Fortress of Self-Care: Describe your fortress of solitude, a place where you recharge and practice self-care. How does taking care of yourself contribute to your superhero abilities?

The Quantum Leap: Imagine a quantum leap in your personal growth. What superpower or quality do you gain, and how does it propel you forward in your hero's journey?

#journal prompts #journaling #shadow work prompts #shadow work journal #journal #journals #writing prompt #shadow work #inner self healing #my inner demons

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thoughtportal · 11 months

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How Warner Bros. Discovery CEO David Zaslav Became Public Enemy Number One in Hollywood

A series of maneuvers from the executive has angered the film community.

By Jason Bailey

July 3, 2023

Picture this: A captain of industry standing at the lectern at his alma matter, resplendent in his red-and-black graduation regalia—and getting booed. David Zaslav, president and CEO of Warner Bros. Discovery, was delivering the commencement address to Boston University, recalling how the late General Electric CEO Jack Welch once told him, “If you want to be successful, you’re going to have to figure out how to get along with everyone—and that includes difficult people.”

But instead of soaking in that kind of wisdom, some students were heckling Zaslav. Others had turned their backs to the stage. Now more were chanting, “Pay your writers.” Zaslav, a studio head, is often invoked as a villain by the striking Writers Guild of America.

He tried to press on with his story, continuing to quote Welch: “Some people will be looking for a fight.” The booing continued.

Zaslav later issued a statement thanking BU for the invitation, and insisting, “as I have often said, I am immensely supportive of writers and hope the strike is resolved soon and in a way that they feel recognizes their value.” But while BU President Robert Brown publicly apologized for the incident, blaming it on “cancel culture,” many observers saw it as a victory for the striking writers.

David Zaslav has become the face of a rocky and controversial new period in Hollywood. Few people who weren’t industry insiders even knew his name two years ago, when Discovery merged with WarnerMedia to become Warner Bros. Discovery. Zaszlav had been CEO of Discovery Communications since 2006, where he oversaw the transition from, in his words, “no longer a cable company, (but) a content company.” What that meant, from his critics perspective, was Discovery’s transition from educational programming to low-effort reality programming—which seems to be a much more lucrative business model.

There were, of course, considerable challenges awaiting the CEO of the new Warner Bros. Discovery conglomerate, whomever that might have been. Essentially every studio has taken fire the last few years. (Scarlett Johansson went nuclear on Disney!) Warner Bros. had, like most motion picture studios, struggled considerably during the pandemic. And then, in late 2020, before AT&T spun it off and Zaslav was brought on to lead the company after its merger with Discovery, Warner Bros. decided to simultaneously stream their entire 2021 theatrical slate on the HBOMax streaming service. This upset filmmakers, including those whose films were impacted by it, as well as theatrical chains that showed the movies. Christopher Nolan, whose enormously profitable relationship with WB began back in 2002, was reported to be so pissed that he took his new film Oppenheimer to Universal out of frustration with the company’s handling of his 2020 feature Tenet.

After a grueling pandemic, some are wondering whether the right person for the job of healing the wounds and reestablishing relationships with filmmakers might not have been Zaslav, the guy best known for shepherding the likes of Naked and Afraid, Dr. Pimple Popper, and My 600-lb Life. But, to be fair, figures from the world of reality TV are often seen with suspicion, if not outright snobbery, by those responsible for scripted fare. And Zaslav's most visible moves have been as a businessman.

One oft-referenced move: Zaslav announced that two nearly completed films that had been greenlit and produced under the previous regime—the DC superhero story Batgirl and the family-movie sequel Scoob!: Holiday Haunt—would not be distributed on the platform or released in theaters. Instead, they would be essentially used as a tax-write down. “We’re not going to put a movie out unless we believe in it,” Zaslav said in an earnings call, responding to a question about Batgirl. “We’re going to focus on quality. DC is something that we think we could make better and we’re focused on it now.” A WBD spokesperson told The Hollywood Reporter, “The decision to not release Batgirl reflects our leadership’s strategic shift as it relates to the DC universe and HBO Max … We are incredibly grateful to the filmmakers of Batgirl and Scoob! Holiday Haunt and their respective casts and we hope to collaborate with everyone again in the near future.”

Eagle-eyed subscribers subsequently noted that several other Max originals, including the Seth Rogen comedy An American Pickle and Robert Zemeckis’s remake of The Witches, had been quietly removed from the service, in a further attempt to save money. The service proceeded to remove several dozen series from its library, from HBO originals like Westworld and Vinyl to family programming like The Not-Too-Late Show with Elmo to animated series like Infinity Train. Even episodes of Sesame Street weren’t safe. (Westworld and other programs were moved to free ad-supported streamers like Tubi and The Roku Channel.) Several other streaming services, including Paramount+, Starz, Showtime, Disney+, and Hulu, have followed suit, disappearing their underperforming originals.

Meanwhile, the merger of the HBOMax and Discovery+ services continued apace, with HBOMax rebranding to “Max,” removing its most prestigious and identifiable piece of branding, and as result, playing down its history of high-quality, high-profile scripted programming. It didn’t help that, on the “details” tab for film and shows on the service’s new interface, the writers, directors, and producers were initially lumped together, in no particular order, under the nebulous designation of “creators.” A joint statement from the Director’s Guild of America and the Writer’s Guild of America West criticized the “unilateral decision by Warner Bros. Discovery to change the long-standing individual credits of directors and writers in the new rollout of Max.” Max quickly promised to “correct the credits, which were altered due to an oversight in the technical transition from HBO Max to Max.” The company called the terminology a “mistake” and began rolling out revised credits around a month later.

The most star-studded criticisms of Warner Bros. Discovery came in mid-June, when the company cut loose five of the most senior executives at Turner Classic Movies—“the people who’ve been the architect of the brand for decades,” according to one insider. The cable network is beloved among cinephiles—and high-profile filmmakers. Steven Spielberg, Martin Scorsese, and Paul Thomas Anderson quickly released a statement noting that “Turner Classic Movies has always been more than just a channel. It is truly a precious resource of cinema, open 24 hours a day, seven days a week. And while it has never been a financial juggernaut, it has always been a profitable endeavor since its inception.”

The writer's union is striking for better wages and working conditions, and many of these fights are simply about how to split up a financial pie that has been radically changed by the pandemic and tech. But Zaslav's critics say it's more than that, expressing a fear that the financial machinations reflect not just shrugging indifference but outright hostility to the creative side of cinema. That's not a very novel line of attack: Netflix, for instance, has drawn comparable fire. But that company's CEO, Reed Hastings, doesn't seem to attract quite the same vitriol. Fair or not, with Zaslav, the criticism has gotten personal.

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ilikekidsshows · 2 years

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I understand your decision about s4 with the different tone it takes. I personally enjoyed the character exploration and the way they showed Marinette struggling, how that impacted her other relationships and how Adrien's and Marinette's life experience and coping conflicted with each other etc and the build up. But it really depends on what s5 is going to do to build on that and with the Agreste story too. I get not wanting a certain plot point to apply to Adrien.

That's just the thing, isn't it? "It really depends on what s5 is going to do." If I have to wait to see whether or not a season is good, I will not spend that time watching a Schrödinger's Quality show.

ALT

So, hot take; if season four was going to be the big turning point where Miraculous becomes more serialized, they should have had storylines to actually progress and resolve. Look, there’s a reason shows have episodes and seasons, just like comic books have panels, issues and collections of issues and longer books have chapters. These are all meant to be tools for pacing your story. A chapter book should give you progress in each chapter. Each comic book issue is expected to progress the story that will eventually be put into a collection. Each book should conclude at least its own internal story arc by its end, each comic book collection should have an entire collected story arc. Otherwise they are considered badly written: meandering and incapable of pacing themselves.

The same rules apply to a TV show. An episodic TV show should progress at least a small stakes story in every single episode. Meanwhile, a season-based show should conclude at least a story arc within a season, while leaving threads for future seasons. A single bulk of a series should conclude its story before it ends. Otherwise they will be called “badly written”, because they couldn’t tell their story in a reasonable time frame.

Now Miraculous is stated to be fully serialized, so there should be a bigger story going on. It’s also season-based, always has been, so each season should at least have a consistent theme like the previous ones did (1. the audience and the leads learn the basics, 2. the idea of other heroes is introduced and a proto hero team is created 3. Chloé’s corruption arc). But, what exactly was the story arc for season four? What storyline was built up and resolved during that season? The Ladynoir conflict, Marinette being tested as the new Guardian, the building of the eventual superhero team Future Ladybug will lead, whatever the heck is up with Félix are all stated to be unfinished by the fandom. The Ladynoir conflict hasn’t received a satisfying conclusion, we’ve only seen Marinette’s first real failure as a Guardian, the entire team has been broken down, we still have no idea what Félix is up to. Everybody is talking about how season five will actually resolve everything introduced in season four but, then, what the heck was season four doing with over twenty episodes where it couldn’t conclude a single story arc? If season four’s only function is to set up season five, it is a season with no value by itself. It will only have story value once we also get season five. Even people who enjoyed season four admit that season five will be the deciding factor here. Miraculous season four only accomplished half of what a serialized season format show should have.

People have started criticizing Marvel superhero movies because so many of them are just building up for the next crossover movie. The movies with singular or only a few heroes have bare-bones stories that merely introduce characters and concepts that will only receive payoff in the next movie titled “Avengers”. These movies are seen as badly written and the Marvel film verse badly written, because no singular movie has story weight, they’re all merely vehicles to sell the Avengers and Marvel branding.

And that is why I will not watch Miraculous season four (at least not yet): it has no story value.

#miraculous season three was more serialized with chloe's corruption arc because at least it was a full arc #ml salt #dats chats #and that's why the filler episodes were actually good because they finished their stories

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staticl0ve · 1 year

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HIIIIII STATIC I LOVE YOU SM!!!!!! FOR ASK THINGy THING: 3, 9, 16,18 AND a question I’ve got separate.

Whether for a one-shot or a multi chapter fic, what story of yours (if all were possible) would you like a sequel for? And why?

I LOVE YOU!!! ♥️🧡💛💚💙💜

BABY GIRL. I love you. You’re amazing. You’re sunshine on a light breezy day: the warmth, the necessary vitamin d it provides, and the light the flowers all follow.

3) What fic of yours do you think is underrated?

If we’re talking hits…maybe Sunflower. I wrote it in less than 48 hours and it’s fairly short but I was inspired to write something for @dattebae before she started TMG. If anything: I wish I had spent more time building up the angst eheh.

For actual underrated cause I lowkey loved the premise: Baby, it’s Cold Outside. Connor as Vision and the reader as a Scarlet Witch type seemed like such a fun AU since there aren’t too many superhero AUs. I tend to write AUs since I get so tired of the cop coworker dynamic and there’s only so much sad homicide/drug cases I wanna explore in writing. As for this story: I really liked making Connor feel like Vision by channeling the awkward android from when canon when he meets Hank at the bar and finds him at the precinct.

9) Do you visualize scenes in your head before you write them? (Can you picture the setting, character body language etc)

Oh yeah! For sure. I’m a super visual person and it’s more I struggle with finding different ways to build a scene and I’ve been trying to picture the words as the lens of a camera. Like describing rain: how else can I say it’s raining? Is it water dripping down rooftops, puddles, cold piercing water droplets on skin or the sound of it? Things like car rides from The Pig and the Fox.

Streetlights passed by, distant orbs of gold stretching and fading across his cheekbones like falling stars over freckled constellations.

At this point I’m running out of ideas on how to describe lights on faces LMAO. I can see it in my head but it’s so different trying to find a way to say it that has some impact in the story. The chapter’s titled ‘Gravity’ there was a little paragraph about rocks trapped in orbit and how gravitational pulls would make it fall to Earth so I thought it was kinda nice to tie all these space themes together. (Also so cliche to call his freckles constellations but it’s also so fun.)

16) Do you have a method for getting characters to sound/feel in character?

I can always hear Sixty’s voice and that’s because it’s lowkey half of the shit I’d say that and it’s so easy to write a fumbling, idiot that’s funny.

Connor: when I first started writing, I’d listen to the movie cuts of the game cause I had no idea how to write him. Now: I try to hear his voice when I write a line and edit it to death if it doesn’t sound quite like him. He swears, he does use abbreviations but there is a formality to how he talks and it’s so hard balancing that.

Nines. Well. For the human AU: I pictured Henry Cavill’s characters LOL. Someone standoffish, cold, occasionally lets out a one liner that makes one do a double take and hot as hell. For android Nines: I try to make him arrogant and stubborn (in his mind: he’s always right). I know there’s fanon where he’s just this awkward, stiff, unfunny wall of a man and that’s definitely a valid approach but I find him more charming to have him experience: hot, perfect, white boy who’s never struggled a day in his life finally goes through the emotional wringer.

18) What's the most obscure thing you've researched for a fic?

For The Boy Next Door, or Nines’ story: You Drive Me Crazy, I had to look how what I thought would be frats for Harvard and learned they’re too fancy for that lmao! They have “finals clubs” and I actually looked into which one I thought Nines and Luther would join by reading on the list of the top most ones and Jfc this was all for TWO PARAGRAPHS of setup lmao. I felt so silly doing it but it made me happy to have that in there.

If you were curious: I picked Spee Club cause it seemed the most chill. But if I’m being honest: I judged them by the alumni LMAO. This one had the Kennedy’s and I figured: yeah that sounds like a good fit. But mostly the mascot is a bear and I felt in my heart that Luther would just be so amused by it.

21. Whether for a one-shot or a multi chapter fic, what story of yours (if all were possible would you like a sequel for? And why?

Dancing with the Devil. This one because I always wished I expanded more on the weird human only secret society the baddie made. I dunno if it’d be a sequel, but I wish I had written more for the story. The first chapter is SOOO short but it was the second fic I’d ever written and at the time 1kish words was enough for a chapter. I’d love to have lengthened the playful “enemies” to lovers so that there would have been more room for tension.

So not quite a sequel (although I do have a very sad/angsty one that I never wrote…) but a wish to rewrite it one day or maybe do a spin off.

#dbh fanfic #my asks #thank you darling #this was such a pleasure to write #MUCH LOVE #oxoxoxoxo

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bunkerjking · 1 month

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My Time with Toriyama

Note: This is a LONG text post of an article I wrote that's being published at my school paper later this week.

On March 8th, 2024, Bird Studio announced the death of Akira Toriyama on social media. It would be easy to boil down the impact of this announcement to social media metrics - on X (formerly Twitter) alone, there were 114 million views, 650,000 retweets, and eleven thousand comments on a tweet in Japanese. If you followed artists or fans, there was one topic that week.

I could talk about how I cried for hours that night and several after, how it’s taken me over a month just to be able to write this article, all the dozens and hundreds of references in popular shows and movies I found while going through a thousand rabbit holes to try to calculate not just a personal loss, but a blow to the fabric of art and culture as a whole.

Twenty years ago, when I was 7, I went over to my best friend’s house. He had Lego models, baseball cards, and a PlayStation 2 - everything that counted as cool at the turn of the millennium. What captured my attention instead were two comic books - Dragon Ball Volume 3, and Dragon Ball Z Volume 24.

A dozen questions came to mind. Why didn’t he have the beginning of the story? Why was there a Z tacked onto one of the volumes? He’s an adult now? Volume 3 is about a kid in a fighting tournament and he has black hair - how come he’s blonde, dead, and a father in Volume 24? Why do I have to read it backward, can’t they flip it?

Why is this so… Awesome?

I remember after reading the volumes my friend had, I would drag my mom down to Barnes & Noble, back when it was on the corner of 3rd and Wilshire at the promenade, and make her sit with me for hours as I read Dragon Ball off the shelves. We didn’t have enough money at the time to just buy all 42 issues, but I had to read more.

For the last 20 years, I've been not only a fan of Akira Toriyama’s magnum opus but genuinely excited for everything Dragon Ball related that came out. It’s been amazing watching anime go from something nobody talked about, not even among the friends that showed it to me in the first place, to something you can speak about in public and get positive responses.

If I was going through hard times - and lately, times have been rough - Dragon Ball is always there. It’s a comfortable, reliable series. The good guys will always win. They’ll always have a smile on their face at the end of the day. They don’t do any overly sarcastic quipping or taunting, they don’t break up the action to wax philosophical about topics that don’t matter to normal people, they just show up, fight as well as they can, and save the day.

Life isn’t always that easy, but sometimes, in comics, they can be, and if you’re lucky, the comic will also be plain awesome.

American comics and superhero shows made for children are the first point of contact most of us had with the idea of a ‘cool’ character. Someone powerful who fights for what’s right and grows stronger while doing it. In the 70’s and 80’s, the shift in American comics became to show characters like Spider-Man and Batman struggling not just with their battles, but with the aftermath, both material and emotional.

Spider-Man’s girlfriend Gwen Stacy died. Batman sidekick Jason Todd died. Eventually, even Superman died. People had started taking comics as genuine opportunities for genre-expanding art, to be taken seriously as not just great art but as genuine expressions of life, suffering, and the eternal struggles of the modern world.

These trends would do wonders for the superhero genre and the medium as a whole. Comics swelled into popular consciousness in a way they never had before with single issues becoming national bestsellers. This popularity trickled into international comics as well - including manga like Sailor Moon, Ghost in the Shell, and of course, Dragon Ball.

Also, it’s hard to overlook the fact that anime had hit America before Dragon Ball. Studio Ghibli’s critically acclaimed movies started to catch on over here starting with the international distribution of My Neighbor Totoro in 1993. English dubs of Ghibli movies becoming major affairs as part of Disney’s long-running deal with the studio.

There is one more giant piece of the puzzle that close readers are probably screaming at the screen about, and that oversized, Pikachu-shaped piece is Pokemon. Students entering into school now cannot possibly understand the grip that Pokemon had on popular culture, especially the children.

Pretty much every store in the late 90’s had a rack of Pokemon cards right at checkout where kids could see them and beg their parents for them. The cartoon ran basically non-stop. Backlash over banned episodes and the bizarre Satanism allegations didn’t stop Pokemon’s influence, it just drove it deeper into the minds of consumers.

Most importantly - and this cannot be overstated - Pokemon and its accompanying cartoons are from Japan. If your kids are already obsessed with the one Japanese cartoon, why not see what the rest of the offerings are?

Naturally, I didn’t know a single piece of that information when I was in second grade. In 2004 the only thing I knew was that when Goku punched a guy, it just felt better to me than when when The Flash did. No context, no understanding of who or why, or even what planet everything was happening on was necessary for me to understand that dudes were getting punched through the sky.

Buckets of ink have been and will be spilled trying to explain the paneling and significance of Dragon Ball. I don’t have the words or the technical art knowledge to explain why it works better than its peers. I don’t want to waste each other’s time explaining the intricacies of the plot or the lore or how many galaxies the characters could blow up in a single blast. None of that has anything to do with what the series meant to me.

Dragon Ball is, at its core, a series about people seeking self-improvement and finding it through mutual cooperation, usually through training together. There can only be one strongest - and it’s usually the main character, Goku, despite what us long-suffering Vegeta fans hope every time a new episode comes out - but the only way you get there is by making friends and growing alongside them.

Goku’s ultimate attack is the Spirit Bomb. It usually doesn’t work because it’s narratively dramatic, but at the conclusion of the main series it does finally defeat the strongest enemy our heroes have faced. The Spirit Bomb requires Goku to hold his hands in the air and call forth energy from the planet around him, from people who trust him enough to give him power. Most of that energy came from his former enemies, people who once fought him just long enough to decide to become better people.

Dragon Ball Z, the ‘second half’ of the main series, had already finished before my parents were married, but that didn’t mean that it was over. Dragon Ball GT, a continuation and semi-canon spin-off, ran at least long enough for me to be born. Dragon Ball Super runs to this day, though it’s on hiatus with the passing of Toriyama.

It’s also… Everywhere else. I wasn’t the only kid reading Dragon Ball. Hell, kids weren’t the only ones reading Dragon Ball. Industry professionals and legitimate tastemakers were into it as far back as 1984 when the series started, because Akira Toriyama was already considered an all-time, hall of fame level artist in Japan before Dragon Ball ever hit shelves. His first serialized work, Dr. Slump, sold 35 million copies in Japan alone.

Dr. Slump is not part of my personal story, but it’s a big part of why he was so beloved and heavily marketed to an international audience so early on. It’s also why he was able to begin work as the main character and monster designer on the Dragon Quest series, a beloved Role-playing game staple that’s sold 88 million units - a $5 billion franchise on its own.

His work on Dragon Quest is cited - and immediately visible - as a primary influence on another video game series that we’ve already mentioned, Pokemon. Akira Toriyama was so talented that his sphere of influence helped create a second sphere of influence that would eventually catapult him to even greater heights.

His work on Dr. Slump is also widely credited as the beginning of the Chibi art style, where proportions are compressed to make things chunky and cute. The Chibi style of drawing was also a major influence on the graphic stylings of the original Super Mario Bros. I’m pretty sure I don’t have to explain who Mario is, or how important those games are to the world.

For a massive section of the population, even if you explain everything I wrote out quicker, faster, and simpler, the name Akira Toriyama won’t mean anything. But he means something to me. His work meant close to everything for me. He was always there. Even if it wasn’t something he made, it was something he influenced.

A cold comfort for me as I grieve a man I never met, never would have met, and who I would have had nothing to talk about except the things he made, is that his work will still be there.

Toriyama will be mourned for years, but honoring him doesn’t mean visiting a grave. When you pass a row of comics, be they Japanese or Western or somewhere in between, you can find him. When you see a group of kids throwing laser beams at each other on the playground, Toriyama is there. For the millions of us who grew up with his art, anytime we look in the mirror, he will be there.

So long, Toriyama. I never met you. But it was sure nice to get to know you, if just a little.

#dbz

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alwaysthesitter · 3 months

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Closed starter for @defectivexfragmented

He had royally fucked up. He didn't quite understand that saying, especially since it wasn't like he - or anyone he knew - was a royal, but he knew that's what it was. A royal fuck up. He hadn't fully understood it at first, which didn't surprise him. He had barely passed high school, after all. All he knew was that he had entirely broken down. Froze. It wasn't Nancy Wheeler levels of bad, calling him bullshit while drunk, but it still left him feeling like he was a terrible boyfriend. That he wasn't doing enough, or doing it well enough.

Matt had been someone he had felt safe with. Matt, unlike his previous partners, was an adult. And maybe that was part of why this had happened - him still being such an immature child to so many levels, while Matt was a lawyer and a fucking superhero and successful. Steve didn't deserve him. Yet Matt had wanted him, and loved him, and he didn't feel like he had to hide himself the way he did around everyone else he knew.

So yeah, he'd broken down. Years of pent up emotions had spilled out, wondering why he continued to fuck up. Why, as Robin put it, he was such a dingus. Ironically it had been Robin that had helped him realize what had happened, the cogs slowly turning as Steve tried to process. He was a man that had only ever been wanted for his looks, and maybe he had a moment of sensitivity in knowing that Matt couldn't see his looks so he really didn't know why the other man had kept him around. He had said it, not only not knowing the impact, but as some weird fucked up coping mechanism. Put on a facade that he doesn't feel worthless and like he's just a pretty face. King Steve showing up and proving his worst.

As Robin explained it, he understood. It was like when people made fun of his lack of intelligence. Well, not quite. Obviously this was much difference. But even when his friends 'joked' with him, he felt his heart sink every time. Matt's heart would certainly have sunk, if not broken, feeling like Steve was poking fun at a condition he had struggled with his whole life. Something completely out of his control. Just like how Steve tried to understand things, but didn't.

At first he had thought about writing a letter. He wasn't the best writer - Nancy had torn apart his college admission letter - but he didn't know how eloquent he would come across that way. Plus Robin had reminded him that his lover - ex lover? - could literally not see the fucking letter. Steve only felt more ridiculous then, recognizing how little he knew about these things. So, he decided to call. He didn't expect Matt to pick up, and maybe that was better. He could say what he needed without fear of Matt hanging up on him.

"Uh....hey. It's Steve. Harrington. Shit, yeah, duh. You....obviously knew that. I. Damnit. I'm really bad with the whole wording thing. But I know I messed up. You had every right to leave me, now that I understand what I did. It was horrible of me. I called my best friend and well, she helped me educate myself. I'm really a dingus, I get told it all the time, but moments like this prove it and....shit, this isn't about me. Matt, I'm sorry. If you'd be down, I'd love to meet you at the coffee shop a few blocks down from your place. You know, the one I always went to to grab you something after a long day of work? I don't expect you to come, and I don't expect you to forgive me but....I'd like to apologize in person. If you'll let me."

As he hung up the phone, he started playing everything he said over and over. Had something he said been wrong, so he had fucked up again? Did that sound okay? He smacked his palm against his forehead a few times, taking a few breaths, before nodding. Only one way to find out. He was going to grab a jacket, and go to that coffee shop. And sit. And wait. And wait. As long as possibly needed, he wouldn't budge. Matt Murdock was worth that much.

#[four puffs of farrah fawcett spray*/threads]#defectivexfragmented

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cassiekayscreams · 3 months

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Kwami Reincarnation: Jeckyll’n’Hyde Miraculous AU

As a reminder: “kwami” here refers to the superhero beings (Ladybug, Chat Noir, etc.) rather than the small creatures that grant the power for someone else to become a superhero (Tikki, Plagg, etc.).

I’ve been struggling to figure out how to explain how the kwamis work/come to be but I think I may have figured it out.

The kwamis cannot exist on their own but must instead inhabit hosts. In between hosts, they are dormant within the miraculous objects, sort of like a genie in a lamp between wish makers.

Each time the kwamis inhabit a new host, there is a new incarnation. This works similar to the Avatar reincarnation in Avatar: The Last Airbender. You could argue that all of the avatars are the same person because they’re all reincarnations of the same person, but they’re also different people in that Aang is clearly a different person from Kyoshi, etc. When a kwami inhabits a new host, they become a new person, a new version or incarnation of the kwami. They don’t necessarily hold actual memories of their previous incarnations, but they do hold some general knowledge. For example, they automatically know what they are, that they are inhabiting a host body, how their powers work, etc. There may be some abilities and powers they learn more about as they go, but they start with the basics.

They’re also able to draw general knowledge from their host. They wouldn’t be surprised by cars or cell phones or anything that didn’t exist the last time they were incarnated, as they gain that understanding of general things from their host. Similarly, that knowledge can contribute to their costumes and powers - their costumes somewhat reflect the time and culture they are in, the yo-yo/baton gain cell phone-like capabilities to reflect the current era, stuff like that. They have limited knowledge of who their host is but don’t share common memories with the host.

The role of the Guardian is more impactful here. As I mentioned in the intro post, hosts are selected based on aura compatibility rather than the host’s personality or actions. The Guardian isn’t a Kwami themself, but has some magical (or perhaps spiritual) ability to determine aura compatibility. When kwamis are needed, the current Guardian delivers the miraculous object to a compatible host and the kwami is then able to reincarnate.

The role of Guardian is passed down from generation to generation. It is their duty to guard the miraculous objects, find suitable hosts when kwamis are needed, and provide the kwamis with guidance.

The current guardian is Master Fu, though I may make his personality a bit different. I haven’t decided yet.

As a side note: I did originally consider having it be Tikki and Plagg that “possess” the hosts every time, and every time they have to figure out how the world has changed since the last time they were around, but I decided I didn’t want to go in that direction. Could be a fun thing to explore though. I think instead I would propose that Tikki and Plagg were one of the previous - perhaps even the first - incarnations of their respective miraculouses.

#cassiekay #cassiekayscreams #the writing and art of cassie kay #Jeckyll’n’Hyde Miraculous AU #miraculous #miraculous ladybug fanart #miraculous au #miraculous fanart #miraculous ladybug

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onlygirlasia · 8 months

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The Growth Demand Of Cosplay In The Next Years

Costume play or cosplay is the art of portraying characters either from animé, games, manga, science fiction, or animation, and wearing costumes specific to what that character wears in the series, film, or video games. It has transformed from a niche hobby to a thriving global industry. As cosplay continues to captivate imaginations and blur the lines between fantasy and reality, it becomes increasingly important to understand its cultural significance and anticipate its trajectory in the years to come.

So when people dress up as their favorite fictional characters, it’s not just for Halloween anymore. Cosplaying has become a global phenomenon that has taken the world by storm. Though it may seem like a recent trend for anyone, cosplay has a rich history that dates back several decades.

The origins of cosplay can be traced back to the early 20th century when fans of science fiction and fantasy literature began to dress up as characters from their favorite books. However, it was the rise of Japanese pop culture in the 1970s, particularly anime and manga, that gave cosplay its contemporary form. Fans started attending conventions and events dressed as their beloved characters, and the rest is history.

Hang tight, for today we’ll explore its growth for the next few years and look at things to consider as it progresses.

Factors driving the growth of cosplay

Influence of popular culture and media

he growth of the cosplay industry can largely be attributed to the influence of popular culture and media. With the rise of blockbuster movies, TV series, and video games, more and more people are being exposed to a diverse range of characters worth cosplaying. Fans are inspired to recreate the looks of their favorite heroes, villains, and everything in between. You can visit cosplay.com to get a gist of how large this community is, from different countries, races, religions, and sex, all packed there.

Cosplay as a form of self-expression

In a world where individuality is celebrated, cosplay provides a unique platform for self-expression. It allows people to step into the shoes of someone else, someone they admire or relate to on a deep level. Cosplay enthusiasts often find solace in being able to embody characters that reflect their personalities, aspirations, and even struggles.

Community and social aspects of cosplay

Cosplay is not just about the costumes; it’s also about the community. The cosplay community is a tight-knit group that shares a common passion, and it is this sense of camaraderie that drives the growth of cosplay. Whether it’s attending conventions, participating in cosplay contests, or simply connecting with fellow enthusiasts online, being part of the cosplay community offers a support system and a sense of belonging.

Emerging trends in the cosplay community

Crossplay and gender-bending cosplay

Crossplay and gender-bending cosplay have been gaining popularity in recent years. Crossplay involves cosplaying characters of a different gender, allowing individuals to challenge traditional gender stereotypes and embrace their creativity. This trend has opened up new avenues for self-expression within the cosplay community.

Mash-up and crossover cosplays

Mash-up and crossover cosplays are another emerging trend that blends different characters or universes together. It’s a way for cosplayers to showcase their ingenuity and create unique and eye-catching costumes. From blending superheroes with steampunk aesthetics to combining different fandoms, the possibilities are endless.

Cosplay competitions and conventions

Cosplay competitions and conventions continue to be a driving force in the growth of the cosplay industry. These events provide a platform for cosplayers to showcase their skills, creativity, and dedication. With the level of talent and craftsmanship on display, it’s no wonder that cosplay competitions have become highly anticipated spectacles.

The impact of social media on the popularity of cosplay

Rise of cosplay influencers and online communities

Social media has played a crucial role in catapulting cosplay into the mainstream. Platforms like Instagram, TikTok, and YouTube have given rise to a new breed of cosplay influencers who amass thousands, if not millions, of followers. These influencers inspire and educate aspiring cosplayers, fostering a sense of community and encouraging the growth of the cosplay industry.

Cosplay photography and visual storytelling

High-quality cameras and editing tools made cosplay photography an art form in itself. Talented photographers capture the essence and craftsmanship of cosplays, creating stunning visual narratives. The popularity of cosplay photography on social media platforms further amplifies the growth and reach of the cosplay community.

Cosplay tutorials and DIY culture

The accessibility of online tutorials and the DIY (do-it-yourself) culture has also contributed to the popularity of cosplay. Cosplayers can now easily find step-by-step guides on crafting costumes and accessories, making cosplay more approachable for beginners. The DIY aspect of cosplay not only encourages creativity but also fosters a sense of accomplishment and pride in one’s work.

In conclusion, the growth of the cosplay industry can be attributed to various factors, including the influence of popular culture, the significance of self-expression, the sense of community, and the impact of social media. As cosplay continues to evolve and flourish, it promises to bring joy, creativity, and a touch of fantasy to people’s lives for years to come.

Predictions for Cosplay Industry Expansion

The future of cosplay looks incredibly promising. As geek culture continues to permeate mainstream media and entertainment, the demand for cosplay is set to skyrocket. We can expect more conventions, events, and gatherings dedicated to cosplay, attracting larger audiences and fostering a sense of community. Additionally, the rise of social media and online platforms will provide even greater visibility for cosplayers, further fueling the growth of this vibrant industry.

Factors Influencing Future Cosplay Trends

The trends in the cosplay world are constantly evolving, and influenced by various factors. Pop culture phenomena, such as the release of highly anticipated movies or TV shows, can have a significant impact on cosplayers’ choices. The increased diversity in characters across different media is also shaping cosplay trends, encouraging cosplayers to explore a wider range of options. Technological advancements, like virtual reality and augmented reality, may also introduce new dimensions to the cosplay experience, allowing enthusiasts to immerse themselves even deeper in their favorite fictional universes.

Conclusion: The bright future of cosplay

The growth and demand for cosplay in the next years are unprecedented. Inclusivity and representation will continue to be crucial in shaping the cosplay community into a welcoming space for all. In addition, the economic potential of the cosplay market is undeniable, providing numerous opportunities for aspiring entrepreneurs and creative professionals.

As the cosplay industry expands, we can predict a future of thriving conventions, a diverse range of characters, and exciting technological innovations. Advanced materials, electronics, and 3D printing techniques will take cosplay to new heights, allowing cosplayers to bring their favorite characters to life with even more authenticity. The bright future of cosplay is filled with endless possibilities and creative expression. So grab your sewing kit and imagination, because the world of cosplay is ready to welcome you with open arms!

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kirbydots · 1 year

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regarding continuity and looking at cape characters as mythologies

Unpopular opinion asks

Part of what draws me to comic universes is the extensive continuity and just how long these stories have been going on. It amazes me that my grandfather might have read about these same characters as a kid, that generation after generation has grown up with these characters the same way I have! Because I very much did grow up with comics and superheroes— my dad introduced me to X-Men as a kid, and I’ve been watching Batman cartoons and other DC shows since I was a baby. I literally cannot remember a time where I didn’t know and love these characters.

A lot of the times — especially by people who aren’t into comics — I see continuity treated as a bad thing or a hamper on the stories. While it can be, such as when an otherwise good run has to reckon with a godawful writing decision made by the previous writer, or a character has a history of being portrayed very poorly, I find that for me it’s a benefit.

I like characters with a rich history, and I especially love seeing how they’ve changed over the decades! Whether it be a character or a mantle, what draws me to it is the meaning and history behind it. With characters, I love to see how they’ve changed as a person, what they’ve been through, who they’ve known.

Take Batgirl, for example— the mantle means nothing to me in current comics. Not Cass being Batgirl, not Steph, none of it. There’s none of the history the mantle had, none of the meaning that came with it being passed down. The exchange of the suit from Helena to Cass, how it was created to represent the Bat, to give Gotham hope during No Man’s Land is so impactful, especially when you take into account Cass’ loyalty to the bat itself. That suit, created to represent not Batgirl, but the bat itself, being the suit Cass wears! The passing of the torch from one disabled woman to another! It’s incredibly powerful, and reading those books is what made the Batgirls my favorite part of the Batfamily.

Now that both Cass and Steph are Batgirl (except when they aren’t) and that Babs is Batgirl again (except when she… possibly isn’t?) there’s none of that history. It isn’t a mantle passed through generations, it’s “when girl is bat” and I’d argue that the mantle no longer works. Robin certainly doesn’t work when there’s two of them, and Batgirl doesn’t either! These titles mean nothing to the characters, and they mean nothing to me, either.

To use another example that nobody except me and four other people care about, Garth. He’s here in the current continuity, and I, a dedicated fan of him, actively want him to stop appearing! Because the writers cut out everything that made him, well, him! The kingdom he comes from is gone, cutting out the heritage he struggled with. He’s got magic, but the person who mentored him and the role it played in his development and understanding of himself is gone.

The romantic relationship that he defined so much of his life by is gone, cutting out so much character development regarding his acceptance of her death and moving on from it that was the crux of his arc in his solo. Also, said character is now his cousin, permanently removing any possibility that this could be restored.

He doesn’t act like himself whatsoever, and how could he? The new continuity removed everything that defined and shaped his character! His suit change, while a minor detail with most characters, really shows how little they cared for Garth’s character when rebooting him. While there are many in-universe details that make it a bad idea, my main complaint is that his original Tempest suit was a tribute to Neal Pozner’s Aquaman design. Phil Jimenez, the writer of said solo, had been in a relationship with Pozner prior to his passing from AIDS, and dedicated the solo to Pozner. This disregard of prior continuity and history cuts out so much meaning, and I’d argue is rather disrespectful to the creator of the Tempest mantle.

While no comic continuity is perfect, I think disregarding the history of characters is not a solution whatsoever, and by doing so you often gut them of meaning. It’s irritating when fan spaces are full of nothing but disregard for the source material, and it’s unbearable when comic writers totally disregard what came before. I can’t stand most modern Fourth World content, despite it being my favorite part of DC, because of a total disrespect for Kirby’s original saga and what it meant. Darkseid is stripped of context, Orion is erased from his own story, it pisses me off!

You lose so much when you disregard a character’s history, and they end up being a hollow shell of what they used to be. Why should I care about this character and their story when the story itself doesn’t? I’m not saying comics need to be dense and full of citations, but when they stop caring about their own history and refuse to engage with the past of the characters they’re writing, I check out. I love Cassandra Cain because she’s Cassandra Cain, not because she’s some random girl in a bat suit!

In regards to comics as modern mythology, I’d say I’m not well-versed on the discussion enough to have an opinion.

#dot.txt #i am so sorry for how long this is

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