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#yeah sure we'll go with that
destielyurii · 3 months
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It’s my Stargate and I’ll make it pink if I want to
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defectivehero · 19 days
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Please write about a nb hero who is big on "not owing anyone money" and "its my problem and weight, let me carry it" and "please let me pay u back" and "its your money even if you spend it on me"
And a nb snarky millionaire (by evil methods) villain who is obsessed with their hero and is like "let me spoil u bbg" and *casually throws money around for hero* and very big on "I WOULD DO ANYTHING FOR U" but hero is too fucking dense to actually believe rhe villain.
this snippet completely spiraled out of my control (as most things do).
It all started with that damned news article. In hindsight, perhaps the hero shouldn't have been as forthcoming as they were. But, they wanted the world to know that the life of a hero wasn't always glamorous. They just... didn't expect for the journalist to capitalize on the single remark they made, the single huff of laughter they let out when asked about the wages. Days later, when the article released, the hero was stunned.
Heroism: A Thankless Job
The hero remembers the dread coiling in their chest as they opened the newspaper to find the article, apprehension increasing as they digested the information. That picture of their apartment complex... they don't remember consenting to release that information. Granted, the journalist kept them as a nameless, anonymous hero. But, it wouldn't take a huge leap in logic to connect the dots—to find the building's tenants and cross-reference those names with the hero agencies nearby. The hero just hoped an average reader wouldn't take the incentive to do something like that. They spent the rest of that day struggling to keep their paranoia at bay. It took them a while to fall asleep that night.
Fortunately, they slept well and their anxieties seemed to fade. The hero stumbled through their morning routine and opened their front door an hour later, ready to greet the day, only to nearly trip on a package. They had frowned and taken the package inside, unable to shake the recognition that they hadn't ordered anything to be delivered. Upon opening the package, they found a single unmarked envelope. Their jaw had dropped to the floor once they found the bills inside—an amount more than their typical paychecks.
Little did the hero know, this would be far from the last time they received an unmarked package with a far too generous, entirely unexplained gift inside. At first, the gifts were just small things: a collection of medical grade bandages and antiseptic, a new sweater after they spilled coffee on theirs at work, a care package with things like cough medicine and tissues that appeared the day they got sick. The hero was still profoundly uncomfortable with the idea of some mysterious benefactor providing them with these things, but at least the packages were small. The magnitude of the first gift hadn't been matched since, and the hero couldn't help but feel grateful.
Amidst their hero work and their daily life, the hero found their mind quickly returning to the question of their gift-giver's identity. It had to be someone they interacted with fairly often, considering the far too accurate timing of several of the gifts. One time could be dismissed as a mere coincidence; a box of cough medicine a mere hour after they found themself bedridden, however... That is an entirely different story.
The gifts continue, but, thankfully, they are small in scale. The hero still feels horribly guilty about being entirely unable to pay this person back, but there's almost nothing they can do. Their benefactor clearly doesn't want to make themself known, and that's fine. Really, it is.
Until there is another envelope. This time, their mystery patron doesn't bother concealing their gift within a package. Instead, the hero opens their mailbox to find an unmarked burgundy envelope. Dread coiling in their chest, they look around—foolishly hoping that their gift giver would somehow have a change of heart and decide to show themself—before heading back inside. The hero sits on their sofa and takes a deep breath, before opening the envelope with care.
What they see is enough to make their hands tremble and their grip falter, allowing the envelope to slip down to the floor. They hold their present in disbelief.
It's a check—for more money than they could possibly fathom having. This sum is so large that the hero wouldn't have to work another day in their life. They would be able to live comfortably without earning so much as a single penny on their own.
The thought sickens them. "I can't accept this," the hero breathes aloud. They look down at their apartment's hardwood flooring as if it will give them the answers they're looking for.
"I don't recall asking you to." The hero jumps, looking up to find the villain standing before them. How they got there, the hero doesn't have the faintest idea. They blink at them for a moment, wondering how they didn't connect the mysterious gifts to the villain sooner. Their enemy has always had access to extremely high-tech weaponry and state of the art medicine (judging from their utter lack of scars despite their numerous fights); not to mention, they've had an inexplicable disregard for finances for as long as the hero can remember. It's all beginning to make sense now.
The villain takes a step closer and the hero remembers their remark. "I'm serious," they say with a frown. "Why are you doing this? Do you want me to owe you? ...Is that what this is? Want to, I don't know, kick me while I'm down? You're such a good person, helping the needy." The latter statement is spoken with venom.
"No, of course not," The villain argues.
"Then why?" The hero repeats, the volume of their voice rising as they get more frustrated. They take a deep breath and clench their fist at their side. They're still holding the check in their other hand, and despite the fact that it's nearly weightless, they can feel a pressure pushing their hand down. "And, more importantly, how in the hell did you get this much money?" The hero hears themself ask.
"Don't ask questions you don't want the answers to," the villain says lightly. There's a darkness to their eyes that suggests the hero should cease this line of questioning. They take another deep breath.
"You're assuming I'll just... accept this," the hero realizes aloud. That familiar itching feeling is rising to meet their skin, and they're becoming less convinced that they should stop it.
"Perhaps."
The hero blinks at them once, twice. The villain refuses to break eye contact; their gaze almost urging them to do it—to use their powers to turn the check to ash. The hero gives into the flames prickling along their skin and summons their fire in the palm of their hand. It will only take a moment, maybe two, for the bottom of the paper to char. From there, it will only be a matter of time. The hero watches in anticipation.
...But nothing happens.
"Did you really think I'd be foolish enough to give you a check you could just burst into flame?"
The hero stares ahead blankly, their ears ringing. The villain's expression blurs into a twisted smile. A figment of their imagination or reality? The hero hears their breaths, ragged and half-panicked in their ears.
"I don't understand," the hero repeats hollowly. They don't understand anything that's happening—anything that happened that led them to this very moment, standing before the villain and holding a check that their enemy gave them.
"You don't have to understand," the villain says, crossing their arms over their chest. "I'm not asking you to understand. Hell, I'm not asking you to do anything. I'm ordering you to cash this check."
The hero's tongue is ironed to the roof of their mouth. Even if they desired to speak, they don't think they'd be able to.
The villain notices their speechlessness and sighs. "I didn't want things to come to this, but..." They break off. "As I predicted, you're stubborn as hell, and self-sacrificing to a fault." The hero doesn't have the energy to be offended or outraged.
"So," the villain drawls, their arm falling to their side quickly. The hero blinks and they're suddenly being held at gunpoint. "Go to your bank. Now." The hero suspects the weapon is more than a gun—and they don't care to find out just what it can do. It appears they really have no choice. The villain is forcing their hand.
An hour later, the hero is walking out of the bank with sunken shoulders. "There," the villain says, clapping a hand on their shoulder and leading them out of the building. "That wasn't so hard, now, was it?" Upon closer examination, the villain's weapon is nowhere in sight—as if it simply vanished in thin air. The unlikely pair walks down the street and heads back to the hero's car. The hero ignores the domesticity of it all, securing their seatbelt over themself. The villain doesn't seem keen to wear their seatbelt, so the hero reaches across and buckles their rival's seatbelt for them before they can object.
"I'll transfer the money back to you tomorrow," the hero announces as they're driving down the street, back towards their apartment. Their eyes are locked on the road, yet they somehow know that the villain's gaze is fixated on them with frightening focus.
"We both know you won't," the villain hums with certainty. The hero hates that they're right, hates that their rival can read them so damn easily. Their hands tighten around the steering wheel and the rest of the ride is suffocated with a horrible silence.
When the hero arrives back home, they can't shake the realization that the villain seems deeply pleased. They say as much to their enemy, who hums.
"Of course I'm pleased," the villain says, "If I knew this was all it would take to get you to accept a much-needed gift, I would've done it eons ago."
The hero takes a deep breath, struggling not to cry. It's been a long day, and they're reaching their limit. "I think you've humiliated me enough today," they announce. "Can you leave?" Please, the hero thinks to themself.
"I suppose," the villain sighs dramatically. They take one step to the door, then another. Just before their hand can clasp the doorknob, the hero feels one last objection fall from their lips.
"That money could go to far more deserving people and causes," the hero chokes out. They're choking on their own pride, choking on the simultaneous acknowledgment that they need money and the horrible knowledge that almost no one in their situation has an out like the one they were just presented with.
The villain turns around to face them, clearly moments away from rolling their eyes. "Do I look like a philanthropist to you?" The hero shakes their head, their throat burning. Their enemy nods in confirmation and turns back around. They twist the doorknob and tug the door open.
"You deserve nice things, you know." The villain's parting remark is murmured so quietly that the hero convinces themself they imagine it. The hero watches their front door close and waits a few moments before locking it. They turn around, their back to the door, and slide down to the ground with their head in their hands.
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bitcrunched · 9 months
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yeah yeah i like the phunny roblox game go ahead laugh it up
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r0semultiverse · 5 months
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Digital Circus AMA Notes
Digital Circus is getting a season 1 at some point!!!!
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#webcore aesthetic board for the series design
Pomni was going to be a frog originally. 🐸
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90s toys Zooble inspo
Caine is an antagonist, but not by active choice, he doesn't know he's not helping. He doesn't feel a whole spectrum of human emotions (he's an AI).
"Caine canonically just lets things happen if he thinks it's funny."
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Characters eat like Chao in Chao garden in Sonic. The characters can eat the food, but they can't digest it.
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Jax's favorite food is spaghetti.
Pomni likes salmon.
Q "Was the ending a 'Last Supper' reference?" A "in a very superficial kinda way yeah." Religious stuff is sometimes just used for the funny.
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Gooseworx tumblr sketches MAY or MAY NOT be canon to the series, so it's up in the air for every single one.
People can abstract from feeling too much pain if it breaks their mind from it being too much. Characters feel pain from things, but not as intensely as they would in real life.
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Zooble is gonna swap parts every episode (implying they have spare parts) except their body & head.
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Jax chose his own name & gooseworx likes to think he chose Gangle's name.
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Ragatha was named "Emmy" originally.
They (the cast of characters trapped in the circus) can't change their clothes but Caine can. It's part of their skin sorta kinda.
There's empty space under Pomni's hat because video game model physics.
Spamton was partially inspo for Caine, Caine's VA did Spamton dubs.
Gangle only has 2 masks. Why's it (her hapiness mask) break all the time? Mental state, but the "real her" is "harder to break."
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Kaumfo was gonna be part of the main cast originally before Jax.
Kaufmo's model has nothing below the waist at this time, but was made for that promotional image on twitter.
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Q "What kinda person was Kaufmo?" A "He was the same as Ragatha in a sense, goofy & cheery, sometimes toxic levels of positivity."
I'm paraphrasing for the sake of note taking in real time, go watch the stream playback for more context & details if you want.
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carnivalcarrion · 5 months
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shoutout to Frank, he's gonna fall for / has fallen for the most suspicious puppet in the neighborhood
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keydekyie · 3 months
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get cherished, idiot
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shima-draws · 7 months
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My doctor: Hey yeah that's not normal I don't think it's an issue with your hip
Me: Oh?
My doctor: It's an issue with your spine
Me: OH
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imminent-danger-came · 7 months
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continue being a little mean to toh fans please it is really irritating how some act like its got the best writing of any modern cartoon
Daawwwww I don't have it in me. TOH fans love it for a reason, and there are legitimately good moments! It's just not the most complex or well-written show out there—which it doesn't need to be—but I also totally get your exhaustion. It gets tiring seeing people praise it so highly over and over again when it's just like...fine. It didn't do nothing but it also didn't do something, you know? It's main couple is cute and queer, but that's pretty much all there is to them. It has a fun cast of characters, but they all tend to fall into archetypes. Luz is a sweet main character, but she doesn't have any real flaws and kinda takes a back seat to Hunter and Eda (the white people lol). Her foil with Philip was interesting...but then they kinda backed off and went the "you and Belos are nothing alike" direction.
((I'm also going to answer this anon with another: ))
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And It's not that an unsympathetic villian is bad, or that Belos would even be sympathetic with added backstory, it's just that...there were a lot of interesting things to explore with his character that were left hanging.
Like, while he's definitely not at all a good person, it's intriguing that he would bother to recreate his brother over and over again knowing that each time the grimwalker was going to betray him. It's intriguing that he was even willing to kill his brother to begin with (though Caleb was super underutilized in general). Like, you can give a villain depth without justifying or victimizing them (hi Finnegran from tdp, I'll also add Spider Queen & LBD here). So it just feels like a missed opportunity all across the board. It's still surprising to me that we got a confirmation on the Wittebane backstory through an unrelated background character, rather than Philip himself (who had literally possessed a main character, and mindscapes had already been well-established....the pieces were all there me thinks).
And obviously it's like, people can love something despite it's flaws, and they can cherish it for the good it has, but they still don't need to praise it as an ultimate form of media, you know? We don't need to pretend toh was this dark and complex story—it was just a story a lot of people liked and resonated with. Which I'm glad it's there for those people, and I'm glad there are options when it comes to queer pieces of media!
That said the show with the best writing of any modern cartoon is The Dragon Prince (streaming on Netflix).
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signawyvern · 1 month
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was gonna reply this on a youtube video but it got too long so enjoy
One of my favourite things about the New York Theatre Workshop version of the show (my preferred version) is that Orpheus isn't writing the song with any intention to make the world better. He's just writing it because he's an artist and artists create art. It's not the time or place though because survival needs to be looked after. So then the plot happens, he pursues Eurydice and does what he can to get her back and well, what can he do? He can sing. And so he sings for Hades and sort of just stumbles into success that way, the power of great art moving someone to change. Art being shown to be more important than wealth or power. Art reducing everyone to mere humans, beings of love and feeling and connection. Hades connects with himself, with Orpheus, with Persephone, all because of this art. He is humanized, something he's resisted for so long, and something that has allows him to feel happiness. No longer is he a mechanical (I don't mean that word literally) overlord for a capitalist and controlling factory that he runs as a machine, forcing the workers to act as cogs rather than people, he's a man and a lover and that's it. And Orpheus comes to understand him and Persephone and to understand Eurydice's pragmatism and that he can't be consumed by art and does need to work to survive as well, but the story shows that there is no life, not really, without art. It's not everything, but we can't live without it. Orpheus doesn't come into the story with grand ideas about the power of art. He's just a musician doing his thing, a man just trying to make a simple living with a guitar and his voice. He learns its value later. He learns to not escape the world with his art but to live in it and be a part of it, to use his art to really connect with people and move them to improve their lives and make them feel something while they struggle through the tough times.
I like that version of the story a whole lot better than a cocky man coming along with big notions of saving the whole world by being the greatest musician ever and doing what no one else has ever done by singing a magic song he just so happens to discover (unclear if talent is even much of a factor, until he gets to Hades and then it matters a bit) and boom everything's fixed, just like he thought it would be. NYTW has Orpheus' song work because he's such a talented musician and because of the lyrics connecting to Hades and because of how beautiful a song it is, Hades it moved enough. Broadway has the song work because the lyrics move Hades and it just happens to be a melody that was significant to Hades but how could Orpheus have known that; he really just lucks into that and it doesn't feel like that reflects at all on his talent or the power of musicians, but just on happening to know the right answer to a question.
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wizardnuke · 11 months
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thinks about the mighty nein. throws up blood
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patiann345 · 1 year
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Listen, listen, hear me out ok please-
I wanna talk about Tarantulas for a second, like specifically the multiple posts I've seen of people saying "Well ofc they toned down Tarantulas, it's a kid show"
I... ?? Listen I know you guys are all referring to IDW when ya'll say that, but BW Tarantulas was like, his own breed of fucked up and BW was for all intents and purposes a kid's show. He's not the same as IDW, but again he's got his own thing that's pretty fucky. And also like. Earthspark is really dark too? Or at least it's leading up to be??
SPOILER WARNING but uh, yeah no G.H.O.S.T is hella fucked up if you think about it for more than a minute. Everything they're doing to the cons with the memory wiping and generally how they're treated is really bad (in a good way I love this show-), and also labeling Bee a 'rouge Autobot' that they're trying to arrest, yeah not cool-
Plus. The last episode of Season 1?? Mandroid and his... EVERYTHING??? Bee having his fucking energon drained???? Did we all just forget that???????
I think they absolutely could've made Tarantulas really like, fucked if they wanted to. But I don't think they wanted that, I think they wanted a new take on his character? I mean, that's a huge part of transformers, no? Look at all the different conts and how characters change between them-
Maybe I'm wrong, but I don't think Tarantulas was toned down due to mandates or anything, I genuinely believe they just,, wanted to put a spin on him and make him more chill and lonesome, and something of a tragic anti-hero cause,,, I dunno, they just thought it'd be neat!
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merevide · 1 month
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hiiiii i have returned from the depths of the underworld (self imposed hiatus) (3 week break that felt like 3 years)
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orcelito · 1 month
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As for my post this morning. If anyone was worried. Me personally I'm okay (I guess) but my dad's in the hospital and things r still very up in the air. So.
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flovverworks · 4 months
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thought again how overwhelmingly lonely akira would become after everything while time does its healing. u go from having a twenty-something ppl around u at all times to being alone. no one to knock on ur door in the morning, no ppl going in & out, no chaos of sudden fights. even in the (more likely) case where akira forgets its like. this haunting feeling of having forgotten something u shouldnt have. guy who goes to every social gathering ever to have that chaotic energetic experience of having so many ppl around again
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gammija · 4 months
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ok. tijd om te emigreren 🥲
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socksandbuttons · 7 months
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ah i see. I am canon divergent for realz
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