“What if I write it and it’s bad-”
WHAT IF YOU WRITE IT AND ITS GOOD? WHAT IF YOU WRITE IT AND ITS EXACTLY WHAT YOU WANTED? WHAT THEN????

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@crawl-laddy
“What if I write it and it’s bad-”
WHAT IF YOU WRITE IT AND ITS GOOD? WHAT IF YOU WRITE IT AND ITS EXACTLY WHAT YOU WANTED? WHAT THEN????

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Write it badly or it'll never be written
Write it badly or it'll never be written
Write it badly or it'll never be written
Write it badly or it'll never be written
Write it badly or it'll never be written
I do this and you fuckers actually like my comic, so trust me when I say there's something to this.
Worm...which I am sure most Worm fanfiction authors have read
we talk a lot about ohhhh what if my calling is to be the greatest mammoth hunter ever and I'm wasting my talents in the modern era but we never think about what if Thog from 30,000 BCE was the only person ever born who could get a sub-7min Donkey Kong Country any%, and he never got the chance. what about thog
==> Taylor, you know what you have to do

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Hi blastweave, I read the power fantasy after reading some of your posts and i am now excitedly waiting for issue 16, any recommendations to help make the wait less agonising?
From the same author and artist I can recommend Peter Cannon: Thunderbolt: Watch, a short but deeply layered unauthorized thematic sequel to Watchmen that examines how that work subsequently warped the storytelling conventions of the superhero genre as a whole, often in ways that run counter to the ideas that Watchmen was actually trying to advance.
There's also a strong chance that you'd like Gillen's various runs on X-Men, touching as it does on similar ethical and political themes; I've only read the stints he did when the X-Men were still based out of San Francisco, as opposed to the Krakoa era stuff that by his own admission most directly shaped The Power Fantasy. But recognizably power-fantasy-shaped ideas were in there even then.
Gillen's Young Avengers is a fun little romp that also visibly contained the storytelling kernals of the Masumi/Isabella relationship, in the sense of asking the question of whether people with reality warping powersets can ever be truly sure that they've got the consent of their partners (in that case they can.) I don't think it's totally incoherent to think of TPF as what happens when the never-trust-anyone-over-30 libertine young gun superheroes wake up one day and realize they're all pushing 50 and it didn't work.
Depending on your tolerance for gore, bleak realpolitik, and how enjoyable you find mashing figures from WW2 together like action figures, you might enjoy Uber, which I didn't read enough of to form a formal assessment of but which I did enjoy the six or so issues I did read of it. It's permanently incomplete due to a rights dustup, which is why I stopped before I ran the risk of getting too invested.
Black Summer by Warren Ellis and Juan Jose Ryp is, very broadly, the same premise as TPF executed very, very differently- namely, what if a superhero killed the U.S. President over those Bush-shaped war crimes and then the other immensely powerful former members of his team got left holding the bag? Except the book's answer to that question is less "endless carefully managed political intrigue" and more "borderline pornographically violent city-leveling throwdowns against the marines (pos.)" The book is most interesting, to me, as a reaction both against the Bush admin and Marvel's Civil War event (by the author's own admission, it was a swipe at Marvel for being too chickenshit to render how incredibly destructive a military crackdown on the capes would actually be.) Supergod by the same author is another leg of the same thematic series he was doing at the time, focusing in on the idea of superhumans as transhuman, inscrutable abominations whose conflicts are essentially certain to end the world that they happen on.
Inspired by your tpf adjacent recs list, have you read 20th century men by Deniz Camp and Stipan Morian? It's another superpowered cold war riff (in this case specifically around the soviet invasion of Afghanistan), and I would say it's the superior one; though admittedly it and the power fantasy are riffing from different directions so a direct comparison/evaluation is not perfectly straightforward.
Beautiful comic. Written about it a little before. I could claim that I left it off the rec list because I think the two books are working very different angles vis a vis the ongoing dissection of Watchmen's legacy, but the reality is that I just forgot to stick it in there because I wrote that post in about ten minutes while sleep deprived. Everyone go read 20th century men
Thinking about the slaughterhouse nine vs slaughterhouse nine thousand.
not only is the slaughterhouse nine the arc where the worm really takes a nose dive in quality.
I used to believe this was the Chicago Weaver stuff but I feel that it has more redeeming qualities upon my reread.
but the worst part is that it removes everything about the slaughterhouse nine that made them feel interesting as villains.
the slaughterhouse nine arc had all these interesting interpersonal dynamics where we got to see these characters play off their weaknesses. We got to strategies where you saw Taylor and piggot making all these plans to keep things under control. it felt like a arc of hunter x hunter
And now all these interesting characters are reduced to a bunch of zombies to kill. heck I'd say echidna was a much better evil clone arc because we got curve balls in the worm of cauldron being revealed, trickster turning on the heroes, radiation death, witness (yes I still say she's cannon)
the only truly relevant slaughterhouse nine members are bonesaw jack slash and grey boy and even then I think only bonesaw got a decent amount of development.
I feel a lot of this is the changing of scope beyond city level where the strength of worm was in developing it's teitary cast of characters.
and then it just ends with Jack asking scion to give being evil a try with his talk no justo and he scion goes along because he's a golden moron.
we don't get to see one last display of his manipulation from him
like we know scion can feel disgust and revulsion from the case 53's I mean what if he just turned an entire country into them. or maybe he proved humanity wasn't worth saving because they failed one of his twisted tests.
Disagree on the S9 coming to Brockton, but that was kinda the point, no? The Nine go from horror villains to a horde of bad guys, their menace turns to spectacle. Jack talks Zion around so poorly because his Shard has been doing his actual manipulation for years, not him, and the Warrior, like all Entities, is simple enough in mentality to be swayed by his babbling. I do agree the main body of the 9K was a slog, but the ending stuck it for me.
i mean with a lot of criticism that's deflected with "that's the point" we have two intersecting ideas of concept and execution.
The concept is that the slaughterhouse nine is now a horde. But how do you execute that concept and what will that add to your story
For example could you have had a lot of the character drama of the og slaughterhouse arc play out in 9 thousand.
if you have these aspects can then why are they absent. if you can't have it then what conceptual appeal is going to act as a replacement. Yes 9 thousand has greater scope and spectacle but these things are not as compelling as what was lost.
whether that's a question of wildbow being able to better write character drama and strategy than spectacle/ scope or if these are inherent strengths of the medium is beyond me though.
As for Jack talking Zion, I feel it's less a matter of can he do it or not and more a matter this plot beat just happening seemingly randomly without any build up. When the story could've been written in a way that would've made jack earn his pyrhic victory against humanity.
and yes jack is being "carried" by the influence of his shard. But if he didn't have any manipulation skills his shard would've chosen someone else. Yes the point of his character is that he isn't smart as he thinks he is. But that doesn't mean he has zero manipulative prowess and that it wouldn't be interesting to see one last display of it.
Also if anybody would be immune to Jack's bullshit it would be scion in the same way contessa can't predict what scion will do.
Thinking about the slaughterhouse nine vs slaughterhouse nine thousand.
not only is the slaughterhouse nine the arc where the worm really takes a nose dive in quality.
I used to believe this was the Chicago Weaver stuff but I feel that it has more redeeming qualities upon my reread.
but the worst part is that it removes everything about the slaughterhouse nine that made them feel interesting as villains.
the slaughterhouse nine arc had all these interesting interpersonal dynamics where we got to see these characters play off their weaknesses. We got to strategies where you saw Taylor and piggot making all these plans to keep things under control. it felt like a arc of hunter x hunter
And now all these interesting characters are reduced to a bunch of zombies to kill. heck I'd say echidna was a much better evil clone arc because we got curve balls in the worm of cauldron being revealed, trickster turning on the heroes, radiation death, witness (yes I still say she's cannon)
the only truly relevant slaughterhouse nine members are bonesaw jack slash and grey boy and even then I think only bonesaw got a decent amount of development.
I feel a lot of this is the changing of scope beyond city level where the strength of worm was in developing it's teitary cast of characters.
and then it just ends with Jack asking scion to give being evil a try with his talk no justo and he scion goes along because he's a golden moron.
we don't get to see one last display of his manipulation from him
like we know scion can feel disgust and revulsion from the case 53's I mean what if he just turned an entire country into them. or maybe he proved humanity wasn't worth saving because they failed one of his twisted tests.
Game which initially appears to be a straight Ocarina of Time pastiche, except following the tutorial dungeon it's revealed that the obnoxious fairy companion is two-timing the apparent protagonist and actually has like three different Chosen Ones going in neighbouring regions, each fully convinced that they're the Chosen One and whatever local issue the fairy has them dealing with is the big world-ending threat. Over the course of the game, their paths begin to intersect, resulting in co-op dungeons with entire puzzle mechanics revolving around ensuring that two Chosen Ones are never in the same room at the same time. It's textually unclear whether anything bad would happen if they found out about each other, or whether the fairy is just keen to avoid awkward questions.
(The final boss is, of course, a multi-phase affair in which each Chosen One is conveniently incapacitated at the end of their respective phase just in time for the next Chosen One to show up. They encounter each other for the first time in the post-victory cutscene, which cuts to black just as the fairy is like "okay, let me explain".)
Unironically a complete banger of an idea though.
Give 'em all really distinct mechanics, tie the narrative to the design by forcing the player to occasionally drag the "wrong" chosen one through a given area, crank up the dramatic irony as high as possible by having each of them comment on how "the prophecy" keeps giving them convenient paths forward (when the player knows it was really a DIFFERENT CHOSEN ONE working their asses off)... The only meme part is the refusal to explain at the end tbh, because "three chosen ones who all need to think they're solitary" is a premise that promises the masquerade will collapse at some point, and IMO the amount of tension you could wring out of it far outweighs the value of the cut-to-black gag. Have the fairy forget to swap out parts of the prophecy at one point, leading to one chosen one thinking that the prophecy was either changing or had been falsified. Have one chosen one catch a shadowy glimpse of another, resulting in an imagined rivalry with their Dark Mirror. Have one of them figure it out right before the end, resulting in an emotional breakdown until the fairy convinces them how important it is to keep the other two in the dark.
The two are by no means incompatible; you could do all that and still rug-pull the player right at the end by cutting away just as the fairy is about to finally explain the real reason why all of this was necessary (any explanations given earlier implicitly being at least party bullshit).
this is basically the plot of no more heroes

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I recently downloaded a program to download all of wildbows webserials to epub format.
I did it so I could read twig but I decided to re download worm while I was at it even though I have no intention of re reading it.
I guess it's kinda like having the Bible on hand.
Wildbows traditional four letter horrible search engine optimization titles strike once again as its impossible to talk about Post on tumblr because that's what tumblr already does. Post.
When you're a big shot like wildbow you can spit in the face of things like "search engine optimization" while Middle class striver course shilling book authors pray day and night to the amazon kdp alogrythim to understand it's will.
progression fantasy forcefem. can you fucking imagine
ward
they did this to chris
literally pact
Not to be a "gender essentialist"
But ot of these progression fantasies and lit rpgs. Are built from an extremely male mindset, and surprisingly enough I view this as a bad thing. Because they feed into a self improvement bro gamer solipsism, embodied by stuff line crypto and sports gambling.
it's hard to imagine a character becoming more feminine when they are embodying a journey defined by becoming a aggressive hyper individualist thug.
It all goes back to power scailing son vs shipping daughter. and I feel you need a little bit of both mindsets to make a good story.
A sad truth for wormblr, the section of the parahumans fanbase most critical of wildbow.
you may dislike wildbow for a variety of perfectly valid reasons.
you can call him a redditor, you can point out all the failings and holes in worm of which they are many. But at the end of the day you can't out write out think or out develop his creation. Even though he had 2.5 years to write it and you've had a decade to think of all the ways he failed, he still won, because you're still thinking about him.
Maybe there is some pure platonic Ideal of worm that was a perfect story. But wildbow came much closer to it than you ever will. if you think I am wrong feel free to prove it.
On the day of Dick Cheney’s death, I’m thinking about a lot of horrible consequences of his actions, but I’m also thinking about Lauren Hough telling Dick Cheney to waterboard her “if it makes him feel better” when she repaired his cable.

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When did you start being yourself?
please watch this scene from the Garfield movie that establishes how evil the villain is