This is a commission I got from @faelapis for their Jasper fanfiction! The season finale is a chapter called āSteven Universeā!
Give it a read here!

#batman#dc comics#dc#bruce wayne#dick grayson#batfam#dc fanart#tim drake#batfamily




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This is a commission I got from @faelapis for their Jasper fanfiction! The season finale is a chapter called āSteven Universeā!
Give it a read here!

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it is actually board driven, according to theĀ executive producer:
there are a ton of weird rumors i see about the (average on most counts) production of this particular show. one i remember was that they had no model sheets even though itās very easy to find said model sheets.
i feel like iāve been very... idk if itās the right word, but āluckyā, in a way, that i came into progressive fandom spaces with the pre-existing attitude that all media has problematic elements. not equally so, duh, but systemic, because media is inherently collaborative between people who all live in a Society and will have blindspots, even with good intentions.
so i feel like thatās saved me a lot of grief over the now cliche cycle of āfinally, true progressive media... aaand a crew member did a bad, so itās garbage now and you must declare it bad and flawed every time you engage with it. anyway i love lord of the rings and atla ;) and theyāre nostalgic so we sure as heck arenāt gonna put them on my DNI if you like it-lists :)ā... so iāve been wondering if that kind of systemic lens is indeed something i lucked out with understanding early.
iām in my early 20s, so iām not much older than the stereotypical age of Discourse Bloggers, but iāve still engaged with enough media and seen the patterns of misogyny, racism, etc that exist in most of pop culture & literature (of every brow height) that, in a way, does make me feel more prepared and less punitive when bad things happen. i donāt expect perfection - so iām not as emotionally let down if, inevitably, some hyper-scrutinized minority creator compared to their white cishet ally counterpart mucks up. maybe i am luckier than the people who donāt have that perspective, for they genuinely seem to think things will get better if we ostracize flawed individual creators without asking systemic (media) questions or examining whether we, ourselves, couldāve made the same mistakes in their shoes.
all good takes tbh
i was wondering, i get stuck on this phase a lot, do you have any advice for plotting and planning?
Hmm... lemme try and consider a few things that- on reflection- I think are helpful for me.
For one, I always think itās important to write down like... every glimmer of a thought you have while in the plotting stage. Even if itās Dumb⢠or cliche, or you have no idea what on Earth to do with it. Perhaps it could be content that you come back to later and find a proper place to fit it in to the narrative. And at the very least, itās a little brain warmup.
The other thing I personally tend to do, especially for multi-chapters, is to focus my broad plotting on one of two things, sometimes both at once depending on the story:
1) Where do I want my characters to end up emotionally, and relationally with others by the end of this story/arc?
2) What is the desired climax of my story, and what kind of general story events can lead me there?
Sometimes the climax is a mystery while Iām plotting, and sometimes I have a pretty clear idea from the get-go. It really depends. Others might instead chose to consider the themes they wish to impart with the story and work backwards from there.
But re: characters, for Crack the Paragon, I have a whole huge document that consists of exclusively character notes for all the principle characters. I work to keep careful track of what their relationship is like with other characters, and if/when any of those relationships change... what their mental state is like throughout the story, and how that might impact their decision making, stuff like that. Steven and Jasper especially have a lot of notes in that, since theyāre probably the two characters who change the most over the course of what I have planned.
But in general... as long as I have at least one of those things fairly solid, the rest of my plotting is mostly filling in the blanks, finding a way to get my characters from A to B. I kinda think of it like drawing animation in-betweens. You have the key shots, and then from there itās just a matter of solidifying the frames that sit between those. I tend to take it in stages... First, the leading points of the story... then, āhmm, what broad elements would make this character take this action?ā And then I usually start thinking of specific conversation beats, and smaller details I may want to throw in to my work.
I honestly try not to overplot, though. I think thereās also something special about allowing oneself room to explore a scene that can be really fulfilling, and often lead to unexpected interactions.
...Iām no expert though, for sure. I only write for hobby, and itās possible that these sorts of methods may work for me and not for others.
thanks for taking up the fight, it really frustrates me how transmeds have taken pain as such an integral sign of "realness" that they can't even conceptualize a way to be trans without it, nor consider how societal transphobia plays into their own internalized beliefs.
I think itās very convenient for transphobes that a core experience of transness is supposed to be deep self-hatred. Meanwhile, my observations of cis people are that the argument of ābut this person is SUFFERINGā donāt help (unless itās a health insurance company, where you can flatly say,Ā āHormones and surgery are less expensive than a lifetime of ER visits and psych admitsā).
Especially since, like... if someone transitioned decades ago and feels very comfortable in their skin, if they havenāt felt dysphoria for quite some time, thatās supposed to be the winning condition. Thatās the thing weāre all supposedly aiming for. But is that person somehow lessĀ trans because dysphoria doesnāt play an active part in their life anymore?Ā
If it hasnāt already, itās going to lead to a culture of bullying where any trans person who seems too self-confident or happy is going to get attacked as ānot trans enoughā. Which is the absolute opposite of helpful. Weāre already in a world where health insurance companies hire private investigators to stalk depressed or traumatized people on social media so they can find a picture of them smiling and cut their benefits off.
But, well, Iām just a cis queer who keeps having sneaking moments of rage, a la Pat CalifiaāsĀ āIām very fond of the concept of choice as the basis for sexual preference. This point of view is unpopular in an era in which every claim for gay rights is bases on pseudoscientific sulking about how we canāt help being queer; weāre just born that way. Thanks, but I donāt want to receive my civil rights as a charity fuck bequeathed on me by my genetic superiors.ā

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HOW ABOUT THAT SONG HUH :D
your zootopia analysis is very good, i just got it linked to me. it points out something that i've always felt, that the film avoids talking about the true origins of unjust hierarchies and their outcomes by essentially saying that the world is divided into black men and white women, who, because "life is complicated" in this comforting way, both have their advantages and disadvantages.
Ahhh thank you so much for reading it and Iām glad it resonated with you ;; Itās easy for ppl to dismiss this movie as just a fun Disney movie that we shouldnāt think too deeply about but then when you consider that police officers use this movie for racial bias training (um....) and children are shown this movie in school(1 of the articles I cited was fromĀ ācomparative education reviewā and was specifically talking about how teachers should use this movie to teach children) not to mention subliminal messages that are absorbed even through casual media consumption.......yeah
i don't go here, but i think a frustration i have with both TTS and she-ra is that while the writers clearly have this darling moral gray character who they pour all their love into (at the expense at making some of the other characters a bit bland or just "good" or "evil"), that character's motivations, which SHOULD be the cornerstone if your intention is creating a relatable fan fave, is often watered down or pushed aside when addressing those motivations would be uncomfortable or challenging.
hrmm you know, while the catra-cass comparisons write themselves tbh i donāt agree that catra gets butchered the way cass wasā
like, characterization in she-ra across the board is impressionistic. even catra, for all her complexity, is done in pretty loose strokes. and... frankly i think this was the intention; i donāt get the impression at all that the creative team ever wanted to get into more granular detail belaboring anyoneās motivations or painting character in, to lean harder into the impressionism metaphor, photorealistic detail.Ā
so when catra hits rock bottom at the end of s4 and charges headlong into redeeming herself, that to me feels congruous with the way she-ra handles characterization in general. itās less that catra gets watered down and more that her decision to stop reacting out of pain and anger and start trying to dig herself out of her self-made hole is painted in the same broad strokes as everyone else. whether this is a satisfying or engagingĀ method of storytelling i think is very much dependent upon individual taste (i adored she-ra, but i also have very little interest in dwelling on it now that itās finished), but thatās a rather different question.Ā
the point is, catra makes a clear and conscious decision to shift her priorities in s5 and then sticks to that decision, and the swiftness of her redemption following that choice is no different from the swiftness of scorpiaās or entraptaās or even adoraās, all the way back in s1. and it follows as naturalistically from her past as scorpiaās and entraptaās did from theirs. (is it realistic for people to be forgiven as widely and readily as scorpia, entrapta, and catra were? no, not really, but she-ra is impressionistic and realism isnāt a good metric by which to judge it.)
rta by contrast... is a show driven first and foremost by its plot. characters exist in service of the plot and characterization is subordinate to the plot; the creative team and chris in particular have been very upfront about this. (which i appreciate.) this is most obvious with regards to the behavior of the supporting cast, but it applies to rapunzel and cassandra as well despite the obvious desire on the part of the creative team to render those two in significantly greater detail.
so, cassandra. spends all of s1-s2 having grievances piled on her shoulders until she snaps and turns on rapunzel... only for s3 to turn around and say she turned on rapunzel over a single piece of new information that then becomes the sole focus of cassandraās character while every single problem she had in s1-s2 is swept under the rug and ignored. because 1) rapunzel is a disney princess franchise and this allegedly meant a hard limit on how flawed she was allowed to be, but 2) examining cassandraās s1-s2 grievances requires an honest examination of rapunzelās flaws, but at the same time 3) cassandraās villain arc as-written couldnāt function without cassandra having something to be furious at rapunzel for, and therefore 4) sheās enraged because rapunzel āstoleā her mother.Ā
does it make sense? sure, itās a trauma response fueled by a literal demon dripping poison in her ear, and the underlying reasoning doesnāt need to be rational for the emotional reaction to ring true. but does it build naturally from the foundations laid in s1-s2? no. absolutely not.Ā
so thatās my thoughts on that.
...
also, i think any time youāre setting out to create a relatable fan fave, youāre doomed to failure. characters who are constructed specifically to be Relatable⢠or Likable⢠are insufferably bland 9 times out of 10.