just saw sam/eric tagged on an ao3 fic

seen from Malaysia
seen from Saudi Arabia

seen from Türkiye
seen from United States

seen from United States
seen from United States

seen from Brazil

seen from United States

seen from Malaysia
seen from United States
seen from United States

seen from United States

seen from France

seen from Malaysia

seen from United States
seen from United States

seen from Algeria

seen from Malaysia

seen from United States

seen from Netherlands
just saw sam/eric tagged on an ao3 fic
Have some scraggily doodles for my 4 Inkys AU that I drew on a napkin
dhmu just realized how much i’ve repressed my emotions and feelings for people in fear of other people hating me for them-
…i think i understand why mike’s story has been so important to me.
sudden brainworms for nother oc--
God will i have enough time to animate something for Judais birthday
Replaying mafia 2 right now.. love how the dialogue consists only of slurs
there’s been some discourse around here lately about “nobody wants anything negative to happen in their stories, huh” and people actually sort of proving that point, but -- i want to highlight that there’s a difference between character angst/death that’s written to actually serve a story purpose, versus character angst/death that’s written purely for shock value. i’m not here to pick on infinity war or endgame specifically, but both movies actually have both examples of each written into their scripts.
in infinity war, this is the difference between the scene where peter quill tries (and fails) to shoot gamora on knowhere because he promised her (well-written character angst that serves a story purpose) and thanos throwing gamora off the cliff for the soul stone on vormir (shock value).
in endgame, this is the difference between natasha’s death (shock value; maybe this is my interpretation, but if one were to go by the internal logic of what was being set up in the script, clint should’ve been the one to die) and tony’s death (well-written character death that serves a story purpose and brings a character’s arc full circle).
i get that these two films in particular emulate crossover comic events for better or worse, and that includes a number of “twists” that exist purely for shock value, but just some food for thought. character angst/death is not automatically bad; it’s how it’s considered, written, and executed.