#(there's a huge meta behind this)

[lassieposting]

Absolutely obsessed with the ecosystem and interpersonal political implications going on in Poppy Playtime right now, like.

What we have in the Playtime Co factory is a society made up of creatures who were all, at one point, human. And while it's stated that the experiments have varying levels of intelligence and ability to recall their former lives, we know that a lot of them, if not all of them, retained at least some of their humanity post-transformation. For example:

Most of the experiments are angry, resentful and vengeful towards Playtime Co - they understand they have been wronged, and they are capable of holding grudges.

Poppy and the Prototype seem to have the same end goals (putting a stop to the experiments and saving the innocents being used in them), but diametrically opposing views on how to go about achieving them (the Prototype is a gritty realist who knows no war was ever won without bloodshed and is willing to cause collateral damage in the name of his cause, where Poppy is far more idealistic, moderate and morally opposed to/upset by the deaths of the Playtime Co employees). This dispute has escalated far enough that the Prototype apparently shut Poppy away before the Hour of Joy could begin, and Poppy now wants the Prototype dead for what she sees as a crime equal in atrocity to Playtime Co's - they are able to understand ideologies, have ideological disagreements, and strategise against each other.

Huggy Wuggy, who seems to be only slightly more intelligent than a predatory animal, can still write, and uses the ability to try to guide fleeing prey in the wrong direction - that suggests he uses the vents to hunt on a regular basis, and he's clever enough to use basic deception.

On the subject of Huggy Wuggy, when he escapes the facility, his first instinct is to go home.

There are also numerous examples of the experiments being able to form and maintain social bonds, and work together:

Mommy Long-Legs is described as "nurturing" and "motherly" towards the other experiments, as well as the children. She's placed in the Game Station precisely because her desire to protect and care for the children outweighs her hatred for her captors: she won't act aggressively in front of them.

DogDay says that he's "the last of the Smiling Critters", implying that the Playcare originally had a full complement of Bigger Bodies Critters and that they were all able to coexist peacefully.

Kissy Missy and Poppy clearly have a friendship, with Poppy willing to charge into unknown danger to help her friend.

Miss Delight originally calls the other teachers her sisters, and she's horrified and grief-stricken by her own actions when she turns on them.

Miss Delight and CatNap form a non-aggression pact that seems to include some kind of respect for territorial boundaries, as Ollie claims that CatNap usually avoids the school. That's Miss Delight's turf, and he clearly respects her space, even though it technically falls inside his own territory.

The Prototype - who's usually kept in isolation and under surveillance precisely because he's known to be violent - was on multiple occasions set loose in a room with at least CatNap (and potentially other experiments) without bloodshed. He's even confirmed to have patiently tolerated CatNap lowkey imprinting on him and following him around like a duckling.

The Prototype also opts to save Theo Grambell's life, knowing damn well that to do so means sacrificing his shot at freedom. There is no reason for him to do this other than caring for Theo.

Again, DogDay is the last of the Smiling Critters. Despite the fact that there would have been six of them, and one of CatNap. Working together, they should have been able to overpower him easily, and the fact that they couldn't makes me think that either a) there was a big confrontation in which CatNap either arrived with or was able to call out for backup or b) CatNap became an infinitely more capable strategist and picked them off quietly one at a time, using skills he'd have to have learned from someone.

Anyway. My point here: these were originally people, with all the associated moral hangups and emotional messiness, and they retained a lot of their humanity post-transformation. And they were on the same side, to begin with. During the Hour of Joy, they all turn on the workers together.

But after that? The complete breakdown of that unity and those complex social relations into an essentially animal ecosystem, and the psychological impact on the surviving experiments, fascinates me.

By the time the game starts, the experiments have run out of food, and they've begun turning on each other out of desperation. The Bigger Bodies monsters, previously social and cooperative, have been forced into direct competition for food, and as a result they've largely become solitary apex predators with fiercely-defended territories, where they can pick off smaller, weaker experiments at will. There's some evidence of cooperation and coexistence between predators - Bunzo Bunny and the Mini-Huggies survive ten years in Mommy Long-Legs' territory, possibly filling the scavenger niche and surviving off her leftovers, and Miss Delight is tolerated in CatNap's - but the small toys we see scattered bloodily all across the factory (and the small Bunzo we see picked off by CatNap as it tries to cross a room) show that there's a whole category of experiments whose lives would've become all about hiding, and sneaking, and being where the Bigger Bodies critters aren't. The predators, driven to the edge of starvation, have had to surrender a lot of the human values and morals they had before. The prey have essentially become rodents - they're in danger every second they're not safely hidden away somewhere.

And yet!

The way they've reacted to their trauma is still so human.

Like. Take the difference between CatNap and Mommy Long-Legs.

Mommy and CatNap - Marie and Theo - have a very similar start in life. Both were children when they were experimented on and transferred into their mascot bodies. Both were orphans, and both are described as not fitting in or being particularly happy in the Playcare - Marie was bullied, and Theo is described as "odd" and "antisocial with other children".

But post-transformation, it seems Marie was largely left to, essentially, raise herself. We know that she was aggressively hostile towards staff, and gentle and nurturing towards orphans and other experiments, but we have no suggestion that anyone was caring or parental towards her. Like most of the experiments, she has a digestive tract and would have needed to eat, so she must have had a "keeper" of some kind, but she doesn't seem to have had any attachment to anyone who could serve as a parental substitute and guide her into adulthood.

When we meet her as Mommy Long-Legs, she would be a young adult - she's grown up in her mascot body. But even acknowledging that she's been driven mad by fear and isolation, her emotional development shows several damage markers you'd expect from a child so utterly deprived of love and care and guidance. She's emotionally unstable and prone to throwing extreme tantrums over small and arbitrary inciting factors, like "cheating" at a rigged game - there's very limited ability or desire to moderate or regulate her emotions. She's erratic, has poor impulse control, and when she's angry she lashes out violently at whoever is most convenient - like Bunzo - even though it's someone else - the player - that she's actually mad at. She does try to hide her disappointment at our continued existence behind her bubblegum Mommy persona, but she never quite learned to convincingly mask her emotions the way adults can. Nor has she mastered the art of making and executing a plan - when she attacks, it's all aggression - the single-minded grab-and-smash of an angry, thwarted child. Even Huggy, limited though his intelligence is, stalks the player and tries to chase them into a kill zone. But Mommy relies solely on her stretch ability - automatic, instinctive - and her sheer rage to make her the GameStation's apex predator. Left to raise herself, she never learned a lot of adult skills or survival strategies, and it's become a fatal flaw - she knows her territory, she knows where there would be machinery to look out for, but she's so single-mindedly focused on punishing the player that she completely overlooks her own safety.

Contrast: CatNap.

CatNap is also a young adult when we meet him, and if he'd also been left alone to raise himself, he'd probably have a lot of the same developmental stunting. But he doesn't, and that's interesting.

Now, let's take a very quick detour to look at the behaviour we've seen, not from CatNap, but from the Prototype. We know he's fiercely intelligent, calculating, and a tactical thinker with a talent for using his environment and anything in it (up to and including the player - he makes use of Mommy after we kill her, even though he's the facility's super predator and could easily have done it himself) to his advantage. We know he's stealthy - from how close to us he is at the close of each chapter, he's likely been tailing us from the moment we entered the factory, keeping his distance and watching us to see what we'll do and how he can make use of our actions. Some of his behaviours are strongly reminiscent of a soldier in action - I have a theory here that whoever became the Prototype had, at some point in his previous life, been a military man.

And now look at CatNap. Who has he become?

An intelligent, calculating stealth predator who uses his environment and any weaponizable thing he can get his claws on to take out his prey with minimal risk to himself. He's capable of adult logic and reasoning skills - i.e. the teachers will get hungry and harm the surviving children, so locking them in the school to fight to the death removes all but one threat, who can then be negotiated with once the children have been moved to safety. He's able to form and maintain alliances and agreements. He's even able to identify that the player is either a) not a threat to him or b) proving useful to the Prototype, and overlook his own hunger to offer them mercy: leave Playcare, or I'm coming for you.

In other words, he's grown up a lot like the Prototype.

And there's a reason for that! We know from the interdepartmental report on CatNap that for some reason, after his transformation procedure, he was allowed to socialise with the Prototype - an experiment who's considered so dangerous usually kept on lockdown in isolation under constant surveillance. And the report notes that CatNap "follows [the Prototype] around like a lost puppy" and that the Prototype "doesn't seem to mind".

Which, on its own, could just mean that the Prototype recognised Theo for what he was - a traumatized, hurting, confused little boy - and, aware that CatNap was not a threat, opted for tolerance over violence. But when you consider CatNap's history with the Prototype, I don't think that's it. Theo befriended the Prototype, or vice versa, long before Theo ever became CatNap. He was mortally injured trying to help the Prototype escape, and the Prototype gave up that shot at freedom to get Theo medical attention. They are close, and the fact that CatNap, a decade later, has assumed so many of the Prototype's traits and skills implies that they remained close for a good long while after the Hour of Joy.

Theo, aged 7, is clinging to the one person he feels safe with and protected by after a major trauma. If he follows the Prototype everywhere, he won't be left alone with the scientists. If he's not left alone with the scientists, they can't hurt him anymore. And the Prototype lets him, reinforcing the idea that you're safe with me. It's not unlikely that he feels responsible for CatNap's fate - if he hadn't taken Theo to the Playtime counselors for medical attention, the boy would have peacefully died, and wouldn't be living a nightmare - and he's stepped up to parent CatNap.

And you can see echoes of that ongoing bond in how CatNap behaves a decade later. Who taught him to hunt? The Prototype. Who taught him strategy and tactical thinking? The Prototype. Who gave him the survival skills he needed to make his way to the top of the food chain and stay there? The Prototype.

Unlike Marie, Theo had someone to protect him. Someone to play with and care for him. Someone to hunt for and feed him once the bodies began to run out, at least until he was fully capable of catching, killing and pulling apart his own prey. Someone to socialise with. And he's better adjusted - for a given value of "better adjusted", because like, nobody in this factory is even remotely okay - as a result.

And that's still so human. Despite the absolute horror-show feral animal situation they're all living in.

Just? idk man i have a lot of feelings

[mswyrr]

the Sept scene was fully in character for Rhaenyra & Alicent

I've seen fans--even Rhaenicent fans!--saying it was ooc or "fanfic." It wasn't. The original scene was much shorter: Emma and Olivia, two very talented actors who know their characters well, expanded it. They weren't just wasting time or suddenly lacking in talent and insight. They knew what they were doing and it connects all the way back.

So let's go all the way back! Where do we begin? Episode 1x01, King Viserys wants a son and male heir; he has wanted a son for so long that Rhaenyra, his 14-year-old daughter says (ep 1x01) "For as long as I can recall, it’s all he’s wanted." What has this done to her? Well, for one thing, it has made her mother, who has difficult pregnancies, in ill health for most of her life. This ill health means that Aemma did a lot of lecturing (and trying to keep Rhaenyra from flying and doing other risky things while she was sick) and not a lot of getting to spend quality time with her daughter. A distracted father, ruling the realm, and a mother sick with trying to give him the male heir he prioritizes above his wife and daughter.

Who has been there for Rhaenyra? Alicent. Alicent was hers. When Rhaenyra flies on her dragon, experiencing freedom from all her worries and power and joy, she wants ALICENT to be there with her, high above the sea, looking out over the city:

[source: 1x01 script]

When Rhaenyra had to have a difficult conversation with her mother, it was Alicent she looked to for comfort and emotional support -- in an act a cut scene from the script *explicitly calls "flirting"*. Rhaenyra relies on and longs for that "disarming kindness" she says Alicent has.

And it was Alicent's lap that Rhaenyra flirts about loving to lie upon. Alicent is so much to Rhaenyra that she dreams of running away together, just the two of them and Rhaenyra's bonded dragon Syrax.

Alicent was her cherished girl, her comfort and her chief supporter and advisor. She was Rhaenyra's heart's rest. And, yes - it was a friendship blossoming into flirtation and desire as the two matured. They were on the cusp of something. They were the world to each other.

[source]

Emma and Olivia get it and have always gotten it. Rhaenyra has this gorgeous yang or solar energy that finds balance with Alicent's yin or lunar energy. They're a sun and moon couple, balancing each other's strengths and weaknesses. With Alicent, the sword of Rhaenyra's intense energy has a sheath. A resting place. Her fire has a hearth. And Alicent isn't drained by people (like Viserys would later do...) who just take and take and take -- hurting her and draining that "disarming kindness" of hers until she's broken and ruined inside. Rhaenyra gives and cherishes in a way that made Alicent feel whole and appreciated.

Rhaenyra goes from being angry (angry the way a jilted lover would be - calling Alicent a "whore" for what she felt emotionally imo as Alicent cheating on Rhaenyra with her father) to instantly deeply protective and possessive once she learns more. See the cut scene after Viserys reveals his engagement to Alicent:

[script pages source] [photo source]

Rhaenyra is ready to take on the whole Seven Kingdoms to protect her girl!

Rhaenyra liked being the focus of Alicent playing the "lady beloved" role - reading soothingly to her, supporting and encouraging and admiring her, teasing her for being naughty, advising her about her political situation. She found rest and comfort there - and then Viserys took her mother, cutting her open to get his precious son out. And then, in his remorse and grief, he took comfort in Rhaenyra's girl (who was forced to give him that precious kindness of hers by her father) and her father *stole her girl too*. Not only did he steal her girl, he put her own status as heir into question by having a firstborn son with her - after wounding Rhaenyra deeply by chasing a son as far back as she could remember!

All the "she should be over it" stuff about Alicent... if Rhaenyra were a male character people would recognize the wound of having his crush stolen out from under him by his old man at the same time his old man refuses to fully back his status as heir - it's archetypal! It's gd Greek. Your old man trying to keep you from the girl you want, from your desires and destiny as an adult.

Rhaenyra makes total sense in the Sept scene - she has the primal wound of a girl who is an HEIR - who wanted to have things and act and possess and stand tall and be the lover to a girl's beloved in a way only boys are allowed in this society... and whose father took her girl away from her as well as making her feel uncertain of her status in a deeply wounding way. Rhaenyra correctly locates, emotionally, her rupture from Alicent as where it all went wrong. The Sept scene is about all of that emotionally and it makes total sense. It is also about Rhaenyra's sheer desperation and comprehension of the horror coming... and the most heartbreaking longing to return to a time when Alicent's heart was her home.

Alicent's heart was Rhaenyra's home. And her father stole the girl she loved. He took her and savaged and used and broke her and made her give birth to children she didn't want (at least not with him) from decades of sex she did. not. want. because even men who think they're nice in this society are allowed that - to cut a wife open for a son, to use a girl young enough to be his daughter. He vacillated between wounding and affirming Rhaenyra, never fully able to honor her as his heir because she was not a boy. And he couldn't even conceive of her feelings for Alicent because this is a deeply homophobic society - but he was also, even seeing it in a platonic light, selfish and inconsiderate of her feelings for her best friend.

He kept putting his feelings and needs first, over his wife, over his daughter, over her best friend.

I don't care if nobody else gets it - the way Emma plays it? They get it. They're an extremely talented actor who wasn't going "ooc" in the Sept - they were playing *that*. My father inflicted these primal wounds on me because my coming of age was more like a boy's--like things that should be allowed girls but are denied them-- and he thwarted me and yet I love him. And I love Alicent and I long for her heart, though it's full of poison and broken things now. Why does it all have to be like this? Why does it have to hurt so much?

The Sept scene is entirely in character for both of them. It is not "fanfic." It is not OOC. It is the broken heart of this tragedy bleeding before our eyes.

[evilkitten3]

i have a theory about shinji, gin, and aizen, but i'm not really sure how to word it.

we never really see shinji and gin interact all that much, which makes sense bc both of them have significantly more important relationships with aizen, but at the same time it's a little odd how much there isn't.

like. gin cut hiyori in half. shinji is understandably pissed about that, but he aims that anger at aizen - and this seems to be one of the very few things in the bleach world that honestly isn't on him bc he never told gin to do that, he never even implied it. hiyori was never a threat to him. hell, we don't even know if she was charging in the right direction; if anything, attacking her implies that she was which is a really stupid thing to do when you're surrounded by a bunch of people who super want you dead and would kill you if they could be sure you weren't tricking them into stabbing each other (ofc it could also be a fakeout but still)

but i don't remember shinji's beef ever really being with gin, even tho he didn't seem to anticipate that gin was working with aizen the whole time during tbtp. so like does he feel responsibility there? cuz gin went straight from academy to 3rd seat and shinji could plausibly feel like that sent him right to aizen bc he doesn't know that gin was always aiming for that. did he blame himself? does he feel like he should've seen it coming? does he still see him as some weird genius kid? does he just view gin as an extension of aizen, which is both dehumanizing to an extent but also entirely fair bc gin did that to himself?

the thing is, since we never really see them interact much, it's kind of only interesting on shinji's side of things, bc gin doesn't really care about much outside of whatever the fuck he thought he was doing and the version of rangiku that he has in his head who needs back something that the real one doesn't ever seem to have realized she lost to begin with. gin's so disconnected with basically everybody that most of the time you can usually assume his thoughts are just "lol. lmao" and there's no reason to think that doesn't extend to shinji as well (gin has deep thoughts on: aizen, ichigo, and matsumoto (massive asterisk on that one ofc) and i think everyone else is kinda set dressing to him lmao the guy is Fucked Up)

anyway i think it's interesting to toy around with that relationship as it was in reality as well as how it might've been perceived, but also in the sense of both of them being sort of opposite ends of the manchild spectrum - shinji leans into his childish side but still has a fairly adult worldview, and gin is able to pull off maturity to an extent but was never able to escape a deeply childish mindset

[spyridonya]

Once upon a time, not very long ago in terms of the planes, Raphael once fully supported his father during a coup under Baron Molikroth. Baron Molikroth was a sadistic pit fiend in appearance, gluttonous and obscene, who began a rebellion under Mephistopheles' nose. When sorting through the dead Archfiend's bastards, Raphael was defiant, refusing to join against his father's killer despite the tides of change. Many of his siblings found favor under Molikroth, but Raphael honored his oath.

In the decade that followed, those who served Baron Molikroth were killed by Molikroth's own hand. The coup and persona of the baron was planned by Mephistopheles who posed at Molikroth to find who was loyal and who was not. Raphael survived the purge than many of his siblings did not. Unlike his siblings, Raphael recognized exactly what was going on with the baron. It wasn't a sense of loyalty but knowing his father remarkably well.

He is his father's son, after all.

And then Daddy Mephistopheles went and started the Reckoning.

[redroyalblues]

to be so honest i’m really glad the rwrb movie seemingly did as much as possible to separate itself from the actual monarchy (changing the grandmother queen to grandfather king, taking out the name windsor, etc.) it feels more storybook and less ethically iffy (😭) to me that way

[makerofmadness]

ok I know I said I love dark cacao but like they didn't have to make two of him /j

(I'm sorry what the fzck is going on with kingdom right now like. I thought my friend was kidding when they said "ancient+" I thought it was a joke about Mystic Flour like what the fudge do you MEAN someone actually signed off on that-)

(I feel like I caused this somehow 😭 like I think I said once on here that cacao's my favorite out of the ancients but I didn't like to actually USE him but like. why not just buff him???? Or like they were doing that whole crystal jam thing and I know that was kinda only for the legendaries but like. it's something-)

[zeravmeta]

forever thinking about the meta and the fact that it was constantly killing others and optimizing itself further as a weapon with the sole intention of becoming perfect and thus human and the way they ultimately die. is by drowning

[beastenraged]

In the process of writing my megamycete/RE8 thoughts, I have to say that I really disagree with the apparent common fandom interpretation that the megamycete is evil?

Look, it’s just a lifeform that’s adapted for feeding off of corpses. That does not make it evil, anymore than a common fungus or vulture is evil. The holding memories thing is weird but not inherently bad either. It just is. 

Being experimented on in a way that allows it to apparently ‘mind-control’ people doesn’t make it evil either. That’s the experimenter’s fault, Miranda’s fault. 

But then, it’s not like RE’s ONE big theme is how corporate greed and/or people’s thirst for power over others is the Real Enemy, using these viruses/parasites/mold to hurt people. 

That would be just crazy. /sarcasm

[noritaro]

I lost sleep for this furbait tiger

[itsredpaint]

✌️

[chisungie]

.

[saving-people-haunting-things]

Out of all of the things to go full conspiracy theory over, why Destiel?

[its-your-mind]

ALWAYS rotating TAZ: Balance around in my brain like microwave but ESPECIALLY with the announcement of The Suffering Game graphic novel

The dope thing they can do (and are doing) with the graphic novel series is sprinkle in moments of foreshadowing and hints to the reader about what REALLY might be going on here, which is so cool and I’m a huge fan of it, especially when you’re telling a story in this form.

But what is REALLY FUCKING TASTY about Balance as a story is that none of the motherfuckers telling it had any clue what they were doing when they started

Gerblins is dick jokes and not knowing how dice work and making fun of each other for voices. LICHRALLY the scene where Taako grabs the Umbrastaff is immediately proceeded by Clint trying different voices for Merle while Justin begs him to stop, as Taako. Merle gets launched across the room cuz he failed his save, and now Taako has an umbrella. The scene moves on.

Griffin brought them up to the BOB, introduced them to the Director, and gave them memories of a war fought over nameless, lost, powerful but mysterious artifacts. The memory that Taako takes from it is the idea of soured cream (ya know, for his taco quest).

And then they’re off, on different adventures, making friends, saving lives, making more dick jokes, and Griffin is in the background, slowly building in the meta-plot, as all DMs do.

But this meta-plot was HUGE. It was ALL-CONSUMING. It completely changes everything we know about this world and these characters. It takes the moments of dick jokes, and arguments about character voices, and flirting with death, and adds a layer of tragedy and complexity that just wasn’t present the first time they told that story.

AND THAT’S WHY THIS STORY KICKS ASS. The vibe of the story changed as Tres Horny Boys grew closer and closer to remembering the lives they had lost, as Griffin upped the stakes, as people started dying. They still don’t know shit for most of The Suffering Game, but you absolutely could not have predicted the tone of that arc after just listening to Gerblins. It sounds like a completely different story. And so when the other shoe drops, when shit breaks bad, when it’s the end of the world… again, and they have to reclaim their Stolen Century…

It makes sense. The tone has shifted enough to accommodate that kind of change. The characters have grown (back) into themselves enough to make this work.

Because TAZ: Balance is a tragedy. But the tragedy happened before the podcast even started, and had been erased. So of course it started off with goofs and dildo jokes. Of course the three of them started being standoff-ish with each other and making light of every situation that should have had a lot more weight. They didn’t know what they had lost, and we, the audience, didn’t either. So it was easy to laugh and joke… until slowly, it wasn’t so much anymore.

Plenty of people have praised Griffin’s storytelling abilities, but I think the thing that was most impressive to me was how he took the disparate threads laid out behind the Boys on their adventures, and followed them backwards, into the story they had lost, and forwards, into the ending they earned. I fucking love that he settled on Istus as the deity to interact with them, because I don’t think there’s a better representation of the story Griffin was weaving behind the scenes of the arcs.

Story and Song wasn’t really an arc driven by dice rolls and role playing - but it wasn’t railroading either. Griffin took every story they had told, every happy ending they had fought for, and twined them around and through each other. The world was saved not because of a lucky nat 20 roll, but because every person they had helped through the story came out in force to fight beside them to save their world.

And so in the end, the Stolen Century was a tragedy. But The Adventure Zone: Balance was a story of hope, of family, of the power that just a few loveable doofuses can have when they move through the world, making friends and saving lives. So when the world was ending and they needed help, there were dozens of people waiting to hear the Story and the Song that would give them the push they needed to fight, and the hope they needed to win.

[luludeluluramblings]

Smalltown!Reader’s Meta Abilities: Weather Manipulation/Control

GN!Reader

A/N: Little explanation on the metahuman aspect.

I’m not talking about these a lot in the story, as y’all have probably noticed. And, that’s because Reader is suppressing these abilities while in the Manor and in Gotham. Refusing to share that deeply personal and emotionally intimate side with the family.

Yeah, the family is working towards building that bond with Reader, but they spend time with Reader in only small intervals and have not built up enough trust to have Reader share that part of them. It doesn’t help that they disappear to do Batwork and give Reader excuses. Reader knows they’re being kept in the dark, and they hate it.

I will fully admit, Reader is spoiled for attention. They had loving parents and the adoration of an entire small town cult before coming to Gotham. Where Bruce has kept them mildly isolated and left them alone. Gotham media isn’t allowed to talk about Reader. Reader cannot hangout with friends. And, the family is constantly bouncing between giving reader attention and being too busy to even see Reader.

The dramatic shift (plus the grief) wears on Reader. They’re used to getting attention when they want it and when need it.

The smalltown learned how to handle Reader and have years of practice. The Batfamily doesn’t even know there’s a damn guideline on how to handle Reader. (But, once they figure it out, Reader is going to get manipulated like crazy.)

Not to say it’s all bad, Reader has moments where they also like to be alone. But, only when they’re happy. They hate being alone when upset or sad. Hate it. They’re not used to it. It makes them tempted to lose control over their abilities and give into the violent emotions that can cause hurricanes.

Which is a big part of their abilities and a brings to light a huge similarity between Reader and Bruce.

Bruce has amazing self control. I would say it’s his superpower behind the detective and combat skills. But, he will give into emotions on occasion to keep that same level of control as Batman. (Him snapping at Reader due to him being upset with them and dealing with his jealousy towards Daddy is a rare lapse.)

Reader also has amazing self control over their abilities, due to them being tied to their emotions. Letting it out in a controlled manner, properly containing it until it settles. Without this control Reader would have a constant cloud over their head fluctuating through different weather patterns more than a mood ring does color.

Certain types of weather are related to an emotion. Happiness is a light rain. Fear is tornados, anger is a thunderstorm, snow is embarrassment, and hail is overwhelming anxiety. Love is a light thunderstorm with soft rain. Hurricanes are when Reader absolutely snaps.

Reader’s eyes glow when their Meta abilities are in use. It’s a dead giveaway.

(Reader is also going to have such a pretty inhibitor collar commissioned by the family later on.)

[chinolondoner]

Author looking for readers

I'm not sure of the best way of getting people interested in the work of an unknown writer...

Plopped down in the middle of a tropical, Latin American setting, Lullaby for Bishop is set to be a hard-boiled detective series with four main characters: a veteran private investigator in the twilight of his career; a muscle-bound professional wrestler fulfilling one of his pivotal, childhood ambitions of solving strange and wild mysterious; as well as a pair of rumbunctious, teenage, high school girls constantly causing a scene and tagging along for the thrills.

You can preview the first half of chapter one further down below and catch up on the remainder, along with the totality of chapters two and three, all completely for free if you visit my Patreon. It's going to be a little while before this first book in the series is actually finished and officially published, but I feel the smarter move would be to try and elevate as much of a buzz for the featured world and characters before then as possible. I also plan to put out additional pre-release chapters in the near future (likely three at a time). If I have somehow managed not to bore you and you're still eagerly reading, then I do hope you enjoy the launching meta in this tender work in progress and stick around for future updates. Thank you for your interest!

---

Chapter One

Nervously, Donny Boy had begun rubbing his fingers on the back of his neck, seated patiently a narrow foot away from the front of the desk while waiting for our bastard detective to stumble back into his office, suddenly realizing that the price tag had not yet been plucked away or removed from the fanciful hat he was wearing and was still dangling off the rounded edge of the brim.

Looking around the room for a trash bin he could use, Donny Boy's eyes gradually panned across the office, taking note of a few of the usual mosquitoes left splattered on the frosted, scarlet-lettered glass on the door. Dizzying groves of zigzagged patterns tying in the décor on the wallpaper, he spotted an old, unused desk tucked-away in the far, opposite corner of the room, heavy with dust and weighed down by sprawling stacks of postcards and unrecycled newspapers.

His wandering eyes glancing up the rearing rays of shattered sunlight filling in through the narrow, broken blinds on the window, Donny Boy had noticed the row of fancy kettlebells neatly arranged across a flat and sturdy, iron bench scooted against the wall, a dirty, rolled-up yoga mat, along with this stationary, exercise bike for the purposes of one's daily, cardio workout.

Looking up at the rougher dust build up over the years along the edges of the blades on the ceiling fan, Donny Boy was suddenly lured back from his current distractions after Detective Howl Bishop slid back into his office, tossing a used washrag onto his desk after wiping his face and smelling of minty, nicotine gum and aftershave.

“So, what do I call you, kid?” Howl had asked while taking a seat in his chair behind his desk.

“Don should be perfect. Growing up, my next-door neighbor used to call me Donny Boy.”

“Donny Boy, huh?” Howl fought against his urges to fidget with a stack of papers in his drawer. “Sounds good to me, kid. So… are you some sort of circus performer or something?”

“I'm not sure I know what you mean…”

“Your arms… They're freaking huge!”

“Oh… Yeah… I do struggle at times finding clothes that can fit me properly. Also, I wasn't really sure whether or not I should've worn a suit jacket.”

“Yes…” Howl would peek over the top of his desk and study Donny Boy up and down, a salient tone of fascination in his voice. “You really are quite the physical specimen, aren't you?”

“I suppose I do enjoy a good workout,” Donny Boy replied, a little bit bashful.

“You do have a basic understanding of the type of job you're here applying for today, don't you?” Howl asked.

“I believe so… The ads in the newspaper said Experienced private investigator in search of young and capable partner…”

“That's right. And being a private eye, it's important to have a plethora of tools at your modest disposal. One of those tools being the ability to effortlessly mesh into your surroundings. It's important not to stand out too much when in a public crowd or when casually photographing somebody's license plate from across the road. At the moment, I'm having some doubts on that possibly being a strong suit of yours given your current… how should I say… physique.”

“Oh… Well, to be completely honest with you, Mr. Bishop, I haven't even paused to consider that as a possibility.”

“Yeah, well, thinking a few steps ahead is also an invaluable tool to have.”

With more than a quarter of a century of busy detective work under his belt, his hair having grown white as Winter's ashes and the once buoyant Spring in his footsteps having lost some of its feather throughout the years, Howl Bishop was originally from the lands of sunny, Southern California, born on a weekday in a rushed and overcrowded hospital in the blighted city of Los Angeles.

Brought up in a bohemian household, Howl's anxious mother was a failed, Hollywood actress turned “new-age” healer and father was a meddling screenwriter that had spent more of his time obsessing over the quality of the ink in his typewriter than ever inundating his children with any orderly grants of wisdom.

Standing at six-foot even in height, a strong, conquering jaw and with an even tan across his arms and facial features, Howl was one of the many foreign expats sailing over from the States in purge of more permanent roots in Pan de Leones. Old, brown, leather belt holding up his wide, beige-colored slacks, Howl always wore floral, Hawaiian shirts when in settled eye of the public, mixtures of white and pink and with a couple of loose buttons up toward the collar.

With his sharp, Anglo features and light attire, it was entirely common to mistake Howl Bishop for a possible tourist visiting Latin America for the first time, sightseeing across the country and falling for obvious scams at the nearby market. That is, of course, until one caught an initial glimpse of Howl's encyclopedic knowledge of the city's urban layout and sprawling geography, along with his ease of verbal fluency when communicating in Spanish, often conversating with local barkeeps and store merchants on objects ranging from the wise and esoteric to the lurched, mind-numbing, and trivial.

“I would like to procure a general gauge on how comfortable you might be interacting with the more unsavory avenues of human society,” Howl would lean back into his seat and ask, clamping his hands together and placing his palms over his stomach.

“Could you be more specific?”

“In such line of work, one all too often will find themselves having to calmly intermingle with unrested eyes of broken glass and scoundrels. Do you possess any real-world experience dealing with scum and the morally compromised?”

“Uhm…” Donny Boy appeared curtailed by Howl's question, unsure of how to respond. “I once dated a girl that refused to pay off her parking tickets,” he said.

Without managing to reply, Howl simply stared in confusion from his seat across the desk, reevaluating his initial impressions on the kid. Then, squinting his eyelids a little, he felt inclined to change the current subject and asked, “I don't mean to suddenly swerve off topic, but… have we met before?”

“What?”

“Well, I'm looking at your face, right now, and… I can't help but get the feeling that this isn't the first time that we've been in the same room. Do we know each other?”

“I do not believe we have ever met, Mr. Bishop,” Donny Boy was quick to point out in response, laughing out loud a little to himself while nervously shuffling around in his seat. “I've always done alright remembering faces and my mother had always told me it was rude to forget someone's name.”

“Hmm… I guess in my advanced age, my average perception of things has grown a bit muddy. I suppose I simply must be confusing you for somebody else.”

Wide, rugged shoulders, preposterous arms, and with a large, outward, and muscular chest, Donny Boy was young and handsome and had shaded, bronze-colored skin. His lightly brushed hair was a wild, sunflower-blonde of which he maintained in perfect tinge and kept the darker shadows of his roots regularly dyed. Along with the fancy, finely tailored fedora resting on his head, the crumpled price tag of which he had just recently stuffed into his pocket, Donny Boy wore a normal pair of rectangular, blue-framed eyeglasses, granting him a bit of a barbarous librarian kind of a look.

Dark eyebrows and with the small patch of facial hair on his chin routinely trimmed, Donny Boy had entered the office wearing a short-sleeved, white, button-up shirt, the generous, overfed muscles of his upper body appearing to want to tear through the clothing and with a clean pair of ruby-red suspenders attached to the waistline of his denim-blue slacks, tugged and strapped-up over his mountainous shoulders. He also had on a dorky, red bowtie for the occasion.

“How old are you, Donny Boy?”

“I'm twenty-eight years old, Mr. Bishop.”

“And what's your sleep schedule like?”

“Excuse me?”

“Your sleep schedule. Have you developed the habit of going to bed around the same time, every night?”

“I believe so. I've never been one to indulge in any late-night festivities. Why do you ask?”

“Well, when living the demented life of a private eye, it's not uncommon to have to commit to some later hours on the unplanned occasion: car stakeouts after midnight; navigating the craze of urban nightlife on foot; purchasing some nefarious lawyer a hundred shots of overpriced vodka at the stripclub just for a few layers of common information. Do you drink coffee?”

“I've never been much of a coffee drinker, no.”

“Well, you definitely should be. Sugar highs and caffeine are going to be your most reliable friends on those late nights when you most need them. Either that or… well… you know…” Bringing his hand up to his face, Howl used his finger to tap the side of his nose.

“Oh, no way, Mr. Bishop,” Donny Boy immediately replied. “I wouldn't even think of touching that stuff. I've always had a firm stance against any illegal drug use.”

“That's good,” Howl said. “I've noted my fair share of innocent souls throughout my time wasting away from drug addiction. A found sense of longed-for excitement is what initially lures them in. And then, after enough restless days turn to night, enough sleepless nights turn to chaos, suddenly they look up and… the neon lights on the street don't seem as vibrant as they once used to…”

Donny Boy would look at Howl with a sort of strange sense of wonderment, our detective's eyes having slowly migrated across the room toward the window, perceiving what, to him, had appeared to be an expression of profound fatigue captured on his face.

The sound of the vehicle screeching to a halt could suddenly be heard outside on the street, trashcans tumbling over and followed by the angry voice of a young woman shouting profanities.

“Oh no…” Donny Boy muttered underneath his breath, his eyes suddenly wandering over toward the window.

“What about your relationships?” Howl asked. “Do you have a wife or girlfriend? One of the more unfortunate aspects of being a private investigator is the difficulty you might experience maintaining a healthy inner circle. This is often a critical detail that turns the most people away.”

Donny Boy was completely distracted and had failed to pick up a single word, a growing look of nervousness on his face.

“Donny Boy, are you listening?”

The frantic sound of sudden footsteps quickly marching up a flight of stairs could be heard just outside the door to the office, followed by the reactions from Howl's trusted secretary demanding an unknown grouping's identification and honest proof of appointment.

“Move aside, lady! You don't want to have to get injured!” a young woman's voice hollered in response.

“How have they managed to find me?” Donny Boy wondered out loud to himself.

“We have you outnumbered and we're very upset!”

“What the hell is going on out there?” Howl began to react.

Suddenly, managing not to completely fly off its hinges, the door to the office was viciously kicked open, creating a sudden gust of wind that would travel across the room, knocking over a slanted stack of printed papers off the corner edge of the desk.

Standing in the open doorway, visible tension throughout her arms as her hands were forged into concrete fists, a young, teenage girl had a rancid look of anger on her face. A dark, navy-blue blazer over a knitted, bright, yellow skirt, the young woman was dressed in a traditional, school-girl's uniform and had her hair cut down short, visible scrapes and bruises on her knees giving out impressions that the girl was perhaps a bit of a rowdy tomboy.

“Nayaiko! I found him! He's in here!” the young girl shouted back over her shoulder.

She would then come into the office, and shortly afterward, her thin silhouette appearing in the doorway, an additional and secondary, young woman showed her face and seemed equally upset at the current moment. Dressed in an identical uniform as the first, this second girl had her hair much greater in length and stood with long and beautifully braided pigtails poking out the sides of her head.

The second girl entered the office and shut the door.

Standing over Donny Boy who seemed to be trembling in his seat a little, the first girl snarled out of her nostrils and said, “This is the second time this week you tried to ditch us…”

“This honestly isn't the best time, girls,” Donny Boy said, his voice a bit shaky.

“You know, we were standing outside the changing booth for thirty-five minutes before we realized you weren't there,” the second girl would report. “You told us you were trying on some hats!”

“I did! Look!” Donny Boy then lifted the hat up off his head to showcase. “I ended up purchasing this really awesome fedora for myself. It's really cool, isn't it?”

Neither girl seemed to want to take the time to respond. They simply crossed their arms in defiance and stood with a pair of inconsolable scowls on their faces.

Continue...

[luna-rainbow]

The shield-bearer vs the gun-wielder

(Unmarked GIFs are credited to @lost-shoe - miss you 😭)

One frequent interpretation of the Steve-Bucky dichotomy sees Steve as the protector and defender with the shield, while Bucky is the aggressor and assailant wielding a gun or knife or even his metal arm. It's hard to shake that impression when we remember just how savage Bucky can be as the Winter Soldier, whereas Steve notably did not carry a weapon after CATFA. Promotional stills where they appear together reinforce that image, with Bucky often appearing with an offensive weapon (or holding his arm up offensively) while Steve holds his shield defensively.

But the picture of Bucky stepping in front of Karpov made me rethink. Despite Bucky's loss at the new super soldiers' hands a moment before, he is remarkably restrained in what he does as he leads Karpov out of the cage. I am not against the meta that suggested he gained some satisfaction at striking back at the new super soldiers, but he stuck to his goal of guarding Karpov instead of getting swept up in the adrenaline and joining the brawl - as other guards in the background did.

Bucky is a protector. I know there are already lots of meta about this: from the moment we meet him in the back alley, Bucky is using himself as a human shield between Steve and the bully. He puts himself at Steve's back when he's rescued from the Hydra facility and he picks up the shield to protect Steve on the train. Even that one scene of Bucky being a sniper in CATFA, he shot the enemy to protect Steve. As Bucky, his acts of aggression happens when he's protecting someone (usually Steve).

So it's interesting to re-examine the violence in CATWS. Yes, Bucky/Winter Soldier is capable of extraordinary ferocity in taking down Fury and Steve and Nat, but he's also someone who sits there placidly when Pierce's maid startles them. Proactive attack isn't his instinctual state - and that becomes clearer when we see more of Bucky in CACW. He waits until violence is upon him before he retaliates: whether in Bucharest, or in the German airport, or finally in Siberia with Tony.

And on reflection, even in this climactic CATWS scene, the visuals are consistent with Bucky’s modus operandi — he is placing himself as a human shield between his enemy (Steve) and what he needs to guard (the Helicarrier behind him). The trail of destruction he leaves behind on his way onto the Helicarrier is frank reminder of how capable of violence he is, but this moment on the bridge holds a curious stillness. He is waiting, but not as a predator waiting for his prey, but rather like a lone guard’s final stand against inevitable doom. And perhaps — his aim was never on taking the most number of lives on the airfield, it was to disperse and disable anyone who might interfere with the Helicarrier’s launch.

Bucky's focus during the first part of the fight with Steve seems to be more on the drive Steve is carrying rather than on killing Steve. Killing Steve only comes after the Helicarriers fail (which begs the question: was Bucky specifically instructed to stop Steve without killing him and then kill him afterwards, or did Bucky have enough presence of mind to hold back for as long as he could?) Even as the Winter Soldier, Bucky seems most in his element when protecting something behind him.

On the converse, we have Steve, whose symbol is the shield, and I think it misleads (maybe even intentionally on Steve's part) the audience and his enemies into thinking that Steve's strong point is defence.

But it's not. I wouldn't call Steve an aggressor (and I'm not a huge fan of the angry chihuahua fanon), but he is far more proactive in his actions and a lot more aggressive in his attacks than the shield might suggest.

Even this memorable image, which seems to suggest Steve is on the defense against Bucky's raging attack is actually the opposite -- Steve is rushing Bucky from the side, and Bucky's punch serves to stop Steve in his tracks (i.e. it’s Bucky's self-defense against Steve's attack).

Our first meeting with Steve establishes him as a challenger - he challenges the recruitment rules, he challenges the disrespectful guy in the cinema, he challenges Colonel Philips and Hydra and the Red Skull - and eventually, he goes on to challenge Loki and Tony and Fury and Pierce and SHIELD in the modern world.

We don't see Steve carrying a weapon in the modern era (except for maybe brief moments of him using a weapon in Avengers) and it's easy, for the audience but also for Steve’s enemies, to forget that Steve uses the shield as an offensive weapon. Sure, it serves its function as an actual shield, but Steve hurls it as a projectile weapon intended to incapacitate so many times I won't be able to list them all so I'll just let this picture speak for itself.

Even at their first reunion, Bucky is running away to avoid a confrontation with the witness (Steve) while Steve is chasing after him to confront the sniper.

And I think this describes their different traits to a tee - Steve is like the bloodhound with a keen nose for trouble and doesn’t rest until he’s chased it down, while Bucky is like the guard dog who patiently sits by his family until commanded to fight or provoked. That's not to say Steve is always picking fights, but rather he's got an intuitive awareness of where the source of the conflict is and has no qualms putting himself into the fray. It’s also not to say that Bucky is always avoidant or apathetic, but rather he tends to watch and wait unless it threatens those he cares about...and that is probably deserving of its own meta to discuss how their separate upbringings make Steve and Bucky different in their confrontation readiness.

"I thought you were more than just a shield," Batroc says, so Steve clips his shield back on his harness and dukes it out with his fists.

Of course Steve is more than his shield, because the shield is just a piece of disguise for who Steve Rogers really is - someone who's always assessing the world around him (rather than hiding behind the shield) and ready to challenge the injustices (rather than waiting for the fight to come to him).

The real dichotomy between Steve and Bucky is that Steve is a natural challenger, who first picks up the shield to help him undertake a single-man offence on a Hydra base. When he wakes up in the modern world and sees that the imagery of the shield is entrenched with his identity, he uses that symbol to mask his fiery defiance while turning the shield itself into a weapon that works both in offense and defence. Bucky is a natural protector, who had picked up fighting and later weapons for defence and self-defence. Hydra then turned his loyal temperament and his skill set into “the fist of Hydra” - capable of both protection and targeted destruction.

They seem to have chosen (or been assigned) a weapon that is opposite to their instincts, but it’s also why they work so well together as a unit. Steve's convictions and idealism give Bucky the impetus to take up arms, and Bucky's constancy and protection give Steve the confidence to forge ahead.

The man who attacks injustices with a shield, and at his back, the man who defends him with a gun.