#I have SO many things I want to tell you about this comic

[genericpuff]

Looking back on it, Rachel really should have called Lore Olympus something else. It really doesn't seem to want to focus on 'lore' or 'olympus' and would rather be a romance with her self insert and celebrity crush. So many plot points and characters got thrown away for her two characters. It reminds me of Twilight having interesting background characters (Rosalie deserved better) and an interesting supernatural world. Yet Stephanie just focused on the dry ass romance of Edward and Bella.

I mean, the title totally worked in the beginning, the comic just lost the plot after its first season and became more like what you're describing, a weird May December romance about a girl who's only empowered enough to wait until marriage with the first guy she ever crushed on before having sex 💀

And yeah true that, a lot of fantasy dark romances like Twilight suffer from the issue of getting too hyperfocused on the main couple doing stuff and not paying enough attention to the actually interesting stuff going on around them. Though I will say, in Twilight's case, a lot of the "interesting stuff" was grossly misrepresented from Indigenous tribes and beliefs so... maybe it's for the best Stephanie didn't expand too much on it all in the end LMAO

Of course, the same can be said for LO, there were some really interesting plot hooks happening around H x P, but by the time S2 rolled around, all of those hooks got shoved under the bed until it was time to hastily wrap them up for those of us who were waiting to see them resolved. I think the Hera and Echo plotline was one of the worst culprits for that, you can tell in S2 she had an idea for some kind of "double agent" story with Echo where Echo would slowly come around to Hera's side and have to choose between her and the job Zeus clearly hired her for (to spy on Hera) - but then it just wound up skipping all that so we could watch Hades and Persephone play golf with diamonds, go shopping, and fuck around in the Underworld, until Rachel had to suddenly wrap up the entire Hera x Echo story in the most rushed, confusing way possible just a handful of episodes before the end.

LO had a lot of interesting concepts and ideas especially with the added benefit of it being based off myths that many readers were already familiar with, but unfortunately they were in the hands of a terrible writer working for a terrible company that didn't provide her with the resources she needed and could have really benefited from to tell a better story. It clearly needed a more involved editing process, more drafts to work through and scrap and work through again, more time to really plan out the full skeleton of the story, but what we got instead was more like a rushed first draft that spent more time on the bland uninteresting DDLG couple because they were clearly the easiest things Rachel could write about - fantasy shipping scenarios of them talking romantically to each other, making out, and having sex, boom, plot 🥴

[glitter-stained]

Jason Todd Meta: My opinion on the csa headcanon

Does Jason's behaviour suggest he was a victim of csa?

There is very little, in terms of clinical signs, that’s going to point to csa specifically, because most symptoms, for psychiatric disorders, aren’t specific to one disorder or cause. One thing that’s usually a good hint would be children making very sexual statements/references/jokes/behaviours that are very inappropriate in context (a good example of this would be Roman Roy from Succession); night terrors are bed wettings amongst children/teenagers over a certain age. But that is absolutely not necessary: many, if not most victims of csa don’t display these specific signs, and a twelve years old that suffers from night terrors is not necessarily a victim of csa. The one thing that tells you for sure, in a person with trauma, that they have been a victim of csa, is that they’re telling you they have been a victim of csa. I’m insisting on that part because there’s a whole bunch of therapists (cough cough psychanalysts) that will tell you confidently that your psychiatric symptoms stem from a childhood sexual trauma (cherry on top of the shit cake if it’s incestuous) that you didn’t know about because you’ve repressed it. I repeat, that’s bullshit. If you meet a clinician who tells you that, RUN. So, a warning: this is probably the least “psychological analysis” of my “Jason psychological analysis posts”, because Jason’s symptoms do not allow us to conclude formally for or against a history of sexual abuse. But that doesn’t mean we can’t do some meta, make sure we're on the same page with what's analyzed here, some textual analysis, discuss what the csa headcanon does and does not imply in terms of his behaviour. I think it’s a good idea to start with it so we know where we’re standing with our analysis, regardless of the fact it’s maybe not the most interesting in terms of psychopathology and neuropsychology.

A couple of disclaimers:

I only talk about the comics I want to talk about. This is for two reasons, which are that 1) I do what I want and if I don’t like/don’t find something interesting, I’m not gonna waste time on it; and 2) I’ve been reading comics for a couple of months only, and there are, like, a lot of them. If there are comics you wanna see analysed under that lense, feel free to suggest them! I might not want to, but it also could be that I haven’t read them yet. Additionally, I'm not interested in questioning the morality of Jason's actions here. Ethics are fun, and I like talking about them sometimes, and morality sometimes has a place in talks about demonization but largely speaking this isn't the space for that. I separate talk about morality and psychology stuff as much as I can for a reason, so if you are looking here for excuses for his behaviour or arguments as to why he is a bad person, you're in the wrong place. Moral judgement is irrelevant here for the most part.

On the events of Red Hood: Lost Days:

Jason has, at some point in the comics, been a victim of csa. When Talia kisses Jason before pushing him off a cliff right after he got out of the Lazarus Pit, and when she initiates sex with him in Lost Days, that’s not consent!! That’s a grown woman taking advantage of a traumatized teenager who is, on top of that, deeply indebted to her. That’s a predatory act, with a steep power imbalance, it’s sexual assault, and on top of that there’s an element of suggested pseudo-incest. That decision was retconned, and thank god, because it was a brutal assassination of Talia’s character based on a good bit of racism, and also because the way it was portrayed doesn’t make it clear that Jason is a victim in a situation rather than that super annoying trope of “teenage guy gets to bang a hot MILF and hahaha lucky him”, writing a male character in a situation of SA without acknowledging it as SA or taking it seriously is one of the tropes I hate most, it reinforces stigmatisation and isolates victims. For all of these reasons, I’m not gonna include that element in my analysis, but it’s important to note that if you do include those scenes in your conception of it, then Jason is undeniably a victim of csa and everything discussed about it applies to him.

What if it were a lie?

I’ve said it before (and I’ll say it again), I deeply, violently hate headcanons/tropes where a character lies about being a victim of csa (whether it’s for manipulation, personal gain, any reason really I don’t care). It’s rare as fuck in real life, however it’s a common trope that feeds into fear of being wrongfully accused that causes push-back and increases social stigmatization. CSA is a painful thing associated with intense feelings of shame and already a deep fear of not being believed. Imagine making a considerable effort to seek help after something terrible happened/is happening to you, and you have to brave your fear of not being believed on top of that, and once you’ve made all that effort you get rejected and villainized because it’s just easier for the person you’re reaching out to not to believe it. So I’m awfully weary of this type of headcanon, and I think a general rule of thumb is “if your interpretation of what the character is saying is that he’s talking about how he was abused, especially if he’s talking about sexual assault, then it happened.” If you don’t like that, if you don’t feel like that’s good representation, then you can question the story, think it should be retconned, or rethink your interpretation of what the character says if it’s ambiguous, but hcing that the character lied about his assault is not a hypothesis we’re going to accept here no matter what. So we can start by scratching that one out: Jason never lies about being a victim of csa, or wilfully hints at it even though that’s untrue, at any point.

Two other ideas I’ve seen floating around that I think are worth mentioning:

No, just because Jason lived in the streets as a kid doesn’t mean the only way he survived was through underage prostitution. I genuinely don’t understand that idea, yes being a street kid makes you extremely vulnerable, yes it makes the risk of resolving to underage prostitution to survive higher but it’s absolutely not a fatality. That idea is, quite frankly, weird. Do you automatically assume if a real life person tells you they were in the streets for some time at a kid that they are a victim of csa? Also, I've seen the idea go around that because some people have a strong reading/hc of Jason as bi (which I have no problem with I love bi Jason), that would be an argument in favour of the csa hc. Please don’t do that. There’s no link between queer sexual orientations and childhood sexual abuse, that’s a harmful myth that we should work to deconstruct or, at the very least, not continue to vehiculate.

Another important thing to keep in mind: childhood sexual abuse =/= childhood sexual trauma.

Now, a traumagenic situation is a situation that might induce trauma (so development of, acute stress disorder, ptsd, cptsd, derealization, any traumatic pathology really). These situations exist on a continuum of probability to be traumatized by this situation. For example, a flood, a car accident, witnessing a murder and being sexually assaulted are all traumagenic situations, but the probability of developing trauma from them are very different. It hinges on personal, situational, social, and environmental risk factors (that have nothing to do with being weak, anybody can develop trauma). A definition for traumagenic situations can be found in the diagnostic criteria for ptsd in the dsm-5:

A. “Exposure to actual or threatened death, serious injury, or sexual violence in one (or more) of the following ways:

1. Directly experiencing the traumatic event(s).

2. Witnessing, in person, the event(s) as it occurred to others.

3. Learning that the traumatic event(s) occurred to a close family member or close friend. In cases of actual or threatened death of a family member or friend, the event(s) must have been violent or accidental.

4. Experiencing repeated or extreme exposure to aversive details of the traumatic event(s) (e.g., first responders collecting human remains; police officers repeatedly exposed to details of child abuse). Note: Criterion A4 does not apply to exposure through electronic media, television, movies, or pictures, unless this exposure is work related.”

Note that the this last criteria has been added from the DSM-5 in order to explain cases of PTSD observed in at-risk jobs like cops exposed to repeated detailed child abuse, first responders collecting human remains, or, crucially, vigilantes repeatedly exposed to brutal crimes. This means that Jason, when he works on the Dumpster Slasher case, when he is horrified to find Gloria in the immediate aftermath of her rape (and later finds her dead body, because witnessing the consequences of these traumatic events is also an important component of that second-hand trauma), is being exposed to a very traumagenic situation. As I said before, that doesn’t necessarily mean you will experience trauma (thank fuck for that), but there are factors that influence that. SA related situations has an already pretty high probability of inducing trauma. On top of that, age is a big factor in that: the younger you are, the less resources, emotional regulation, development and coping mechanisms to face the traumagenic event you have (though there is such a thing as “too young to have PTSD" -when your memory is simply not developed enough for the memory to traumatize you because you will not remember the event.) At fifteen, with his memory fully developed but his brain going through so much changes because of teenagehood and his past history, Jason would be at risk. On top of that, you’re more at risk to get traumatized if you’re already stressed out when the event happens, so Jason’s mental state at this point in his robin run is also a risk factor. All to say, it’s very plausible for Jason to have sexual trauma without being a victim of sexual abuse in relation to canon events. Besides, in headcanon territory when it comes to Jason’s childhood before Robin, there are so many ways to be exposed to sexual violence : witnessing/finding his mother being a victim (considering the position of extreme vulnerability Catherine was in), witnessing assault in the streets, being the victim of attempted SA and escaping, watching street kids get picked up and later find their bodies/being told by other kids, as a cautionary tale, in excruciating detail, testimonies of their own assault… Or for example, if we’re thinking about Arkham Knight, being constantly threatened with SA, it being hinted and joked about and hanging over him like a sword of Damocles is something I could see Joker and other inmates do that could definitely induce sexual trauma even if it doesn’t happen ; what matters most, in trauma, is that the fear is real. Mechanically, when we’re looking at the way trauma works even on a biological level, the overwhelming fear is at the core of the pathology. (This is also why you can develop PTSD after a psychotic episode.) Like, my point isn’t that one of these things happened to Jason, or that he has to have sexual trauma from the events of the Diplomat’s Son or anything -mostly just that this is a possibility, something very serious that happens and an important nuance that I never see in discussions on the csa headcanon, and while it’s not exactly what the debate is about, I think it’s something important to ponder.

Do you consider the csa hc to be canon?

So, there are a lot of Jason stories, and I’m very pro “not take in account what is said in comics you dislike in your conception of canon” because if I did that absolutely no bat character would be readable, I have to believe that no character is defined by their worst writers. And boy, does Jason have a lot of bad writing… On top of the personal retcons, there are also the canon retcons: like Battle for The Cowl is retconned… Unless someone decides to reinject/revamp it into the narrative (please don’t please don’t it’s irrecuperable let it lay with the Flying Todds where it belongs). So, let’s see. There are three writers/arcs that imply/mention the csa hc: Starlin’s writing of Jason’s post-crisis Robin Run (canon though some stuff in it seems to have been retconned), Winick’s writing in Green Arrow: Seeing Red (canon as far as I know), and Battle for the Cowl (retconned). It’s worth noting that one of those are considered to be foundational works for Jason’s character (Jason’s post crisis Robin Run and Starlin’s part in it), and another was written by Winick, who wrote the other two foundational Jason stories: Under The Red Hood and Red Hood: Lost Days. On a personal level, I’m very mitigated about what I like and accept about it. I base my whole love and characterization of Jason about his post-crisis Robin Run, I love that little guy so much, Starlin’s take on Jason’s Robin Run is absolutely canon to me (which does not mean I like Starlin as a writer, thank you very much). On the other hand of the spectrum, the only reason Battle for the Cowl isn’t my least favourite comic ever is because The Killing Joke exists, absolutely not canon, get this thing away from me. And then in the middle, my feelings on Seeing Red (on the entirety of Winick’s Jason really) vary depending on the day, because I do like a revenge story that challenges the status quo with tropes of “bad victim” and it sets up Jason as a character based on love rather than morals which I adore, but there are also some elements of psychophobia in the writing that I (who approach stories through the filter of psychopathology first and foremost) can’t just look past, and also the way it intertwines with classist stereotypes. So do I consider Seeing Red to be canon? In good faith, yes, but whether I’ll accept it as such really depends on the day. In terms of the csa headcanon: it’s heavily hinted in BTFC but not outright said, it’s there as a undercurrent in Starlin’s run because of his intention (to make Jason die of AIDS). And then we have Seeing Red. Basically Jason lists elements about Mia’s life, including her past with underage prostitution (so, just to be very clear, csa), and says they’re very similar, having both lived on the streets, and understand having to do bad things when it’s necessary. This is not the same as saying “I was a victim of csa”, and what he’s saying could be interpreted differently (we know that he was stealing tires, and “only what he needs to survive”, so he could have been referencing small-time theft.) So, it could be a reference to something else, I totally understand why some people want to interpret differently. It just… Feels like such a weird and weak argument to be equating boosting tires to underage prostitution, to me it’s very ooc (in comparison to UTH Jason), and it would feel like weak writing from someone like Winick. Aka it’s not technically canon, and you don’t have to accept it as such(I understand the mentality of "I'm rejecting this interpretation because it feels like demonization of csa victims" perfectly), but personally I think it takes a lot from Jason’s character in Seeing Red and from this story in general.

[mushyposts]

TUMBLR PLEAAASE LET ME POST THIS NOW PLEASE PLEASE PLEASE PLEASE PLEASE PLEASE.

OF COURSE!!! This is the sort of analysis I could honestly talk about for hours, and if you have ANY more thoughts on my fic, please please PLEASE dont be scared to message me and hash it out!! I absolutely love the chance to think critically and analytically about my work.

You are absolutely not projecting, and even if you were, that would be entirely valid!! Creativity exists as a vessel for us as humans to feel, and if my writing at all helps you process any feelings you have around the themes I explore in it then I think i have more then succeeded in my task as a writer! : D

I also think that as a writer, I can put as much intent as I physically can into my writing. I can spend hours working to make sure a certain theme is perceived the specific way I want it to be, but if someone takes it a different way then I cant change that! I can take it as it is, and from there move and try to approach the theme in a different way, but people all have different live experiences that will make them see what i write differently. My experiences with parental figures, their presence, lack of, and their affection towards me will always be different to yours for example, and that means you will see how I write the parental dynamics in my writing different to how I do! Does that make sense?

Okay onto the actual analysis LMAO!! I think that people get caught up in this idea of "The choice was made for the greater good, so he should be absolved." and although yes, there is merit to understanding Hakoda didn't want to leave and was doing what he thought was the best choice for his kids and the future of his tribe its also SUPER important to understand that there were other ways.

A few things when considering the argument of Hakoda taking ALL the men, is firstly that we don't actually know how many people were in the "fleet" and there is some defence to the idea of them needing every working hand they can get, however I also think that alongside this argument is if Hakoda was doing this to protect his tribe it would have made sense to at LEAST leave enough men to defend them, or train Sokka and the other younger boys to have some form of defence.

I think the closest we get at seeing how many are in the fleet is pre-black sun, when they all meet up, and even then those numbers are skewed because of the involvement of other groups of people. EG: The swamp benders, the earthbenders and then the people who took residence at the northern airtemple. I do, however, personally believe that there should have been some men left behind to defend.

Another thing to consider is the canon timeline for when Kya dies and then when Hakoda leaves and then to canon actually is kind of inconsistent? We can assume Hakoda left around when Sokka was 13, but during the flashback of Kya's death along with the flashbacks in Bato of the water tribe where we see Hakoda leave, Sokka actually looks a lot younger. As far as I'm aware, as a show only watcher who doesnt actively intend on reading the comics, we dont really know how long the time between Kyas death and Hakoda leaving is. I even say at the start of my fic that I fucked with the canon timeline a bit to make it line up a bit better.

I think the show acknowledges Hakoda's abandonment and the complex ways thats hurt both Sokka and Katara in subtle ways. Katara very outwardly displaying her upset, albeit initially passive aggressively, she does eventually burst out, telling him "we needed you." and Hakoda apologises. Sokka is more internal, he obsesses over his ability to explain his plans, how he's perceived by his peers, an obsession with masculinity and what it means to be a man when you were never truly taught it in the first place.

I also think something that people tend to get mixed up with when it comes to critiquing Hakoda as a father, is they often equate being a bad dad, to being an abuser.

Hakoda, at least in my interpretations and I never intend for him to come off as so, isnt an abusive father. He is not a perfect father, he has made many choices that led to the long lasting hurt of his children. Speaking in the development of my own fic and how i've worked with Hakoda's character, he is an absent figure who was faced with an impossible choice and should have thought through it in more depth. He made a choice, and although its hard to fully say without a doubt he chose wrong, it had severely negative ramifications on the mental well being of his children.

Theres a lot to be said on the nuance of abuse, neglect, absent parental figures, especially fathers, and I don't want to speak TOO heavily on this because again, its such a nuanced and complex topic that I think I couldn't even begin to unwrap in tumblr reblogs. Theres some incredible fics out there exploring this with Hakoda and Sokka's dynamic, and I even have a one shot in the making all about this stuff in the canon universe seperate from my writing, but I just REALLY want to emphasise that I am so aware of how Zuko will come off to Sokka as a replacement.

I think in Zukka fics, or any fic with their dynamic, Sokka is often used as a tool for Zuko's healing, and his own trauma and negative experiences are put on the backburner in turn for Zuko's more outwardly present trauma. This is never something I want to do in my writing, I want to give a stage to each characters trauma, experiences and lives and try to show that things arent always as clean cut as they seem.

Hakoda abandoned Sokka and Katara. he left Sokka to be a man, without truly giving him the tools to do so.

Hakoda saved Zuko from death, and gave him a chance at life again.

These are two things that can exist at once, and the existence of one does not negate the other. People are a mess of good, bad, neutral, and its so hard to untangle it. Sometimes it doesnt even need to be untangled, sometimes you just need to hold the mess that people are and know it isnt a slight on you. You didnt cause the tangle, some tangles just are, yknow??

I also do personally believe in canon there are a lot of gaps that dont fully make sense in reference to Hakoda's character, and I think he honestly could have been executed a lot better in canon, so thats also something I like to consider whenever I am thinking too hard abt Hakodas character!!

I hope this made ANY sense at all. I usually have to sift through my writing like, a hundred times to get any kind of sense out of it, but truly this has been such a pleasure to write about!! : D Ur thoughts are so well written, and its incredible, as i said before, to see people picking up on the more nuanced things I'm trying to set up for future chapters!! it helps keep my steam for writing this honestly WAY bigger fic then I intended going!! : D I am MORE then happy to indulge!!!! If anything, this is indulging for ME! So thank YOU!!!

(Also, to answer ur tags, it isnt bad ur a bit mad at Hakoda!! He's flawed, thats okay! He's made mistakes just like anyone does. His just have more ramifications since he's the adult. I am a HUGE Hakoda stan and I do love him, but trying to work around canon and make him be a good father... A bit tricky!!)

I already put this on ao3 in a comment but you made me cry so you have to see it twice now. I know this entire story is Zuko-centric but I literally can't stop thinking about what this au means for Sokka.

Ok I just have to say I felt so heartbroken for Sokka here. All I could think about was how all of a sudden there's a boy in the place he's supposed to be. HE should be travelling with the men, HE should've been with them for the last three years, HE should be trusted enough with all this important stuff he should know if he is the next chief/acting chief.

He is being told this new kid has seen and done things the most skilled of warriors couldn't have done, like he is this almost untouchable standard Sokka can't reach. Then to be told he's taken Sokka's place in the tribe as Hakoda's and Batos' adopted child, teaching him how to be a man over the three years Sokka didn't even know his father, never a letter, never knowing when they would come home. Then being told by that same kid that he was only playing war. not to mention the piercings and jewellery he's adorned with.

Sokka has been the leader of the remnants of the Southern Water Tribe for three years, and due to the strict gender divides, had no one to teach him how to lead in the way a chief would. He has been the one hunting, defending, in charge of the future of their civilisation, the education of the children, which is really important in their culture. the memories of his father would be so twisted to the memories Hadoka has of Sokka. Sokka, in the months before he left, lost his mother, protecting his little sister. he then saw his father fall deep into depression, becoming very detached, and from what is described, angry and violent, not towards him, but that his still scary behaviour to witness. Then, his father left, and he was told he couldn't come, and that he was in charge of the village. Even though it was probably to boost his ego at the time more than anything, the impact on Sokka in that moment, combined into quite literally what his job becoming.

Just imagine when he finds out the secrets Zuko's hiding and how his father and Bato knew and didn't tell him. Sokka has struggled with feeling like he isn't important, as a non-bender and his relations with his sister, her being a prodigy + a bender, and his father, always feeling like he wasn't enough for his dad, not good enough, not smart enough, not needed, but the Zuko's good enough, Hakoda loves him.

Zuko, who has had an incredibly traumatic and difficult childhood, the last three years of his life is where he has found and made a spot for himself in a positive community that loves him and supports him, Sokka has become increasingly more and more isolated, and his sense of self has changed even more dramatically in the last few weeks.

Sorry for the long rant, but I could just feel Sokka's fears and insecurities screaming at me throughout the chapter. Love this work though, just cried for Sokka <3

HIII OH YOU SO GET IT!! OH YOU SOOOO GET IT!! The fic is for SURE Zuko-centric, but I have been intentionally layering on the potential for his arc to align with Sokka's in completely the opposing way. Zuko has everything Sokka wants, he has a space with the crew, the warriors. he spent the last three years with his father and Bato, bonding, developing his identity as a person alongside the tribe, welcomed in, he has gotten to be everything that Sokka has always wanted. Meanwhile, Sokka has everything that Zuko wants. Sokka was home, somewhere safe with people who cared for him and looked up to him, with his sister, away from his parents and in a position where he was in charge of his own life. Its such a twisted, complex situation where the two crave, desperately, what the other has without thinking about the context. Without thinking of what got the other to the point of having what they wanted, both in turn. IM SOOO happy to see someone talking about Sokka ohhhughhh im so fucking happy. I think a lot of people have focused on Sokka's initial attitude towards Zuko, without thinking about every single thing you've brought up in this beautifully constructed comment, of which I am really excited to eventually flesh out when I am back from hiatus. Sokka, more than anything, wants to be a warrior alongside his father. For Zuko, he doesn't think Sokka fully understands the gravity of what that would look like, especially after having experienced such a heavy loss as he had recently. (RIP king im sorry) but for Sokka, he see's a replacement. he doesnt know the nuances, not for lack of intelligence but he just literally hasnt been told and although he is owed explanation he isn't owed Zuko's story in its full, of what led Hakoda and Bato to the decision of keeping him on board. I firmly believe if Zuko had have been older, or had have been a child from any other nation, Hakoda and Bato would have not kept him. I actually go over this a lot in the early chapters where they're deciding wtf to do. It genuinely ended up being a problem of "well. No matter where we put him he's gonna get killed. How fucked up is that, safest place for this kid is LITERALLY on a warship of the enemy. great." I also think acknowledging the fact that Zuko HAS had a lot of support and comfort in the last three years whereas Sokka has not is a super important point to be made! Despite the current circumstances, and the ones that led Zuko to being in the position he is/was, Zuko did have support which Sokka lacked. TBH, if I hadve had more wiggle room and decided to fuck with canon more then I already had, I would have left a good amount of the warriors in the SWT, unlike in canon. Or had Hakoda go back to leave soldiers there when he realised they were going to be gone for longer then what I am assuming was initially planned. However I was more then aware that would SIGNIFICANTLY change the circumstances of Sokka's experiences and how it aligns with Zuko's, in canon and in the fic, so i chose against it. This is such a sporadic messy reply I am just so happy to get a comment picking up on all the stone I've been laying for a big discussion on the details of Sokka's own trauma and how its going to clash with Zuko's.

All this to say, Sokka will absolutely be getting his turn to hash out everything you've said here and I can promise you no stone will be left unturned when it comes to his trauma and life experiences!! I think a big thing I am most excited for is having the two hash it out and realise where their lives overlap, where their feelings and experiences align and managing to acknowledge that each others traumas dont cancel each other out. Zuko's experiences do not cancel out Sokka's, and Sokka's do not cancel out Zuko's.

[muppenthings]

An event that took place in mid 1700's. Gorm was summoned by the islander's ship as usual, but things took an unexpected turn. After this he didn't return to the surface for hundreds of years. Never understanding why they acted like that.

[cozylittleartblog]

Columbo and the Knight (1984)

put me in the universe where Columbo ran through the 1980s and had a crossover episode with Knight Rider. I think they deserved it, and I am not just saying that because they're my two favorite Old Shows. @telebeast wrote a little fanfic blurb about it and I HAD to visualize it into a comic (which is also the longest comic I have finished thus far at five pages...), so writing credit goes to them.

Autism W!

[necrotic-nephilim]

@profandomhopper i was going to reblog the original post this comment was left on but i felt it divorced itself from the original topic so much, you get your own post for giving me delightful permission to ramble about this. buckle in people this is long.

so, DC is a big fandom that expanses a lot of different types of content, and like anything, is subject to crossovers. the obvious ones like Marvel are for the reason of being a similar and equally popular superhero world, so it's easy to transpose the worlds onto each other and overlap the characters. both of these worlds deal with multiverses and endless, endless heroes. it makes sense and there's no real stretch to think Batman and Spider-Man could co-exist. i mean, there have been canon crossover comics. and even some more random crossovers like White Collar have pretty easy to trace origins, being an actor in WC was a popular Dick fancast back in the day so there was some bleeding over that led to a well-loved niche crossover space.

but Danny Phantom and Miraculous Ladybug are where it gets interesting. because at a surface, MLB sort of makes sense. it's a superhero world, you're following a teen girl superhero and sure the mechanics are pretty contained, but the crossover should make sense. but when you compare it to the crossover numbers of other superhero media like say My Hero Academia, Ladybug takes the *crown* with such a bizarre popularity. and of course, DP feels like it makes even less sense. sure, you *could* lump it into at the very least, superhero-adjacent media, but it's not a true hero world like MLB or DC is.

but, the thing to always understand about DC, *especially* the Batfamily (which is where the crossover content propagates the most) is this: a *very* good chunk of fans don't interact with the comics. i would venture to say even most Batfamily fans don't read the comics and actively talk about it. we've all read a very fandom big Batfam fanfic where the author's note mentions the writer has never touched a comic in their life. typically, these fans are either cobbling together their understanding from fandom content, or by frankensteining unrelated DC adaptations to understand each character. you take Bruce from Batman: TAS, you take Dick from the animated Young Justice, you take Jason from Batman: Under The Red Hood animated movie, you take Damian from the DCAMU Batman vs Robin, and you read some fandom metas to fill in the rest and well, you've got some sort of an understanding of these characters. read enough incorrect quotes, some genfic, a couple of character metas, and boom, you understand the Batfamily fandom enough to start creating your own content. and of course now. now you have Wayne Family Adventures so it's even *easier*. a pretty easy to pick up webtoon that's filling in all the gaps for you. but i've been in this fandom long enough to remember before we had WFA and even then, this was still a common, if not the most popular way, to ween yourself into the DC fandom space. you cherry-picked the canon you liked and then plunged into the depths of fanon.

i'm not here to make in depth commentary on if i think this is a good or bad thing. trust me i have that commentary in my head, but that would need it's own post. i'm very split on it and my feelings are complicated. my feelings on WFA are even *more* complicated. because oftentimes, the attitude expressed by these fans who are frankensteining this version of the Batfamily/DC world they have in their head is they don't *want* to read the comics. the comics don't contain the content they're after. and to an extent, i understand that. if you're looking for light-hearted vibes of the Batfamily all getting along and having the occasional hurt/comfort moments but in the end, they hug and make up, you're right. largely, you won't find that in canon. of course there are so many comics to recommend for Batfamily interactions, but you have to get specific. you'll find them interacting in small groups, Tim and Dick bonding here, Duke and Cass bonding there, but largely, the comics don't care to balance the ridiculously large cast they've given themselves. but fandom does. it's easy to toss them all in a blender and ignore the parts you don't like. the default argument to ignoring the comics or writing something OOC is always "well the comics are OOC and inconsistent too" which, while a flawed argument that massively misunderstand how comics work as a medium, isn't an entirely incorrect one. you could serve on a silver platter to these fans, an easy and accessible way to get into comics and they wouldn't be interested. it's not what they're here for. fandom is always character-driven above all else. it's driven by character relationships and dynamics. if someone wants to consume content where Tim idolized and stalked Jason as 'his Robin' and now is trying to help him rehabilitate and they're super complicated but have this long epic forgiveness arc, why *would* they read the comics? because they're sure as shit not going to find that dynamic in the comics. it's laughably OOC and not canon at all, but that doesn't matter. what matters is the sandbox. most Batfamily fans care *far* more about the sandbox canon gives them than the actual canon itself. feel how you feel about that, this really isn't being negative toward that attitude, but it is a common attitude.

so, you have Batfamily fans playing in the sandbox and building their own narrative. common fandom headcanons are so common, you could practically write a guide on how the fanon Batfamily works with how consistent people are about it. or you could just read WFA, which is practically the new manifesto of it. even now, with this sudden spike in people talking about canon accuracy and "actually this happening in the comics", they don't actually care about the comics, just what they can cherry-pick for fodder. (even if they rob it of so much context they're just as OOC as they were before. see specifically: the recent phenomena with Tim Drake going from the woobified weakest member of the Batfam who everyone needs to save constantly and he's the smart boy but he's also the one with a sad tragic neglectful past who gets overlooked being the way Batfamily fandom played with Tim for years. but recently, people seem to be pushing this idea of a ridiculously badass Tim, Tim who *totally* has a kill count because of his actions in RR (2009) if you take them completely out of context, Tim who bested Ra's and is even more badass than Jason and he's the 17 yr old CEO of Wayne Industries being cool and flawless it becoming the new fandom zeitgeist. neither of these versions of Tim are canon, and the second fundamentally misunderstands his arc in RR (2009) but the shift has undeniably happened and it's been fascinating to watch. the same thing happened with people suddenly deciding Jason isn't the "angry violent Robin", he was a sunshine sweet boy who was perfect as Robin. neither of these are true, but the second feels more transgressive and new to fandom from cherry-picked panels.) the point is largely, Batfamily fans would rather build their own canon than play with the actual canon.

and then, you have Danny Phantom. i'm not into DP and have no interest to get into it, but what i know about it via fandom osmosis is this: DP fans sort of also don't give a fuck about canon. once again, the canon of DP is a sandbox, not a rulebook. the concepts and the characters are the draw, not the plot itself. i've seen DP posts explaining characters who are essentially OCs, but have become so dominant in the fandom via fandom osmosis. there are concepts and ideas about how Danny's powers work and potential concepts with his ghost nature that either aren't in canon or only happened once in canon and fans decided to expand on that and doesn't care about it's own in-universe logic. i've seen a lot of DP fans also express they haven't seen the show and they don't have plans to see the show. because the show is just some children's cartoon with some inconsistencies and a simple plot, as you'd expect from CN. the show isn't the point. no one cares about it's plot, they care about it's characters. they care about pushing the concept of half ghost boy to a logical extreme and seeing what you can get out of that. can you make it weird and fucked up. how much can you highlight on his trauma and body horror. what identity crisis can you give him and how can you build his interactions with other characters in his world around that and also make those characters fun and unique on their own. sure, the skeleton of canon is there, but the meat lies all in the fanon.

Miraculous Ladybug also exists in this similar vein. the characters, the concepts, those hold intrigue. and not even mentioning the fact the original concept for this show was supposed to be aimed to an older audience, so you can see the bones of something a bit more mature and nuanced under this typical, villain of the week magical girl transformation show. the show itself is a bit shallow and that's not a *bad* thing, it's just the medium it exists within being aimed towards children. but the concepts of a teen girl who's basically a sort of chosen one, a boy who doesn't know his father is the big bad of the show, and their weird identity porn love... square thing. those dynamics are *so* complicated and such a fun sandbox to play in with character-driven fandom.

so, at the core, you have three fandoms that care more about the culturally accepted fanon than the canon, with a good chunk of people often not even consuming the original canon content. and well, DC is an *easy* world to transpose just about anything onto. a boy who's half ghost and fighting supernatural threats? that makes sense, DC has ghost heroes like Deadman already. a girl who has this magical item that gives her animal themed superpowers? i mean that's practically the same thing as Vixen's Totem so that one makes sense too. they fit in pretty easy, no needing to change the world to accommodate them. and of course, if you're a fan of *one* fandom where you don't care for the canon content and only like the fandom sandbox, chances are, you'll get drawn in pretty easily to another fandom with similar mechanics. if you can teach yourself the DP fandom rules/concepts, you can teach yourself the Batfamily fandom rules/concepts. and well, since there's so much crossover in fandom members, why not write the fanfiction? crossover fics will always exist, but with such a shared member base, you have a really big boom.

it's why the characters you see DP interact with in DC are *always* characters who are far more driven by fanon than canon. Danny and John Constantine is a *massive* concept. for people who don't read Hellblazer comics. my poor partner, @divine-dominion has lamented to me pretty often about finding DP content in the Hellblazer tag that is essentially turning Constantine into an OC. because whatever version of Constantine is being written about isn't one bit comics accurate, and really, isn't trying to be. and the same thing happens with Shazam. you watch Young Justice and understand him well enough, you get drawn in by the character concept that you just run with it. people put their favorite blorbos in the same place because hey, wouldn't ghost boy be pretty cool in a city like *Gotham*. how would Batman even react to him. and then, the shipping. because ages for the Batfamily can be easily hand-waved and moved around based on where you plop Danny into the timeline, you have your pick of the litter with him, and same with Ladybug. of course there are the most popular ships but largely, the world is your oyster.

i don't think this is the worst thing in the world for either fandom. it's not hard to filter out the crossover tags and scroll past content i don't like. and sure, i see the appeal of making your blorbos from two different places meet. i've got my drafts *full* of DC/MHA crossover ideas because well, i like them both and think that would be cool. i think my only gripe with it is when DP or MLB crossover content seeps it's way into the wrong tags. using the above example, if you're writing about Danny and Constantine but there's zero content of the actual Hellblazer comics, i don't think you need the Hellblazer tag, just the Constantine character tag. tbh i wish this extended onto Ao3 and people utilized fandom tags better. if you're writing Batfamily fanfiction that is very clearly and obviously WFA driven in characterization and concepts, i would far prefer those fics be tagged with the WFA fandom tag rather than the Batman (comics) fandom tag. because well, you're not writing about the Batman comics. and there's nothing wrong with that, but it helps if you don't confuse yourself for content striving to interact with canon more. (this especially extends to Young Justice, by the way. if you're writing for the Young Justice tv show please, please stop using the Young Justice (comics) fandom tag. i'm at my wit's end- /lh)

the whole thing is fascinating. i've got zero interest in entering DP or MLB as fandoms because that's not my speed, but witnessing it as an outsider is my favorite pastime. i see a *lot* of posts going around the DC x DP space that are helping explain to people who's who, what's what, and understanding the canon/fanon of both of these properties so others can better enter the space. which is not something you'd need in a fandom driven only by it's canon content, but it is sweet watching others try to help newbies enter the space. it's a very inviting fandom space, i think, whether you lament it's existence or not. they're just sitting in their corner with their blorbos, and i gotta respect that. the posts explaining the Batfamily to DP fans are always fun for me to read, even if i disagree with some of the characterizations in them because it helps shine a light on what the fans of this crossover regard as "important" enough about each fandom to be worth including those sorts of primers. very fascinating stuff.

[ninjasmudge]

people really will say shit like 'the fic i found hasn't updated in a whole month so i think its been abandoned which is a shame, i wanted to read more' like where do you even get the nerve

[48787]

New Transmission The fucking Scientific Instrument Class Pseudocons apparently developed what they're calling "Hetero Sapience" and are corrupting the brainmodules of the non-Pseudo 'cons around them by using annoying xenophilosophy words. Soundwave tells me they're 'Greek' and 'Latin' words, apparently. Cool, I guess? Anyway, if you see any SI Class 'cons causing... issues, just try your hardest to turn your brainmodule off before you start getting infected with their weird lingo, alongside all the other issues pertaining to letting the SI Pseudocons transmit data into your brainmodule in their own weird ways. Thundercracker, on a bet with Starscream, tried to get into an argument with one of them and his head literally exploded when it started talking about Alpha Trion's "Mythological Origins" in its weird dialect. He's mostly fine, CR Pods are working at 'peak' efficiency, but the facial reconstruction is apparently impossible due to some kind of corruption. I thought it was just some weird prank but there weren't even any scorch marks or anything. Just exploded. So yeah, just avoid optical contact and auditory contact to the best of your ability and you should be fine. Otherwise, try to force-shutdown your brainmodule if you can. Shockwave is working on a cure right now, mostly because I know he had something to do with this in the first place so he's going to be the one to fix it. He probably wanted a greater justification to do that weird data-transfer idea he mentioned previously. But it also explains the weird Thunderwing hypotheticals he's been asking me lately... Can I go one fucking cycle without someone trying to "Perfect Thunderwing's Work" or whatever other idiotic drivel that I keep finding our limited energon reserves siphoned into?? It's not even a Shockwave thing, it's like every damn Cybertronian these days thinks they have the "Missing piece of the puzzle" or whatever. In fact, Shockwave might be doing this as a weird threat against the other R&D 'cons to cement himself as the one and only Decepticon "Allowed" to have resources wasted on projects like that. Ugh, now that I think about it, that's probably a correct assumption and he's probably gonna expect me to thank him for it later. Ugh, and he's probably literally right. Ugh. At least his repairs both to himself and to his lab seem to be mostly complete so further research into the SI project should hopefully come along a little faster. Both Shockwave and Soundwave think the SIs could potentially be used as some kind of specialty weapon, but we'll have to see how they work on sparkless lifeforms, like biological lifeforms or xenomechanical lifeforms. The SIs don't seem to corrupt each other, but Shockwave keeps reaffirming that they're not "Sparkless Lifeforms" because they "were never lifeforms to begin with"... but I think he's trying to hide something. Usually Soundwave is the one to pick up on that kind of technological obfuscation, but he actually agreed with Shockwave and offered to send Ratbat to try to work out exactly what each "sapient" SI is now capable of on a personal level. We could have just had regular Cybertronians aboard to fill the role SIs fill. I would've preferred K Class to fill any role an SI could fill in all honesty!! But no, constructing cold wasn't enough, we just had to try to learn how to "Construct Frozen" and the "Absolute Zeroes" just had to be put on my ship. Whatever. I've probably said too much already. This was supposed to be a warning for my ship crew, but it's looking like it'll end up being transcribed on the golden disk as well so when this new Scientific Instruments of Destruction project backfires in some absurdly bombastic way there will at least be something remaining that says I was right. End of Transmission

New Transmission Okay so I was right, but so was Shockwave and Soundwave. Or, well, they were right just enough to make sure the backfire is postponed for at least another handful of cycles. Ratbat is still in CR from the investigation, but the cure Shockwave developed seems to be effective and Thundercracker is out and aiding the repair effort. Shockwave is now in contact with one of the SIs digitally and the other few are... integrating due to the personal efforts of Soundwave. I suppose now would be pertinent to mention not all the SIs developed the "Hetero Sapience" condition, many of them are safe for interaction. Soundwave is also currently monitoring their presence, Ravage is tasked with the regular SIs and Laserbeak is tasked with the "Sapient" SIs. Shockwave probably knows exactly what caused this event but he is preoccupied with the one he no doubt is either indoctrinating or ruthlessly interrogating. Report to Soundwave if you see any suspicious behavior, he has been working very hard to ensure the SIs have their purpose clearly defined (And closely monitored). And, Starscream, stop trying to convince the SIs that you are the leader of this ship. Not only have the majority of your efforts been wasted on subsentient automata, the only one you have actually found who possesses the ability to truly listen to you immediately came to the bridge to complain about you. They were the first sapient SI I communicated with directly and it was because they felt the need to complain about you. I almost feel embarrassed for you. Come back to the bridge so you can apologize to it or so I can teach it how to laugh at you. It's practicing right now actually! This moment of chaos should hopefully be largely under control now, the actual "population" of Scientific Instrument Class Pseudocons was actually quite fewer than initially expected due to an indexing error incorrectly labeling certain shells as SI class. At the very least, we have some more specialty warriors because of it all. End of Transmission EOF

[pyrriax]

hi tumblr im pyrr pyrriax and im in my trimonthly artist arc, lord help me and all the projects that are currently sitting in my drafts while i am lured in by the siren song of drawing

[lord-squiggletits]

Like I'm not one of those story "critics" who will nitpick the smallest inconsistency and call it a plot hole that ruins the whole story. I'm okay with inconsistencies and even the occasional plot hole if it ends up producing a story that's interesting, gripping, and brings up interesting things.

The problem is that suspension of disbelief only stretches so far. And secondly, stuff like character drama and themes are only as strong as the plot that supports them. If the plot is full of contrivances, plot holes, and really stupid things that make it feel like the author is just forcing something to happen to move the story along, then the themes and character drama become much less convincing.

[hiiragi7]

Not my usual content, but I made something I wanted to share...

Edit: Now with an ID from @a-captions-blog! Thank you for writing it!

[Art description: A Pokémon-themed comic featuring OP as a Pikachu. Long description follows.

1. The tips of Pikachu’s ears are shown with text that says, ‘I’m a Pikachu / My world is filled with lots of cool stuff. Sometimes it feels like anything is possible!’ Under this is a collage showing a Charizard, a Pidgeotto, a Nidoking, an Eevee, and an Ivysaur, all in the background as the Pikachu looks up in wonder. Text reads, ‘All sorts of types, all sorts of attacks, all sorts of Pokemon.’

2. Text says, ‘But...only two ways a Pikachu’s tail could look.’ Two boxes in the upper corners show the male and female Pikachu tails, respectively. The male has a rectangular end to his tale, and the female has a heart-shaped end to hers. Text continues, ‘So then, what am I?’ A large drawing of the narrator Pikachu is shown, with an arrow pointing to their tail, whose end is split somewhat like scissors and doesn’t match either the male or female drawing above.

3. Text says, ‘Too pointy to be [female], too much of a V-shape to be [male]. I thought there was something wrong with me.’ Under this are three cascading panels showing the Pikachu from below at an angle emphasizing their tail. The second panel shows mel further away, and in the final panel she have disappeared entirely. Text on the panels reads, ‘I felt / very, very, very / alone.’

4. Text says, ‘But then, something happened. I found others like me.’ The art shows the narrator reaching out to another Pikachu. Under this are three other Pikachu. One has a rounded tail, one has a tail that has been stitched up to be rectangular, and one has a tail with a slight spike at the tip.

5. Closeups are shown of each of the tails from the previous panel, with text that says, ‘Round tails, scarred tails, spiky tails.’ Under this is a drawing of the Pikachu all hugging with lightning coming from their cheeks. Text reads, ‘They told me nothing was wrong with me, and I wasn´t alone anymore.’

6. Text says, ‘There are many ways a Pikachu’s tail can look. I’ve heard there’s at least over 30 different variations.’ Under this are two panels. The first panel shows the narrator lying on their back on a background of male and female symbols. Text reads, ‘Some days are still hard.’ In the second panel, the Pikachu with the scarred tail is shown with text that says, ‘My friend tells me her tail used to look just like mine. It was taken from her.’

8. The narrator is shown sitting and looking upwards. Text reads, ‘Some trainers won’t accept Pikachu that aren’t [male] or [female]. They alter our tails without our consent. But things are getting better. We are making change. We’re fighting so that our tails will be left alone.’ Under this is a panel showing the four Pikachu running happily towards the right. Text reads, ‘We’re all on a spectrum. Every tail looks different; anything is possible.’

The final text reads, ‘This is a comic about intersex people.’ The watermark in the lower right says @ PostManic. \End descriptions

[nataliedecorsair]

I wanted to give you some of Pticenoga's Borderlands AU backstory, how she was raised by Shade and before starting her shenanigans with Vaughn.

Plus a bonus comic about how she decided to set up a meeting for Vaughn and Shade, but didn't tell Vaughn who is supposed to be there x) Mostly because Vaughn has met Shade before in his macabre World of Curiosities museum and thought that Shade is too weird for him. Well, that's the kind of person that would raise a feral harpy siren, gotta deal with it!

When she was very young, nothing bothered her much as she was just a wild baby exploring the world x) And Shade was a good father figure to her. However, as she grew older, she realized that she doesn't really "fit in": yeah, Pandora is a crazy planet, but not every person there is crazy. There are plenty of "regular folk" like Shade or other people from their town - and many others. And she was frequently called a monster, a mutant and many other things by the regular kids and even adults. She was wild though, could bite them or fight with them in a pretty feral manner, and, even though she protected herself, it didn't help the situation much. She wasn't crazy enough (and too small) to fit in with the psychos or bandits, was "too human" for actual monsters living on Pandora, and for a long time she had no idea she was a Siren, as even for Sirens she looked too different. Only when she hit her teens, she was able to confirm that she is one, started using her powers, and in her human form she could see the full extension of the glowing pattern she had on her skin. She still, however, didn't know why she wasn't born "normal", and there were no older Sirens around.

At some point, she decided to become independent and live on her own. Her "wild" upbringing was helping that a lot, and she felt fine being away from people. She'd still visit Shade frequently, of course, and at some point she'd even met Zer0 and could hang out with him for some time. As Zer0 is a mystery himself, they had some common ground between them (though constantly listening to his haiku were exhausting xD). Sadly, Vault Hunters attract attention, not always positive, and that was the reason why she got spotted by a big bandit gang (could be the beginning of Vallory's gang, but before she took over). And local scientists like Tannis already declared that there may be some connection between Sirens and the Vaults. And they noticed that she's a Siren, but also pretty young (and dumb). After the first Vault on Pandora was opened, there was plenty of weird and valuable stuff around, but it wasn't so easy to get it when you're just regular bandits. And when Eridians, the aliens that are guarding the Vault, are everywhere. The Sirens like Lilith were too strong for them, and hiring a Vault Hunter is expensive, so they decided to wriggle into her favor and use her to gain access to the area. She didn't know she was dealing with bandits first, she naively thought it's a rare case of nice fellows just wanting to be friends and such, plus the Vault could have answers about her origin, and the new "friends" confirmed it.

At some point, she realized she was being used, and got into a fight with the bandits - and lost, as there were too many of them, and she had too little experience, and they knew about Shade. She got kidnapped and told that she'd do everything they told her to do, or they'd kill Shade, so she had to obey. She helped them to fight the way to the Vault and get some of the riches, and during the process she felt that she really does have a connection with Eridians - they boosted her powers and helped her to get free, and kill every presenting member of the gang. She was worried about Shade though, so she left immediately to find him before the remaining members found out what happened and could harm him. But she was too late - the water source in their town of Oasis was poisoned, and every single person there died. Except Shade though - he lasted longer, but dehydration made him insane, and he turned corpses into the stuffed dummies he could talk to (though she didn't have much of a problem with this part). As she was gone for at least several months, he didn't believe she's real, and she had to adapt to the new reality.

She never got back to the Vault after that as she felt it was a source of more trouble than anything good (in her view, the price was too much for a bunch of physical stuff).

That lasted for years, and became a bit easier as her powers, enhanced by the Eridians, wasn't only serving the destruction,  but could eventually "heal" some part of Shade's mind, so the moments of clarity became more frequent (she didn't know it's the reason, though). And you still need money, whether you like it or not, so, when Shade decided to use his World of Curiosities as a spot of illegal deals and smuggling, she didn't resist, but would watch over him in the shadows in case something goes wrong.

Eventually, she calmed down and just embraced herself. And, after some time, she met Vaughn, whose personal struggles she could sense right away, as she had to experience "being different" herself.

[theunderthecover]

(hi its the anon from earlier, now clearly not an anon. im sending this before I fold into myself. <3)

Scar has been tempted to fold the towel for the past half hour, no matter how safe and lucrative this scheme is. 

Doing anything in front of a crowd for 5 hours nonstop is a tiring task by itself, but singing on top of that could make the most experienced performer want to keel over.

But, a group of powerful and wealthy adventurers entered the tavern 30 minutes ago, and Grian's eyes narrowed in their direction. It's a look the Aarakocra only has when a bigger fish (a bigger prize) unexpectedly appears on the job. It's a look that leads to some of their biggest catches. So, Scar will sing and entertain the party til they're blackout drunk and his throat dies so Grian can snatch whatever caught his eye. 

The energy in the tavern has long since died down, as most rowdy tavern goers are either off to bed or too tired to be loud anymore. The only thing that fills the room now is quiet chatter, the barkeep's everlasting service, Scar's continued performance. He concludes yet another song and basks in another round of faint applause. 

From the corner of his eye, he can see a faint bird-like footprint appear in a small puddle of cheap alcohol near the extremely drunk targets.

With Grian so close, Scar needs to have an iron grip on the room's attention again despite the itch in his throat and the room's energy being at an all-time low. There are too many drifting eyes that could see something being stolen. 

After staring at the puddle for a moment too long, he gets an idea. 

"You've been a delight tonight, kind folks! It'll be just one more song to wrap up the night." Scar declares to the whole tavern from his stage, "Though I'll be sure to leave you all filled with wonder and awe! As a treat, for being such an Amazin' audience tonight." He finishes the segway with an exaggerated wink, causing some patrons to giggle. 

He casts minor illusions with a flourish, making the sound of soft instruments echo around the room. As a viol begins to play, the quiet conversation amongst patrons lulls as every eye--curious, confused, excited--turns to the stage once more.

Scar's eyes close, and he relaxes as he takes in the music the magic creates. He thinks of the song with intent, pulls upon vivid memories to inspire emotion, and lets the feeling consume every movement. He takes one more breath, then, at the cue, begins to sing with a slightly rough voice.

"In a perfect world… one we’ve never known…” 

The tone is jarringly different from the previous songs of the night.

"We would never need to face the world alone…."

The instrument choice, low soothing energy, a soft romantic sway, and the bard's renewed life- all combined- make a near-perfect hook for everyone within the tavern. 

"They can have the world…" 

All Scar has to do is follow through with the catch and reel in the hook enough to let Grian catch the fish before anyone in the pond suspects a thing.

"We'll create our own."

He opens his eyes slightly, half-lidded to obscure where he looks but wide enough to see one of the wealthy adventurer's satchels be swiped off the table and quickly replaced by an identical copy. A bit of panic wells up inside him at the precarious move, but he swallows and trusts his partner knows what he's doing.

"I may not be brave, strong, or smart, but somewhere in my secret heart-" His voice slightly cracks at the rise, but he breathes through it and tries not to let it go completely off-pitch. Scar looks at the ceiling and tries to force his movements make it look intentional, stretching out the ache in his throat. 

"I know, love will find a way… anywhere I go…" Scar lowers his head in time to catch a now visible Grian acting like he just walked in the room, "I'm home if you are there beside me…"

He lets the music breathe, in a tune he knows by heart, as he watches his partner-in-crime casually head for the exit.  

Grian turns around and leans against the wall by the door, a stolen bag tucked under a wing. He signals to leave. They make eye contact.

The warm tavern lights again, and Aarakocra's red tones make Grian look like a painted sunrise. Scar, despite knowing he should be focused on finishing this scheme, doesn't look away. Doesn't stop to think about causing glorious chaos in their victorious exit.

Scar continues to sing, holding Grian's eyes within his own all the while. 

"Like dark, turning into day…"

Grian subtly pauses, confused but suddenly seeming as spellbound as the partner-in-crime in the metaphorical spotlight.

Still, their eyes hold.

 "… somehow we'll come through…"

Grian's incredulously mouthed words, which he fondly knows are along the lines of 'Scar, what are you doing?!'

Still, their eyes hold. 

"… now that I've found you..."

Scar's posture slightly sags with the exhaustion of this performance. He feels the cantrip near its minute end, but the violins swell into an off-script crescendo anyway.

Their eyes still hold.

"… love will find a way..."

The music cuts off abruptly as the spell ends.

He sees Grian suddenly look rather lost, but Scar is not sure why.

The whole tavern is bathed in silence.

He feels compelled to make the song at least sound finished. So…

"Now that I've found you..."

… he repeats himself, even with nothing else to support the song. 

(Scar doesn't admit that, at that moment, as he and his partner swim in each other's eyes, he didn't only repeat it for the performance.)

"… love will find a way."

The room roars into one of the loudest applause at night despite the smaller number of people.

And their eyes still hold.

bard scar singing a little love song at the crastle tavern and making direct eye contact with warlock grian

i think i just got murdered by my own thought what the fuck

[jytan2018]

I read the comic in one sitting less than an hour after finishing the movie, and wow I have many Thoughts™.

- It's very obvious the two versions were meant to cater to different audiences AND tell different messages. I don't get why people are going "But the comic was better! It had more nuance!" just because Nimona was easier to root for in the movie.

- The comic was written back when ND Stevenson was still trying to process a lot of stuff, so all the characters are morally grey/straight up evil and the climactic battle is between a Ballister who regrets turning against Nimona, even if it was to save others vs. a Nimona who's too hurt to care if her lashing out was going to hurt innocent people.

- By the time Nimona got a movie adaptation, ND was a lot more secure in his sexuality, so the climactic battle was Nimona vs. the Director, the symbol of religious oppression and bigotry. It's not just about your friends turning on you because you're "too much" for them anymore, it's also about a society that would rather bring itself to the brink of ruin than coexist with you.

- (I totally get why people were upset about Ballister's surname change, though. Like come on, the media dubbing him Blackheart just to be mean was RIGHT THERE).

- Nimona's metaphor for not shifting is such a neurodivergent thing. Even in the comic, Nimona's parents insisting she's a monster who replaced their daughter is reminiscent of the changeling myth, which is what many parents thought their neurodivergent kids were—changelings who replaced their "real" children.

- Ambrosius being trained to cut off HIS BOYFRIEND'S WHOLE FUCKING ARM instead of merely disarming him is a very cop thing to do. As much as cops claim they're trained to de-escalate situations, their training still teaches them to treat everyone as a potential threat, and that level of constant vigilance can turn anyone into a trigger-happy/arm-choppy bastard. Even the Director, who can use a sword but probably hasn't actually fought someone in ages, STILL can't see Ballister reaching for the squire's phone without assuming he has a weapon.

- And on that note, the Queen getting killed simply because she was trying to reform the Institution and allow commoners to become knights? That's the best "no such thing as a good cop" metaphor I've seen. Because even if there ARE good cops and they ARE in leadership positions, the system will crush them before they make any meaningful change. It's not a good institution that turned rotten, it's an institution that only exists to spread its rot and refuses to be good.

- That's why Ballister's characterisation is so different in the movie vs. the comic. Comic Ballister had 15 years to come to terms with his trauma and the Institution's evildoing, while Movie Ballister is still freshly traumatised and hasn't found a way to define himself beyond the role he was assigned by the Institution.

- Not to mention Comic Ambrosius was not very noble to begin with and genuinely believed Ballister was better suited to villainy than heroism, while Movie Ambrosius never wanted the glory that came with his lineage in the first place and only antagonised Ballister because of indoctrination he needed to unlearn (which he did, all by himself, after witnessing the lengths the Director will go to just to kill Nimona).

- It really shows how important it is to surround yourself with loved ones who are open to change. Comic Ambrosius can love Ballister all he wants, but he'll still blast his arm off because he thinks Ballister deserved it anyway. Movie Ambrosius will stop to question what "the right thing" even means, even if he didn't love Ballister enough to defend him unconditionally.

I have so many more thoughts bubbling beneath the surface, but I'll probably address them some other day. In conclusion:

[ID: A pink-haired Nimona grinning evilly while holding up a knife.]

Watch Nimona. This is not a request.

Edit: Added more thoughts!

[eyes-like-the-night]

I spent the past few years trying to have a better relationship with my dad and it’s currently absolutely in shambles

(My mom is kinda thriving though because she hates my dad and I get it now so when I’m really frustrated she listens and reminds me that yeah he hasn’t changed since she divorced him)

[juney-blues]

June Egbert is, and always has been incredibly fascinating to me because of just, how many factors have conspired to make Homestuck fans show their collective transmisogynistic asses.

The main character of Homestuck transitioning is a planned future plot point for the official continuation of homestuck, that was spoiled in advance by a fan making a joke about finding some toblerones Andrew Hussie the author of homestuck hid in a cave.

The current main writers of Homestuck: Beyond Canon have went on record in an AMA confirming that this was indeed always the plan, even before they took up the project.

In spite of these facts, the general consensus among certain homestuck fans seems to be that "June Egbert" is purely a headcanon for the original comic that was "made canon" by a "Toblerone Wish" (a concept that didn't even exist at the time)

For a variety of reasons, the "canonicity" of the postcanon official continuations of homestuck is a mattter of much debate, (though a debate that most homestuck fans seem to err on a side of "it's not canon at all in the slightest," something the writers have feelings on I'm sure.)

All of these factors combined leave the concept of "June Egbert" in a very nebulous place. It's assumed by most to just be an "ascended headcanon" that was shoehorned in, it's a spoiler so it hasn't happened yet in any official media, and the official media it will eventually happen in is regarded by some to be nothing more than glorified fanfic.

If someone is talking about June Egbert, and you don't like the concept of June Egbert, you have your pick of a million different excuses for why she's fake and gay and not worth discussing and bad writing and just the authors doing a gay dumbledore*, paying lip service to representation while actually doing nothing.

And of course, lots of people *don't* like June Egbert! Rather than being introduced as transfem from the start, she's in this nebulous position of discovery where people have to truly reckon with the idea of a "Pre-transition Trans Woman."

You can try to write off *some* of the backlash as transphobia, because obviously not everyone in this fandom is gonna be cool about trans people.

But there's no shortage of fans just dying to tell you about how much they like reading her as transmasc, or the idea of her being nonbinary or genderqueer or genderfluid, or literally anything besides a trans woman. And since they're fine with all those other interpretations, there's obviously no implicit biases driving their distaste for the concept! (if you want to try explaining the concept of "transmisogyny" to people like this you're braver than I.)

you can trust them when they say it's *just* a problem with whether or not it makes sense with the writing, or it just doesn't feel right somehow, or any of the thousands of excuses that this writing situation gives them to just Not Like It.

It's just, so interesting to me. There's not a lot of characters out there that get a trans arc in this way, that leaves room for open denialism and insistence that we have our trans cake and eat it too... Because Homestuck is a timeline spanning multiverse story, lots of people seem to want it to be an alternate timeline thing. Assuring us we can have this character share space with a non-transitioning version of herself and it won't be weird or imply gross things about trans people.

If you ask me it feels like a plotline that'd be really good for exploring some gender horror though, finding your true self and then being demoted to a footnote, an alternate version, because everyone around you likes your pre-transition self more....

Anyway I have no broader point beyond "hey look at this isn't this kinda weird. You don't get this kinda stuff often!"

*side note: it's a little ghoulish I think to compare "a future trans plot point that hasn't been given the chance to even happen yet, in an already famously queer piece of media, from a nonbinary author" to "some stupid shit done by the literal most famous transphobe of all time" but that's perhaps a discussion for later.