#and then didn't read much for like a decade

[directdogman]

Dialtown is the most USA-core game I've ever played. It's so fucking American that it's scary, and I've lived there my entire life! Like, this feels fundamentally tied with the game's themes and narrative, that's how extreme it is. And it's not even alienating OR nationalist?? It makes such genuine commentary? And then there's so much other shit to think about too; Dialtown has a very real identity outside this that anyone could love?

One: I am VERY impressed that you have done the USA and its people this well. I am actually astounded, bewildered, and chuffed. I've never felt so seen by a video game, culturally-speaking. I didn't even know there was a culture to see.

Two: WHY did you do that. Dialtown is like USA Culture Absurdified: The Visual Novel. What drove you to make a game this rich with American culture and ideas???

Hello!

It would've been odd for an outsider (non American) who enjoys reading up on history to make my setting nationalist or alienating. America is a country with a lot of serious issues. You can't really study how America is (and has been) internally run without facing glaring and obvious systematic issues. DT's setting is one of scarcity and most of the main characters you follow in DT are kinda just scraping by without much hope for true mobility/advancement. A lot of Americans (especially younger generations) would agree this sorta encapsulates the national mood of the country right now.

Of course, the systems that run a country don't define its citizens - many of the finest people I've ever known are American and are victims of the whims of those with power, not willing participants in this system. I could be wrong, but that's why I think the setting connected with a lot of people. We all know Randys, Olivers + Karens, people who've fallen through the cracks in some way. To them, America's spirit of self-determination isn't about individual identity - it's more "you're on your own."

Why I chose to set DT in America would be a novel length answer in of itself, but it mainly came down to history + narrative opportunity. I wanted to set the game in the epicenter of where the phone-revolution came from and Crown likely couldn't have pulled his plan off anywhere else and probably not during any other time. It had to be 1960's America.

Of course, some parts of DT are sorta universal and were inspired by the the Great Recession and what followed. I remember there was an area not that far from my house that was full of green fields when I was born and when I was a kid (and when real estate boomed), stuff started being built there. Parts of it looked really nice, not quite like anything nearby. Like the future was coming. Then the economy crashed and stuff was left sitting there, half-built for like a decade. Skeletal, unfinished buildings. DT is much the same.

There's a feeling that the city could've been something better and while things could be more equal, it does feel like there are no easy solutions to fix everything - unless someone very smart and determined somehow bypassed every safeguard that was set up to halt radical change and enacted a genius plan to somehow eliminate scarcity. It happened once and might never again.

I don't think most people understand the intricacies of stuff like global commerce all that well (myself included), but when you're sitting looking at a half built neighbourhood mere hours after speaking to a friend who just kicked out of rented accommodation and doesn't have a stable family unit to fall back on, you'd have to be a real dolt not to understand that things aren't great right now. Most people are scraping by and feel if they could just get affordable housing locked down, if they had maybe one good opportunity - maybe there's hope that things could change for the better.

The end of DT isn't really utopian, things don't massively change for the better and indeed, the town has a lot of rebuilding to do. But, a collection of lonely people are now looking out for each other and through the relationships they have, now feel like they have a place in this world. That no matter how bad things really get - they aren't truly by themselves anymore. Most individuals don't have the means to significantly advance change on their own - but you can live your life, love those around you and support others and plan for when the opportunity to affect change comes about.

I guess that's what life is, in America or anywhere else. Sorry I rambled for so long. Hope this answered the question!

[blueteller]

Out of all the bad people in the story, i dislike Director Ma the most. Reading about krs sitting quietly in his chair trying to get a day off to see cjs & lsh hurt alot. Why do you think krs didnt do anything to get revenge on Ma?

Oh, I absolutely agree. Director Ma is THE WORST. The kind of emotional manipulation this man did to KRS? Disgusting. Utterly repulsive.

I was honestly so glad that it was OG Cale in the side-story and not KRS who heard him say... that, but unfortunately, the fact that Director Ma DARED to try guilt-trip OG Cale!KRS for taking a VACATION of all things, to his face, when we all know that OG KRS was a workaholic who rarely ever took days off? It means this sort of thing wasn't new. For all we know, this could have been a regular occurrence in the office. Not this line specifically, but this… general dismissal of KRS's feelings, while simultaneously taking advantage of his emotions and sense of responsibility. It's the "He's not even crying during a funeral" all over again. Those freaking monsters at the Company, how freaking dare they. Just thinking about it makes me angry.

Now, about your question. Why do you think KRS didn't do anything to get revenge on Director Ma?

I actually considered it in the past. We know Cale is someone perfectly capable of taking revenge and getting even. So why would he let this jerk get away with such behavior when clearly he had enough power in the Company to make a difference?

Here are some of my theories.

One, it could be that Director Ma was useful. You might remember, during the Sealed God's Test arc, Cale mentioned knowing the leaders of the shelters and remembering how he was used to asking them for help and cooperation in the past, with much struggle. Director Ma might have been one of many, many individuals that KRS tolerated "for the greater good". As long as he was only a jerk to KRS as a Team Leader and left his teammates alone, I imagine KRS did not think much about his own hurt. He was too practical. If Director Ma was evil like, let's say, Adin, and was planning harm to other people, Cale certainly would never let it go. But a common… jerk, for the lack of a better word? He could have shrugged it off easily.

Two, maybe it was because Director Ma was a senior. Cale is actually really, really Korean in that aspect. Multiple times in the story Cale had a habit of considering how he should treat his seniors. He even remarked about the White Star that "I don't care if he is a total senior, that guy is a crazy bastard from now on". So, the simple cultural habit of respecting his seniors could be at play here. Yes, Director Ma was way out of line with his words, but those were the words of a senior. So even if Cale understood that it wasn't fair to be treated like this, he might have felt obligated to accept it because of the traditional Korean values of social hierarchy.

Three, maybe it was a sense of helplessness. One of the moments that struck me really hard in the flashback when LSH & CJS died, was the fact that "no one told KRS to wipe his nosebleed". Once KRS lost all his friend, he felt isolated. Without anyone to defend him. Director Ma wasn't the only a**hole he had to deal with on a regular basis in the Company. Perhaps, due to his depression, KRS simply grew used to such disrespectful treatment until he accepted it as a norm. Which is really freaking sad, but I could see it happening. I really do think that transmigration snapped Cale out of a 10-year-long streak of depression and workaholism. …Well, maybe not the second part, heh.

Four, there could be complexities to his relationship with Director Ma. KRS worked over a decade in the Company, after all. Perhaps there was something in their history that made KRS unable to act against him. Blackmail, for example? I don't know what kind of blackmail would work on KRS of all people, but. Perhaps it was simply emotional blackmail. Maybe KRS felt guilty over being Team Leader, because the spot was meant to be inherited by CJS. Maybe Director Ma helped him in the past and KRS felt like he owed him. Who knows? 10 years is a long time.

Here, there's my answer. None of those reasons make Director Ma's treatment of KRS justifiable, of course. But it would explain how such a dumb person avoided getting utterly annihilated... Because we all know Cale could have done it with ease. But relationships between co-workers can be complicated, so.

...Let's all be glad OG Cale got to avenge KRS by simply being himself 😂

[galvanizedfriend]

Klaroline Fic: The Wolf IV [4/13]

Summary: Five years after the downfall of the Mikaelson family, Caroline returns to New Orleans to fulfill the promise she made to Marcel: one day, she would be back for the man he has been keeping prisoner in the bowels of the old compound, and she would not be leaving without him. But the plans to abandon the city's eternal loop of tragedy behind once and for all are thwarted when a new enemy with unexpected old ties resurfaces, threatening not just Eve's life, but Caroline's as well.

--

S04E04 Keepers of the House 🎁

Klaus didn't expect to be back in New Orleans so soon. In fact, he was ready not to step foot in the city again for decades. This time, he was even glad for it. For the last eight years, New Orleans has been a selfish lover, taking from him much more than it has given.

He realizes now, with much belated clarity, that he had been holding on to some misguided sentimental attachment to a New Orleans that no longer exists, afraid of letting it go as though the city had been the very source of all his happiness. The only grounds where anything meaningful and lasting could ever grow. The city he built. His fortress. His kingdom. The only place that ever felt like home.

It's a belief that only solidified in his chest after Mikael took it from him. The decades that followed were a blur of misery and rage, where paranoia nearly drove him insane and the loneliness of being separated from his family ate him alive. He had to disappear like a coward, make himself a ghost, a name whispered in fear like a curse in the bowels of the underworld. New Orleans became a distant memory of joyful, thriving times.

He waged wars and shed blood and made new formidable enemies because he was chasing a dream, hoping to replicate those bountiful days. Klaus couldn't envision his family settling down anywhere else, couldn't picture his daughter growing up anywhere else but at the compound that carried her family's proud name.

He sees what a load of bollocks that was now. It was never about the city. His happiness didn't come from those sodden streets or that wretched house. It was about the people. About the moments of peace he'd managed to find with his family after hundreds of years running from Mikael. About finally being allowed to put down roots, forge alliances, build a legacy, live without restraint. He got to be as reckless and impulsive and expansive as he wished without the fear of attracting the Destroyer's attention with every breath he took.

It was... Liberating. The first time he ever truly tasted freedom.

Read the full chapter here on AO3

--

Happy Holidays, everyone! To celebrate the season, here's an update for you! 😃✨ What does that edit have to do with the contents of the chapter, you ask? Nothing. There is absolutely nothing festive in this update. It just suits my mood. Sadly, I do not have enough money to pay for someone to make me beautiful art for my shit, so this is what I've got. You can deal.

Anyway, hope you enjoy! And if you do, as always, know that your comments and reblogs and messages are very much appreciated and go straight into my little jar of motivation to keep pushing toward the finish line with this one ✨

[alexanderwales]

This is someone demonstrating the use of a rope dart. It's a blade on the end of rope, and you swing it around as a weapon. The woman demonstrating it probably put a lot of time into a bunch of awesome moves and a little choreo, and that's a skill worthy of saying "wow, cool!" about.

But I go to the comments and see a bunch of people saying "I didn't know this was a real weapon!" or "wow, amazing to see this forgotten historical practice".

And ... no. Sorry. This is a performance art. It's cool, but it's in the same class as juggling. I'm a juggler, I think juggling is cool, I have a lot of respect for people showing their routines, but I'm not (implicitly or otherwise) making claims about its combat effectiveness or its historical use by military or private individuals.

Did the rope dart ever actually exist? I have read just about as much as I can on the subject without talking to an expert and/or learning Mandarin. This was one of those irritating research questions where everyone keeps showing the same four pictures over and over, and in a quest for ad revenue, the same text has been copy and pasted hundreds of times all over the internet, usually without a citation.

Did people ever use a rope with a weight on the end? Yes, absolutely. Grappling hooks are great for boarding enemy vessels, and something like a bolas is great for entangling the legs of a horse; the Chinese have pretty well-documented use of both.

Are there records of a rope dart? I mean ... kind of. But there are "records" of lots of things, and if we can look at a video of something like the above and think "man, that's dope as hell" then I think we should assume that people have been thinking that for basically all of human history. People have also always loved talking about their blorbos. They like cool shit, they like grandiose characters that are divorced from reality. Most of the very scant sources are approximately on that level. There's a bit more evidence for something called a meteor hammer (or comet hammer in some translations), but that had a weight on the end of the rope/chain, not a blade, and there's also very little evidence its historical use.

So unless there's some killer source unknown to the people whose research I was reading, I am willing to say with a reasonable level of confidence that rope darts have pretty much always been a performance art in one way or another, a fun little skill toy, or something used for martial arts busking.

(I should mention that the research question is complicated by the impact of the Cultural Revolution on Chinese martial arts. The Red Guard wanted to transform martial arts to align with Maoist doctrine, and a lot of the traditional martial arts were seen as religious and anti-proletarian, bourgeois and decadent. In practice, this meant that a lot of martial arts masters were persecuted, imprisoned, tortured, forbidden to teach, or killed. Additionally, a lot of primary source documents were lost, and by "lost" I mean intentionally burned and destroyed by the Red Guard. So it's possible that (in addition to me poking at a pretty intense language barrier) there were better historical documents chronicling the dubious history of the rope dart which no longer exist.)

Anyway, if you go to read up on the rope dart, you'll see a lot of people singing its praises as a weapon, and fundamentally, physics and practicality are working against it. The best argument I've seen for a similar weapon is a claw on the end of a rope to grab someone on horseback and pull him off, but that's a claw, not a dart, and I'm still somewhat skeptical. I don't think I need to get into why a rope dart is a bad weapon when compared to most other options. It shares most of the weaknesses of throwing knives, which themselves are much more sport/performance than of practical use.

There's such a deep desire to root cool shit in history and authenticity and practicality. There's this burning need, I think, to see a performance routine like this and say that it's a useful skill. I get it, it's a fantasy, but trying to make that fantasy more real by dressing it in the garb of reality is just ... I don't know. Sad, I guess. Like we can't see a cool thing and accept it as a cool thing, like it's got to glom onto something else, take on the power of truth.

That said, am I going to include a villain with a rope dart in my next book? Probably, yeah. It's undeniably cool.

[sharkneto]

Hold on, wait a second - if I can read three more books this year I'll have read 50 books

[unproduciblesmackdown]

Lackadaisy Enrichment

[necrotic-nephilim]

@sasheneskywalker i love when you enable me to ramble about things because oh my god do i have thoughts.

so recently, i made a post discussing the phenomena of DC x DP and DC x MLB crossovers and why they exist and part of that post was discussing how largely speaking, at least half, if not more of the Batfamily fandom doesn't read the comics. if they interact with canon DC material, it's adaptations that are their own sequestered universes and oftentimes not remotely comic accurate or seeking to be. the most obvious example is the Young Justice cartoon. i'm adding a cut to this post because it just got so long i'm so sorry.

a lot of times, when people are discussing the "why" of this oversaturation of fanon-only fandom, they blame Wayne Family Adventures. and i think, to a point, i agree WFA is responsible for a boom in this fandom. but as someone who's been in the fandom long before we had WFA, to me it's the other way around. WFA was DC's way of meeting the demand for this easy-to-get-into, easy-to-consume content about the Batfamily that predicates itself on the comics just enough to be vaguely the same characters, but has a more sitcom, slice-of-life sort of vibe so DC could profit off of this section of the fanbase that otherwise wasn't consuming its primary material. and well, it's definitely worked. not only that, but i have a weird theory that the decline in the MCU also led to the rise in the Batfamily fandom. when you consider the fan content that made the MCU popular within fandom, it's that 2012 "they all live in Avengers Tower and Thor is eating poptarts and Clint is in the vents and there are movie nights every Friday" sort of vibe. those were the fics that were a hallmark of the fandom. and as the MCU has strayed from well... quality content in general, but specifically well-thought-out crossover content where characters can have their own arcs but also exist in a wider story where they clearly care about each other, that fandom was sort of homeless. so where do you go, if you like a superhero found family where you can have villains for angst but also stick them all in one big family-like home for silly crack and have a plethora of options for gay ships? well. you go to the Batfamily. if you write a crack/fluff Batfamily genfic with silly vibes and low stakes instead of say, a fic about a very specific comic issue even if it's a popular comic, you're *going* to get more traction for the former. because the fanbase largely just isn't reading the comics.

and i feel... complicated about this. because on one hand, Don't Like Don't Read has been a tenet of my fandom experience. i'm very pro-fandom and that includes fandom content i don't like. and to an extent, i do think this sort of should apply to Batfamily fanon. i enjoy having my moments with other comic purists, giggling over exceptionally painful OOC headcanons or even facepalming in pain over some content but it is on me to not interact with that content. you don't make fandom a better place by being hostile to fans who engage with canon in ways you don't approve of. and frankly? we as comic readers are not going to get non-comic fans to read the comics by being asshats to them. no one is going to want to pick up any comic if we get a superiority complex about it. and also, i feel like we're all lying to ourselves a little bit insisting comics are so, so easy to get into. they're not. we can just all agree, they're really not. i've been single-handedly helping my sister get into comics, specifically Wonder Woman and no matter how simple i make it, i watch her get frustrated trying to understand what pre-Crisis and post-Crisis and New-52 and Flashpoint and all these things mean and what a retcon vs a reboot is and what a Crisis Event is and what the hell Diana's current backstory even *is*. sure, you can give someone a beginner list of comics to start with and slowly dip their toes in the water but sooner or later, *something* is going to confuse them. comics as a medium straight up aren't going to be everyone's cup of tea. and if someone *just* wants to read silly fluffy fanfiction about the Batfamily, i can't entirely begrudge them for not wanting to take the hours and hours out of their day to understand this medium. it's not an accessible medium to get into. "read this and this, but this run is out of print and this run wasn't collected in trades at all but also make sure you read that event in order and this is a good comic but the backstory in it is retconned and you *have* to read this it's so important but it's also really bad because the author kind of sucks" sounds. ridiculous for someone who like. just wants to read some stuff about Nightwing. sometimes, we all make reading comics sort of sound like a chore, not a hobby.

so my point is, i do extend some grace to Batfamily fanon for existing. i think my biggest gripe is, as i said in my other post, misuse of tags (if you're not creating content about comics, maybe you don't need the comics fandom tag on Ao3, just the all media types umbrella tag) and my far bigger gripe: when panels are taken out of context to support fanon only headcanons. if i could impart *anything* onto the Batfamily fandom as a comic fan it'd be this: if you haven't *read* the comic, don't spread the panel. if you don't even know what comic it's *from*, don't spread the panel. it's fine to use comic panels to discuss your headcanons, but so often i see someone spreading a comic panel from a comic they haven't read, and when asked where it's from, they can't source it. a silly example that comes to mind is a post going around, taking a panel where Dick, in his internal monologue goes "here comes the sun. do do do do." and the post is claiming it's from him getting buried alive. when that panel comes from Nightwing (1996) #140, and he gets buried alive in Nightwing (1996) #127, two completely different moments frankensteined together. if you're going to not read the comics, that's completely fine, but unless you're sure of the source and the context, panels shouldn't be spread around. i'm sick of this specifically happening to Red Robin (2009), with ppl claiming Tim has totally killed people because he blew up some of Ra's' bases, when those panels within context, make it clear he gave everyone time to escape. and in a later arc in that very comic, Tim grapples with the idea of murdering Captain Boomerang, and *specifically chooses not to*, because he doesn't agree with murder, even against the person who has hurt him the most. if you'd like to write fanfiction where Tim is pro-murder and has done some sketch things, i'm totally on board and would probably like to read it. but there's no need to pretend it's canon from a few panels you saw out of context.

beyond that, i think it's not *entirely* correct to say that fanon is harmless. whenever i see very WFA-positive posts, they often default to the argument that WFA is fun and silly, and comic fans are killjoys for not liking it. which. i think is complicated because the issue is, WFA and fanon don't exist in a vacuum. if you like WFA power to you, i don't think it's the worst thing ever, but i do think it's degrading to these characters because honestly? they feel incompetent in the webtoon. it's one thing if WFA was solely a slice-of-life sort of deal, just having silly episodes where Bruce is taking on a PTA mom or they're all fighting for the last cookie. but when WFA attempts to take on more serious plots with these characters, it *fundamentally* falls flat in understanding them. i get it, Bruce comforting Jason having a panic attack because a noise reminded him of the crowbar felt cute in a microcosm, but i'm so serious when i say that storyline destroyed how like. half of this fandom understands Jason Todd's relationship to his trauma. it doesn't understand how he reacts when he's triggered, what coping mechanisms he seeks out, and how he would handle Bruce comforting him. even if i can believe for a brief moment Jason *would* be triggered by something like that, him running and trying to hide and then getting a hug from Bruce to make it okay is just. painful. WFA needs everything to be wrapped up in a nice, neat little bow. so even when it starts to tackle interesting concepts, it makes them fall flat with its need to be soft, low stakes, hurt/comfort. there was a two-parter episode that dealt with the complicated mutual hatred/jealousy between Tim and Damian that *almost* really interested me because for once, it felt like the webtoon wanted to explore canon messy dynamics. but of course, it had to be fixed with one conversation and a hug. you don't mend the *years* of issues these characters have like that. WFA isn't in character because these characters are hyperbole cartoonified versions of themselves to fit within the medium and be a cute happy family.

because that right there, is the crux of it. the Batfamily fanon seeks to simplify the Batfamily and force them into a nuclear family. there are so many fantastic posts on here discussing how the nuclear family-ification of the Batfam is eroding decades worth of complex histories so i won't go too far into that. but what i will say is that there's this need, in the Batfamily fandom, for the Batfamily to exist as a unit. they are a *family*. (honestly i think calling it the Batfamily is a misnomer and has been for years but we're in too deep now.) they exist to each other first, and any teams or friends they have come secondary to this family unit. you can *specifically* see this demonstrated in what headcanons are becoming popular these days. i have an entire lengthy meta in my drafts about how i *loathe* the "the Batfamily meets the Justice League" genre of fanfic because it makes no *sense*. in order to have this genre of fic exist, you must operate under the assumption that no one in the League, or adjacent to the League, knows the Batfamily exists and are thus utterly shocked to discover Batman has kids. and to make *that* work, you have to strip *every single Batfamily member* of such important dynamics and friendships so you can lock them all in Gotham for their whole lives. Dick can't have the Titans, Tim can't have Young Justice, Duke & Cass can't have the Outsiders, Jason can't have the Outlaws, Damian can't have the Supersons, Babs can't have the Birds of Prey, and so on. because if they had these relationships, they would be known to the League. the Batfamily fandom doesn't care about this, it's just "silly fanfiction", it's not trying to be serious. but how can you say you like Dick Grayson as a character if you don't understand the Titans *are* his family? at some points of his life, moreso than the Batfamily even is. it is constantly repeated to us in most comics with Dick how much the Titans mean to him. he *needs* them to be who he is. the same extends to every other Batfamily member, most of which have been full League members at this point. but in fanon, that doesn't matter. the Batfamily are a sequestered unit first, and all of those side relationships are secondary and easy to toss away, if it makes your fanfic work better.

and because they have to be a unit first, you have these forced relationships that dump years of actual canon material for the sake of making them get along. the Batfamily fandom has its favorites and well. it's no secret it's usually the boys. Jason and Tim by *far* stand out as fandom faves so, their dynamic is a heavily explored one. it does matter that in canon they don't tend to get along and especially don't see each other as family. what matters is that you can push dynamics onto them. and so fanon gets all twisted up about which Robin Tim actually idolized as a kid (Dick) and what member of the Batfamily is pro-murder but still an older sibling figure to him and looks out for him (Helena, or if you want the dynamic of once tried to harm Tim but they've reconciled, Jean-Paul) in favor of who's the most popular. Dick, Jason, Tim, and Damian are always going to be the standouts for popularity, but it's specifically Jason and Tim who are getting fanonized the most. and that's because really, we don't have much canon content of Tim that *isn't* the comics. for Dick you've got Young Justice (tv), for Damian you've got the DCAMU, for Jason you've sort of got the Under The Red Hood movie, but Tim sort of lingers in this limbo. (yes, he's in Young Justce (tv) and Titans (live action) but in neither is he the main character nor given much depth) so, he gets a *lot* projected onto him and has become fanonized. and even with Jason's animated movies, you don't see him interact with Tim, so people build it from the ground up how they want to see it, disregarding of canon comics. i think it's what makes him so popular in the first place- he's malleable into whatever you want or need him to be.

and of course, the fanon ignores other characters in the Batfamily it doesn't know about. i feel like you could create a tier list of Batfamily characters by their popularity, going from the fandom main characters: Tim, Jason, Bruce, Alfred, Dick, Damian. to the underrated: Steph, Duke, Babs, Cass. to the forgotten about unless they're convenient for a story: Kate, the Foxes, Helena Wayne, Carrie, Selina, Harper Row, Maps, Minhkhoa Khan. to the absolutely unknown: Helena Bertinelli, Jean-Paul Valley, Onyx Adams, the Clovers, Julia Pennyworth. it's not lost on me that the ignored characters tend to be women and people of color. which is both a canon and fanon problem, DC will continue adding interesting characters to the Batfamily, play with them for a few years, then drop them to default to the "Batboys" again. and it's a vicious cycle of the fandom only caring about the "Batboys", and thus people entering the fandom via fanon osmosis won't have content about the other characters, therefore, they won't be interested in those characters enough to create it, and it's just this ouroboros consuming itself, no matter how much canon content we have of these other characters. and it's ridiculous just how large the Batfamily is becoming because of this, which is why i'm a pre-Flashpoint fan, because then the Batfamily was contained enough to actually feel like a family with every character having nuances relationships with each other, but i digress because those thoughts could be their own post.

and the thing about fanon is it doesn't exist in a vacuum. DC has started turning the comics to accommodate for what fans are asking for, because fans will beg and beg for content they're not going to consume. Tim Drake: Robin had Tim as a coffee drinker because that's the fanon accepted headcanon. and the resolution of the recent Gotham War arc was for Bruce to buy this new manor for everyone to move in and call him. nevermind that most of these characters have their own homes and have zero reason to be moving in with Bruce. Tim had his marina in Tim Drake: Robin, Dick has Bludhaven, Cass and Steph have their little side of town in Batgirls (2022), and so on. these characters are being forced together as a unit, as one big happy family living together, to appease what non-comic fans want and it's damaging comic relationships. Robin: Knight Terrors saw Jason and Tim team up and working together, which i've seen varying opinions on but i personally despised. their interactions made zero sense for any of their canon history, but it appeases them being this close sibling relationship that fanon acts like they are. also the fears they faced in their respective knight terrors didn't make sense for either character and *only* worked as a moment of bringing them together so they could reassure each other and have this weird dreamscape bonding moment. the canon is bending itself to the will of fanon rather than building on the pre-existing complex relationships. Tim barely even gets along with his most important team in Dark Crisis: Young Justice because it seems the only important relationships the Batfamily can have is with each other. and when we do see them outside of the Batfamily, it only seems to be to relive the glory days like with World's Finest: Teen Titans, instead of developing them as they currently exist. this isn't recent in the comics, it feels like you can trace it back to the New-52, but it does feel a *lot* worse over the recent years. WFA is fine when it exists in its own bubble, but the simple truth is, DC content never exists on its own. the adaptations will reflect back onto the comics. (the damage the Young Justice cartoon has done to some characters should honestly be studied) and so it does frustrate me a bit when fanon-only or adaptation-only fans act like we're being nothing but killjoys for being frustrated with this. since they don't read the comics, they don't see how the comics are suffering as a result of this.

people argue about what's out of character for the comics they don't even read. i'm sorry, but "bad dad Bruce" is consistently canon. that man is just kind of shitty. when you take someone who has the drive he has, who has this need for the Mission first, who needs a teenager in spandex next to him to keep him off the ledge, that guy is sort of going to be a shitty father figure. he just is. not on purpose or with malice, but when you compare him to any other dad in a big DC family, he sure takes the cake. it's why characters like Oliver Queen tend to *really* fucking hate Bruce for how he treats his kids. Bruce loves fiercely, but he doesn't do well with putting that love first. and his love is a controlling one, he is very particular about controlling how others in the Batfamily are "allowed" to operate. it's what drives the wedge between him and Dick, it's why Steph is never a true daughter to him. (besides the reason of her needing to be a love interest to Tim first, anyway-) i've never understood the massive outcry of people reacting to Bruce kinda being shitty in comics they're not reading. there are some moments that get ridiculously OOC with how cartoonishly evil he is (the whole Gotham War arc and that... complicated mess with Jason) but largely if you want sitcom loving nuclear father Bruce, you have to accept that is a fanon thing, not a canon one. the Batfamily being a nuclear family in *general* is fanon. most of the "Batkids" don't actually see Bruce in a particularly fatherly light and begging for moments where he calls them his kids or they call him dad outside of incredibly specific circumstances is just OOC.

it's getting harder and harder to exist peacefully in this fandom it feels like, if you don't comply to the standard fanon has set. i'm happy people are having fun with their blorbos, even if in ways i dislike, but that "harmless fandom fun" does ripple it's way back to canon, eventually. so i end up pretty tangled with my feelings because are fans at fault for DC making these poor decisions? probably not, but it certainly feels like an unfortunate cause-and-effect situation whether at the end of the day, nobody is happy. and of course, i know some fanon-only fans are striving to be more canon accurate and care about canon dynamics more than others, but for them it's always going to be an uphill battle with the above-mentioned out-of-context panels thrown around and ever-pervasive fanon overtaking anything that's truly seeking to be canon compliant. so really, it sometimes feels like we're all losing.

[inke-ri]

So I couldn't help but browse the THG tag bc those books own my whole heart. I actually check it now and again, and it's been interesting see how opinions have changed over the years, especially in regards to Gale and Peeta. Going through the evolution of them as just potential love interests to being far more complex than I could have expected has been a wild ride. Crazy how this reads different than from when I was a preteen.

That said, I wanted to give my unsolicited two cents on my boys, because though I have been enjoying the discussion on Peeta and Gale and what they mean to the story, I also feel like reducing them to Peeta = peace and Gale = war is far too simplistic... and oftentimes unfair to one or both of them.

See, I don't think Peeta and Gale are peace and war/destruction. They're compassion and indignation.

Peeta worries about the other tributes, or their families, or how to repay people like Rue and Thresh for what they did.

Gale is indignation at how the Capitol treats its citizens, it's anger at the injustice of inequality and brutality.

Both are needed in a story like THG. You can't have people like even Peeta not say something like "maybe we're wrong about keeping things quiet in the districts", you can't have him not drop the baby bomb, you can't start a revolution without Gale's indignation at the status quo. At deserving a better life but being denied it, at having your kids be mercilessly killed for literal sport.

However, if you start a rebellion and loose sight of your compassion, you end up no better than the people you're fighting against. Gale wasn't a bad person, imo. His heart was in the right place. He was flawed, yes, but so is everyone in this series. Gale, most importantly, lost sight of the line between fighting for the people he cared about and fighting against the people who hurt him.

Reducing Gale's indignation to just revenge and hatred ignores so much of what he stands for. Who hasn't seen laws passed that dehumanize people, who hasn't been angry and furious when someone is elected who fundamentally hates everything you are, who doesn't think some people need to pay for the atrocities they committed? There's a little bit of Gale in every single one of us - and it's important that it's there, because that's what gives us strength to challenge the status quo and make life better for the future generations.

But. You can't let it take over. You can't loose sight of your compassion or your empathy.

That's where Peeta comes in. Peeta is the voice in your head that worries about how many good lives will be lost when they give themselves up for this cause. Peeta is the worry about the people caught in the crossfire. Peeta is rebuilding when it's over and believing that the next generation will have a better life than your own. Peeta is being kind, even to people who may not deserve it.

And Gale... Gale looses sight of his compassion, and he doesn't realize it until it smacks him in the face when the bombs go off and Prim is gone and he's too far gone. Meanwhile, Peeta advocates for the end of the war even though it means the status quo remains - and regardless of what he believes himself, I don't think Suzanne chose him to say those lines by chance. It means both mindsets have their flaws: too kind and things that shouldn't remain will never be challenged and changed, too angry and you may loose sight of what you're fighting for.

And that's just how Suzanne uses her characters, both of them, all of them. Just look at who is with Katniss depending on the situation:

- Katniss chooses to "rebel" after Gale is brutally whipped. She kisses him.

- Katniss realizes that in order for D12 to rebel, everyone would need to be in on it, and she realizes most of them are not like her, that they're scared and she understands, emphasises with them. Peeta walks by her side.

- Katniss finally does it though, shoots the arrow at the force field, and Peeta is taken from her, it's now Gale by her side.

(You can't start a rebellion without indignation, and sometimes you HAVE to do it or things will never change, regardless of the inevitable pain that will come along.)

- Katniss is righteously angry at the Capitol bombing a hospital full of innocents to make a point. Gale remains there.

- Coin twists people's compassion into an army to fight for her own personal gain. Peeta is hijacked and looses his sense of self.

- Katniss and Gale go to District 2 and even though she tries to be like Peeta, she's still shot- reinforcing Gale's views, the person who was with her during that sequence.

- Katniss is angry at Snow, Katniss goes to the Capitol to kill him. Gale is there.

- Katniss gets in way over her head and realizes she is responsible for the death of most of her squad. She shares the lamb stew with Peeta, and later cleans his wounds.

- Finnick dies and she's at her lowest up until that point and all she wants to do is give up and give in to the anger. She kisses Peeta and begs him to stay with her.

... Claiming that Gale is destruction ignores the fact that he's with Katniss through her own moments of strength. Her desire to change things, to fight back, is as important as her compassion. Mockingjay just brutally shows you what war does to your indignation, to your compassion. How easy it is to cross a line between righteous anger and revenge, or how your sense of empathy and compassion can be manipulated into something monstrous by others, or by all the terrible, brutal, painful things you see.

How easy it is to loose yourself- and that goes for both of them.

Peeta and Gale aren't static characters, they go from representations of sentiments regarding an injust government to what happens to those feelings when an extreme situation such as war breaks out. All of that, by the way, while dealing with this duality themselves, because they are still characters who think and feel and struggle and have flaws of their own- and while I love what they stand for, I've seen too many comments that pin everything into what they mean, that they forget that Peeta and Gale are still people, they aren't perfect metaphors. They're human.

Ultimately, Katniss doesn't really choose peace. She wants peace, yes. But what she chooses is compassion. empathy. hope. There's a time and place for anger at injustice. There's a time when fighting back is the right thing to do. There are even times when you wanna give in to your despair and lash out. But if you want peace, then you have to choose Peeta, because Peeta represents what you need to focus on to achieve that peace. You have to let go of the anger or you won't ever rest. So Gale leaves, and does not come back... And yet, Katniss still has her moments of indignation, of making a stand, even as he goes - she still casts her vote at that meeting, she still shoots Coin. Katniss does not abandon that part of who she is. It's just not her main drive anymore.

So then she goes on to make the choice, every single day, to be compassionate to others. To have hope. To rebuild. Of course she chooses Peeta.

... Idk, man. These boys are so much more than what I see them so often reduced to. They're in all of us. There will be times to stand and fight, and times to show mercy and be kind. We just need to find that balance, as Katniss eventually did.

[leafy-m]

Finished my reread of Fullmetal Alchemist

[thedreadvampy]

it's possible that it's just that prolonged depression is the best mental state in which to read midcentury American classics but you know what I'm feeling Fahrenheit 451 a lot more than I did as a kid as well.

[shirogane-oushirou]

no promises anymoooooreeeee i'll appear online when i appear online 😭 every time i say "ooh i think life is almost done being overwhelming!" it. becomes even more overwhelming in the dumbest ways. all i can manage rn when i'm not stressing myself into a shut-down state is staring at the wall while listening to youtube essays + mindlessly crocheting.

i might queue up ppls art and fics w/o commentary in the tags... i want other ppl to see what all of my cool friends have made, but i genuinely can't think right now with this monstrous brain fog. i'm really sorry, just. yeah. maybe i'll think of some way to make it up later!!! once the dust has settled!!!! but until then i wuv u and miss u. smiles.

[venting in tags including familial manipulation and ableism. i. didn't mean to write all of that, thiss was originally going to be a main blog post but. aaaaaAAAAAA!!!!!

also no need for replies or anything, i'd turn them off for just the one post if i could kjsndkn, i just needed to get things out and go eep jsjndsfdn ok bye bye bye bye!!!!]

[drbtinglecannon]

Hm yeah Frimmel is kinda driving me insane nowadays

[roobylavender]

im really sorry if this question ends up being repetitive: but, if not for bruce’s over reliance on dick to regulate his thoughts and emotions, why would dick grow up into feeling like he needs to repress his emotions so much and his eagerness to act as people’s support? i know youve spoken about wolfman and his altering of their relationship but if ntt is generally an accurate portrayal of an adult dick, to me this nevertheless sounds like the consequences a parent-child relationship where the responsibilities are titled too much towards the child

i suppose this could also segue into asking for recs that would help me better understand your interpretation of their relationship 👀

not repetitive at all! to me the irony of wolfman's depiction of dick lies in that it is simultaneously something you can logically ascertain from prior canon but not for the reasons actually presented by wolfman. if that makes sense. he does extra work that isn't actually necessary to help explain why dick would act the way that he does because there's plenty of reasons for it without rewriting his history with bruce to have always been suppressed and edgy and dark. to me it makes far more sense to capitalize on the inevitable disconnect between bruce and dick as an adult and a child. batman: full circle is a good example of that dichotomy (and although it was published in the early 90s it built on mike w. barr's prior understanding of the relationship between dick and bruce that he wrote into the early 80s). bruce's primary concern for the people he works with is never standards or finesse but safety. he worries constantly about others coming to harm under his watch and with a child in particular those worries were exacerbated. he ran a tight ship not because he believed dick had anything to prove but because the only way dick could keep being robin was if he went about it safely. that was obv easy for an adult to understand. but not so much for a child

to bruce these worries were practical and par for the course (as well as an expression of his love and protectiveness) but for dick their consequences formed the crux of his entire world. as a child he idolized everything about bruce. his heroism. his work ethic. his skill. his resolve. his preparedness. if dick couldn't live up to the standard he set for himself in idolizing bruce then what could he ever hope to amount to? that was the thought constantly going through his head. and it's why the bulk of his childhood and primary tenure as bruce's partner was so precariously protected by the fact that nothing bad ever really happened during it (and admittedly this framing is convenient because even chronologically speaking nothing very significant happened in their history with each other until dick left for university in 1969) (i know dixon opted to write that whole shtick with dent in his version of events but personally i never found it necessary to do so). there is enough there in the idea of dick working hard for the course of a decade to embody who he believed bruce to be that lends itself to it eventually being difficult for him to healthily express himself once the rift between them actually began to emerge

because what about bruce was there to actually see that was broken and dark before dick became an adult? i know a lot of dick fans hate batman #408 because they don't like that it enforced "retirement" upon dick (which i personally believe is a conclusion they come to because of the way batman #416 re-framed the same scene) but to me that's an inaccurate reading of the text. batman #408 was about bruce (admittedly far too belatedly) recognizing that he could not in good conscience continue to ask dick to go out and be a vigilante on what he considered to be his own "orders". he viewed dick's close call with death at the hands of the joker as something directly of his own making. although their tenure with each other had been wonderful if dick wanted to continue to be a vigilante it had to be on his own terms and of his own volition. obv that was logical to bruce and it was something dick managed to accept in the moment. but it's still hard to go from always having a purpose alongside someone you idolized to finally being entrusted entirely to forge your own

in general i like the idea of dick the adult becoming privy to all of the personal problems and conflicts that come with being a vigilante. he was conveniently shielded from a lot of those problems as a child because all he had to do was be bruce's partner and hope to live up to the title. bruce had no reason to trauma dump on him or talk about his worries and concerns at length with him because it was never supposed to be dick's job to field those worries and concerns in the first place. he was a child. the only thing bruce wanted to do was to help channel his emotions through an outlet and provide him with a home to grow up in. but when you become an adult often that dynamic shifts. you're still not responsible for fielding those worries and concerns but you can perhaps be trusted with them. that's why i like the framing in batman #408 of dick now being a man. it's a subtle way to frame the double-edged sword of adulthood. the world is in your hands now but so will be the horrors that come with it. coming to terms with the real world that bruce lives in should be hard for dick. coming to terms with who bruce is when he's not perfect should be hard. coming to terms with how quietly bruce kept his grief because he did not see fit to overwhelm a child with it should be hard. that dichotomy of dick both wanting to be bruce's brother and his son should form the crux of their conflict with each other because you can't hope to be someone's equal and someone's protected at the same time in that kind of relationship. for dick to transition into the position of equal he has to expose himself to the fact that bruce is not in fact an idol but someone irrevocably human. and that should interfere significantly with his head and his own standards for himself

[feral-aether]

Worked on a couple character drawings today and finished them!

Here's Charcoal and Percy!

Bonus photos under the cut with their bookmarks

[jasontoddstherapist]

PSA |

Yes this is a Jason Peter Todd centric blog, but it's also 100% supportive of Talia al Ghul. There will be no slander here. No perpetuating of the racist, misogynistic bullshit that drove the narrative divebomb of her character.