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huginsmemory · 3 months ago

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Ideology of Exceptionalism and Gravity Falls; meta and character analysis

I had a whole ago read a post by @icanlife that had a quote by Alex Hirsch on Ford's greatest flaw, and wanted to explore what the flaw is, which is the ideology of exceptionalism; in the exploration, I’ll touch on what it is and how it is used in abusive relationships and cults, as well as how it drives multiple Gravity Falls characters and consequently how it impacts relationships between these characters, and how the show ultimately refutes exceptionalism.

Quick note here; I am not in any way, shape or form a psychologist nor have any formal training in psychology; this is written from my own experiences with this ideology and my own forays into psychology and trauma-informed learning. It is also written with a loose understanding that is likely not broad enough to cover all references to cults, extremist groups and abusive relationships.

The Ideology of Exceptionalism

First of all, we have to get through a drier bit, which is… what is the ideology of exceptionalism and how does it arise? Might be fairly obvious, but it is the belief that you are, or belong to, a group of exceptional people, thus more important and worth more than anyone else; ie, those who don't qualify as 'exceptional'. It is often a subconsciously learned ideology. Now, what qualifies one as exceptional can be extremely varied; generally it revolves around something that provides some form of privilege. Thus, it might be, as the main exceptionalist idea in Gravity Falls, 'intelligence', or power, or it can be such things as attractiveness, quantity of money one has, species, nationality, or skin colour and ancestral heritage. The ideology of exceptionalism, being by nature hierarchical, devalues, and at its worst, openly and violently dehumanizes those who do not qualify as exceptional.

For why exceptionalism occurs is an extremely broad topic, but I've personally found that, for exceptionalism revolving around intelligence, it's a result of a poor sense of self-worth, and having one's self-worth tied to what makes one exceptional. Poor self-worth itself (again, broadly) is a result of childhood trauma from a lack of positive affirmation and unfulfillment of the emotional needs of the child. Meanwhile, self-worth becoming tied to the quality of exceptionalism generally is a result of when positive affirmation was pretty much solely provided around their 'exceptionalism', especially when provided derogatory commentary, or a blatant example of how they would be treated if they aren't 'exceptional'. As a result of the general lack of affirmation, self-worth then becomes often solely reliant on the qualities of exceptionalism, as that is the only way for the child (and later, adult) to get affirmation of their worth, as well as out of fear of being ‘not worth anything’ like the examples of ‘non-exceptional’ people they have been given.

This is especially likely to occur when the child is a social outcast; the adoption of the hierarchical ideology of exceptionalism, and the devaluation/dehumanization of others often occurs subconsciously as an avoidance/minimization tactic from pain. This is to say, the child, and later the adult (if healthy self-worth is not established) goes 'it doesn't matter what the non-exceptional people say or if they accept me since I matter more than them because of my exceptionality'. It can even be taken further, that being shunned is part of one's exceptionalism, and becomes part of the qualifier of being exceptional. For instance, 'they just can't understand because they aren't exceptional and that's just a part of being exceptional'. This idea also neatly tailors into the part of the concept of being better then others means you are separate from others; this can be taken that someone who is special, needs to be alone to be truly special.

Obviously, exceptionalism is not a healthy coping mechanism for poor self-worth, as often such people constantly feel the need to prove and show off their exceptionalism to gain that affirmation and avoid rejection, which is stressful. As well, it often negatively impacts their relationships with other people as a result of the arrogance of believing that they are better than most others, or even deliberate sabotage due to their arrogance. This occurs as they flatten the complexity of human experience to black-and-white hierarchical categories of exceptional/not-exceptional through constant judgement of those they meet, and often refuse to engage with people who don't belong to their 'exceptionality', or even people they simply don't like, even if they technically qualify. Generally, those that they do like or have close relationships with, often due to being similar, are automatically labelled as 'exceptional'. Those judged as ‘exceptional’ also become privy to the open judgements of ‘non-exceptional’ others, out of a subconscious belief by the exceptionalist that the other believes similarly; something that may strain their relationship if the other doesn’t ascribe to exceptionalism. This all culminates in the exceptionalist being blind or even adverse to the diversity of experiences, which makes it difficult to create relationships and community outside of echo chambers of their own beliefs (if they can even find this), and subsequently, these people are often isolated and have very few to no close relationships with people.

However, all humans require connections with other people, relationships where one can rely on others emotionally and physically if needed and feel accepted; they also require to feel like they are worth something, that their life has meaning. Lacking meaningful connections and having a crippled sense of self-worth, a deep yearning hole is left in these people. Exceptionalism, especially as it is a narrative constantly pushed by Western society as it validates hierarchies, is then employed as a (often subconscious) trauma response to assuage this yearning hole, with arrogance and denial. And depending on the circumstances, it can be a very strong and definitive trauma response for people.

This isolation and lack of self-worth is catnip to abusive relationships, including cults and extremist groups. These types of relationships often heavily rely on isolating their victims or pulling them into echo chambers of solely the abuser’s rhetoric, to redefine what is healthy through gaslighting; as the exceptionalists are already isolated, this makes them extremely susceptible. They also often provide these people affirmation, and in these cases especially about their exceptionalism, thus confirming their self-worth, their 'specialness', while also providing them the connection they have been lacking, either through the cult community or through the abuser’s own presence. These emotional needs, which haven’t been met in a long time, if ever, begin to be fulfilled; something that abusive relationships and cults hinge on, rather than any form of logic.

Ideology of Exceptionalism and Gravity Falls

The main characters within Gravity Falls which are heavily ascribed to exceptionalism would be both Ford and Bill; this characterization deeply impacts the story and their relationships with others (technically the Northwest are another case regarding wealth, but less directly impact the storyline and thus tangential; Gideon also is an example, but as a mirror of Bill). With each of these characters I’ll go into detail within their sections on the way they began to ascribe to exceptionalism, and how it plays out later in their relationships; I will first begin with Ford, then move to Bill. Then, to cap it off, I’ll go into the characterization of Stan and the way Gravity Falls refutes exceptionalism.

Ford and Exceptionalism

Firstly, the quote from Alex Hirsch that kicked this whole baby off, as mentioned previously;

“Ford sees Dipper as someone who’s special like himself. That’s Ford’s great flaw, his arrogance is he believes that there’s special people, and everyone else. That human attachments are actually weaknesses. And the song and dance that he’s giving Dipper right now, is the song and dance that he gave McGucket, back when they were younger… ‘You and me are different, we’re better than everyone else. We have a path that no one else can understand, and only us can do this.’ It’s a very seductive idea for Dipper… Dipper is a smart kid, but Ford’s projecting. Ford loves Dipper because he sees someone who’ll tell him ‘yes’ to everything. Who’ll never challenge him, who’ll do a really insane dangerous mission.”

Very blatantly Alex Hirsch calls Ford out on his arrogance in the belief that he is special, in his belief in the 'lone hero' complex, in his belief in exceptionalism. And really, it should be no surprise that Ford does so, considering the way he's depicted as a social outcast as a child (other than Stan), and the way his parents have been clearly shown to be not particularly emotionally supportive (“I’m not impressed”); they don't provide positive affirmation except for his intelligence (mostly due to the possibility of money making through it…), while also actively comparing him to Stan who is derogatorily ‘not-exceptional’, and ‘worth less’. This all sets Ford’s self-worth up to be fragile, and other than Stan who wholeheartedly accepts him, he is isolated and invalidated; plus, the only other validation he receives is around his intelligence. All very classically fitting the profile for exceptionalism.

Image id: Stand and Ford when they were children, both clearly enjoying each other's company.

Ford’s belief in his exceptionalism catalyzes after the shattering of his and Stan’s relationship. Previously the twins are shown to do everything together, having a very close caring relationship; something unlikely if Ford thought he was better than Stan. Also, when Ford is talked to about his opportunities, Ford looks uncomfortable at the way they talk about Stan as inferior, compared to how he himself is being praised; but in the offer he’s simultaneously finally being validated, he’s being told he’s someone worth something, and he’s going to be someone worth something after this. And then the science fair incident occurs, and Ford loses that validation from his parents, from the judges and a future of more validation; after being promised validation and acceptance, it slips through his fingers. And in his anger of being denied that, it becomes easy to begin to slip subconsciously into the rhetoric the others have been feeding him; that he’s exceptional, that Stan isn’t, and he deserved to be recognized for his worth. So he breaks the relationship with the only person who accepted and validated him for who he is. With that loss of previous support, Ford becomes then deeply obsessed with proving his exceptionalism to the world to assuage that fragile self-worth, to become accepted, or even better, revered, confirming that he is someone of worth, someone special, like he was promised.

Ford’s obsession also doubly functions as a way to alleviate his guilt over shattering their relationship; if he’s exceptional as he believes, then he’s within the right to respond the way he did, as he’s worth more than Stan, he's better off alone, and he has a right to be angry over being denied that validation. As well, in much the same way as it is used as a way to alleviate his guilt over the end of their relationship, it is also likely used in a way to minimize the pain of being ostracized (although not directly depicted); afterall, Ford’s keenly aware and insecure about his social ineptitude and his six fingers as things that make him different from other people, case in point with his experience visiting Lazy Susans Diner. Thus it wouldn’t be unsurprising if he uses the idea of being worth more than those who ostracize him to imply it ‘doesn’t matter’ what they think. His ostracization by nature keeps him from generally forming close relationships, with the exception of Fiddleford (who much like him, is socially outcast, and intelligent) during his university days. As a result, he's isolated and acutely lonely, having lost Stan.

Image id: One of the missing Journal 3 pages in TBOB, detailing Ford's botched social interaction in Lazy Susans Diner. In the background is the print of his six-fingered hand.

In his obsession over being acknowledged, Ford, like many others who believe in exceptionalism, identifies strongly with the causes of his ostracization (his intelligence, his six-fingeredness) as part of, or wholly, makes him exceptional. It is obvious through his choice of study; with the grant he has been gifted, he chooses to revolve his work around the weird, the outcast, something that you see Ford gravitate towards being an outcast and deemed 'weird' himself (which in Journal 3 he openly talks about). Something that can be, much like him, framed as 'exceptional'. His work is even recorded in a journal that Ford deliberately chooses to put his six-fingered hand on the cover of. Intertwined with the way it becomes adopted into the idea of exceptionalism, is the keen loneliness from his ostracization and a deep desire to be accepted and a wish to find a community of other weird people.

Image id: Two pages from journal 3, labelled 'Myself', in which Ford is open about being weird, and a social outcast, while also noting his ambitions and that 'Gravity Falls, [is] the place that I fit in.'

Ford and Bill

All of this culminates in Ford becoming an incredibly easy target to manipulate by Bill. He’s desperate to be acknowledged (and thus accepted) by an authority figure so that his belief in exceptionalism is justified and his self-worth confirmed. And he knows he’s intelligent, that he's exceptional because people have told him so, but he just needs to prove it with something that shakes the world. And the grant is finally his second chance after the fair, but he's stuck, and the research is going nowhere, and he's in a town where he doesn't really know anyone and he’s so terribly lonely. And sure, he clings to his exceptionalism but if he can't even prove it then is he really exceptional? Is he even worth anything like he thought he was? And what about what he's left behind, rejected, because of his exceptionalism?

And THEN he finds an incantation and he ignores the warnings because maybe, just maybe, this will be his break to get that acceptance/validation he has been chasing his whole life?

And then it's better than that.

A god, essentially, shows himself to him, an ultimate figure of authority. And he tells him that yes, he is special, he’s worth more than other people, and Bill’s only showing himself to Ford because he is so much more intelligent than anyone else. Ford is suddenly getting his exceptionalism confirmed by a god of ancient knowledge, an immensely intelligent interdimensional being, and he’s also showering him with affirmations, specifically affirmations around what Ford's fragile self-worth is based on. And even better, he's delighted by Ford's six-fingeredness; he's not put off at all, it even becomes his main nickname for Ford, just like it used to be for Stan all those years ago. On top of it all, Ford's own social ineptitude doesn't phase Bill, another thing Ford is self-conscious about; Bill's own social ineptitude as he's not human probably makes Ford feel comfortable, knowing that's not expected from him.

Through Bill, not only does Ford find someone who validates his self-worth through intelligence and even confirms to him that his weirdness is part and parcel of making him special, he also finds someone who he regularly (generally) is in contact with, who enjoys talking to him and even banters with him familiarly. Hell, Bill even deliberately goes out of his way (literally possessing a whole wack ton of rats, then dream karaoke) to celebrate his birthday with him; how long do you think Ford has simply skipped his birthday since he had no one to really celebrate it with? The loneliness, beneath his arrogance and belief in exceptionalism, is being fulfilled; for the first time since Ford was a teenager, he's fully accepted by someone, social awkwardness, six fingers, exceptionalism and all.

Image id: One of the lost pages from Journal 3 in TBOB, the 'one thing led to another' page, with Bill and Ford singing karaoke and drinking together, both clearly enjoying themselves; Bill has an arm slung around Ford's shoulders.

So it's really no surprise at all that Ford fell for this, hook line and sinker. Hell, if I was in Ford's shoes I would fall for it just as hard. And I've seen a few posts floating around talking about how Bill is bad at manipulating, and no, he's not. He was able to pinpoint exactly what Ford wanted and needed, and provided that, was charismatic enough to provide that. Again, manipulation isn't about logic. It really isn't; it's about the emotional core in people, what people lack and what you can give them to slowly reel them in to sing your dance and song. And people will ignore vast swaths of red flags when you're finally being accepted, when you're finally getting your emotional needs met at least in some way or form. It's better than not having them met at all, such as previously. So Ford worshipping Bill is really not a surprise, especially as Bill deliberately stoked it.

All of this is part of why you see Alex Hirsch call Ford's belief in his exceptionalism his greatest flaw; because it allowed him to be very easily manipulated by Bill, and by its nature kept Ford isolated from others, evident by his arrogance in assuming he knows best and refusing to see other people who aren't as 'intelligent/weird' as him as worth getting to know, listen too and even reach out to ask help from, it's him believing he has to be the lone hero as someone whose 'special'. It's something that blinds him to the danger of his work around the weirdness of gravity falls because he’s desperate to seek a place where he and his weirdness belong, and it's something that plays out in each and every relationship he has because it's something he clings to so deeply. It's what cost him his relationship with Stan, who previously accepted him completely, and, as he's disinclined to form new relationships and as Bill actively strokes his paranoia (Trust No One…), ultimately further increases the hold Bill has over him. It's only Fiddleford’s presence as he works with Ford that allows him some form of outside reference and reprieve from solely Bill’s influence, something that Bill resents deeply and is clearly jealous and angry about, even if Fiddleford is helping create the portal. And it's ultimately Fiddleford, once he was aware enough of what was happening, calls Ford out on it, seriously jeopardizing Bill's influence over Ford; but Ford is too invested in the portal, in chasing his own ambition and caught up in Bill’s manipulation to take him seriously, until the incident with the trial, and Ford beginning to hear other voices then Bill.

Ford’s Exceptionalism and Wider Relationships

Now back to how it plays out in all Ford's relationships; we've already gone over it with Bill's influence, because it made him extremely easy to manipulate, and with his disregard of Stan in favor of validation of his exceptionalism. But Ford, as pointed out by Alex Hirsch, also exerts the ideology's seductive rhetoric to both Fiddleford and Dipper (who look up to Ford) in a similar way that Bill does with him (although there is a difference of it being used intentionally and maliciously, compared to subconsciously and earnestly, even if it is problematic). Ford, with his black-and-white view of exceptionalism, sees both Fiddleford and Dipper as people who are like him; 'exceptional', and so he treats them as such, and uses this rhetoric to coerce them into helping him.

For Fiddleford, the lure is how he can change the world, how he can be finally acknowledged if he helps Ford with the portal. And it works well; he willingly chooses to leave his own work and his wife and young son, to work with Ford. Much like Ford, Fiddleford himself is also a social outcast and regularly presumed less smart than he is, and he’s got a chip on his shoulder to prove himself, to gain acknowledgement and recognition from the world at large. Although Fiddleford has a family which presumes he’s not entirely lonely like Ford is, he also clearly has deep feelings for Ford, some which are hinted to be more than just ‘friendly’ feelings; it is likely the combination of the lure of validation and spending time with Ford, a kindred spirit that accepts him and an old friend/crush, that causes him to agree (afterall, it was Ford who made Fiddleford feel accepted and choose to stay at Backupsmore). And Fiddleford’s not even considered a partner, but rather an assistant to Ford due to Ford's arrogance, and he still drops everything to go! It’s more about their relationship and connection rather than validation, but that doesn’t stop Ford from espousing exceptionalism. And this is a distinguishing difference, because although Fiddleford would like recognition, he’s not there solely because of it; he’s not a believer in exceptionalism nor arrogant about his skills, and so, unlike Ford who is blinded by his obsession, he’s much more aware of the dangers of the weirdness of Gravity Falls. Thus, he's actively calculating the risks involved, and when he realizes there could be potentially devastating consequences of the portal, he attempts to talk Ford out of it; this fails due to Ford’s own denial and obsession over the portal. In the end, it all goes terribly sideways, and Fiddleford ends up losing everything he had; his wife, his son, his friend, his memories and himself to the trauma he had experienced at the invitation of his friend with the lure of validation and company, due to the memory gun he had created himself.

As for Dipper, much like Ford, he also has issues with self-worth (many of the episodes deal with Dipper finding self-worth; ie, the manotaur episode), has a physical oddity (his birthmark) and by far the trait he relies on most for worth is his intelligence (for example, in one episode he rubs it into Mabel's face over and over again in beating her in games). He's also extremely desperate to be recognized by authority figures as someone intelligent, case in point when he summons the dead after being made fun of by the government agents to try and show them that the information he's gathered is important after Stan dismisses his knowledge. This desperation to be seen as someone of worth from Dipper, much like Ford, extends to the need to be a hero, something he even says at the end of the zombie episode; yet, due to Mabel, unlike Ford he's not a lone hero, and Mabel also half the time acts as the hero.

Image id: Zombies crawling out of a crack after Dipper summons them; Dipper and the two agents look on in horror.

It all culminates in Dipper hero-worshipping Ford when he returns; really, no different than Ford worshipping Bill. And Ford clearly finds it extremely flattering; Dipper's attention and amazement of him feeds his exceptionalism. Exactly how Ford responded to Bill, Dipper is willing to do anything for Ford, excited too, in an attempt to impress Ford and be validated and accepted. And for Ford, that's an extremely heady feeling, especially as someone who has been constantly alone the last 30 years, especially when he had one previously confirm his exceptionalism all those years ago and stopped, and now someone is once again affirming that idea. And Ford doesn't have to be alone again, because he's found a kindred spirit in Dipper as his assistant, someone ‘just’ like him, someone who is exceptional. Because he sees himself in Dipper, he begins to espouse exceptionalism unconsciously, by praising Dipper's own intellect and adventurous spirit, assuaging his feeling of self-worth, while also telling him he's more important or better than others because of it.

And it's seductive to Dipper, because he wants to hear those affirmations of his self-worth, especially as he hero-worships him, but Dipper isn't sold on it, because it means leaving Mabel behind, it means believing that he's worth more than Mabel (and also, Stan, and all his friends he’s made in Gravity Falls). It's ultimately because of his relationship with Mabel that he rejects the ideology; he's not isolated the way Ford was with Bill, and he's not willing to break that relationship for that acknowledgement, because his relationships matter more to him.

Bill and Exceptionalism

Now of course, that's only on the Pines; what about Bill?

While it's obvious that Bill uses exceptionalism as a main manipulative tactic, it's not just an ideology he sprouts emptily; it's also an ideology he believes in, just like Ford, although it's less based on intellectual exceptionalism, and more on power and 'weirdness'.

This most distinctly can be seen in Bill's denial about what happened to his home dimension; Bill's belief in his exceptionalism occurs as a pain avoidance tactic from killing his whole dimension. Bill was clearly a social outcast within his dimension due to being able to see 3d; he's not accepted, and not trusted, to the point that there is medical intervention to make him blind. That's a deeply traumatic experience that completely erases one sense of self-worth, where one’s sanity is called into question by your parents on something that is not harmful, that's beautiful and you just want to share with them. It's a deep and clear rejection of who Bill is, and his ability. As a result, out of a desperate bid to be understood and accepted, he ends up trying to show them the stars. And it ends up killing everyone.

Image id: Page of TBOB, on 'The Early Years' which notes that Bill was an oddity for seeing 3d, something that was illegal to speak about. Bill frames it as something that made him 'special' and better than all the others.

Traumatized, and originally rejected by the dimension, he instead weaves an excuse of exceptionalism; that it doesn't matter what he did to them because he's exceptional and he's worth more than all of them because he can see 3d, because he's powerful, so he shouldn't/'doesn't' feel any remorse about it. With such a traumatic result of trying to be accepted by people, he rejects the idea of trying to be accepted for who he really is; instead adopting a facade of a monster that he believes he is (and eventually, becomes).

Even if he clings to the delusion of exceptionalism, and shuns attempts to find true acceptance, he still wants it; and that's where his henchmaniacs fit in, as they're all, as Bill's noted when trying desperately to get Ford to join him, weird; each has something 'wrong' with them, which is why Bill accepted them as his lackeys (although it's not like we know the context around these). It's a surface-level acceptance however, one more predicated on fear than emotional acceptance. He's taken his 'weirdness', much like many do who believe in exceptionalism,as ‘part of what makes him exceptional'.

In the same way that Ford wants to show the world that he's smart and intelligent by building the portal, Bill does so by wreaking havoc and taking over existences as a way to show the world that he's powerful, that he's someone to be reckoned with, that he's not someone to be ignored because he's someone who's worth more than others. If you can't be loved and accepted, then being hated and feared is better than being ignored; acknowledgement at least approaches acceptance, it's validation of some sort of worth. It also functions as deliberate self-sabotage of his morals, by proving that he is the monster that killed his entire dimension; if that's what he is, then that's who he's going to be, because if he wasn’t, then he has to come face to face with his remorse over what he did to his dimension and his whole house of cards around his exceptionalism and not caring collapses. So instead he keeps feeding the delusions the denial, and lies and lies and lies and keeps lying to ignore all of it, to wrap himself in this shroud of exceptionalism and brutality as a way to function. And it somewhat works, because he's mostly deluded himself about it all, even if subconsciously he knows.

And of course, this display of Bill's exceptionalism is what brings Bill to earth, to Gravity Falls, and to manipulating humans. In meddling with earth and humanity, beyond Bill's goal of taking over earth and fleeing his own unravelling dimension, he also enjoys reaping the benefits of being worshiped by humans, who find him awe-inspiring. Their amazement of who he is, and Bill's own posturing and manipulation of people leads to Bill literally forming cults (ie ciphertology) or having apprentices that worship/find him (to varying degree) inspiring; all reinforcing his feelings of exceptionalism.

Of course, Ford numbers among these people; he praises Bill and worships him, as he's played like a fiddle by Bill, because his self-worth and belief in exceptionalism is fucked up in a way that perfectly resonates with Bill’s. Because it's the exact same types of issues around self-worth, around being an outcast, being weird and wrong physically, and yet at the same time gifted. And Ford clearly is incredibly lonely and yearning for acceptance, but so is Bill; since the beginning he's been trying to find someone who would accept him, even if he's given up on it. And for his song and dance to entice Ford in, he pretends he's not crushed dimensions for fun, that he's not a 'monster'; a version of him he buried after he had tried to show his parents the stars, one that he occasionally resurrects and puppets around for manipulation (all lies are better when they have a grain of truth). And this version of him is worshipped, but above all is accepted, is loved by Ford. The softer parts of Bill, even if they are still weird as fuck, the parts that were never far beneath the surface for all his deluding, become loved by Ford. Much as Ford becomes hooked on Bill’s praise, Bill also becomes hooked on Ford's genuine love and care. It becomes personal, unlike any previous ‘inspirations’ and Bill over time gets to the point that he feels accepted, safe enough with Ford to share about his dimension much more close to the truth then he did with any of his henchmaniacs. He becomes vulnerable with Ford, in response to Ford’s own vulnerability with him. He’s finding acceptance for the first time in his life around the softer parts of himself, not just the feared acknowledgement that comes from his dimensions conquering; much like Ford is finally finding companionship and acceptance with Bill, not just only intellectual validation. Bill's also for once, not just self-serving; he cares, and goes out of his way to take time with Ford, even celebrating Ford's birthday (in the unique way he does things), both with the rats and the karaoke.

Image id: One of the lost Journal 3 pages in TBOB. Ford recounts Bill talking about the destruction of his dimension, and calls himself by implication a monster.

They're both fulfilling each other's emotional needs, needs which both of them have struggled with most, if not all of their lives (although their relationship is certainly not healthy, considering it's codependent as fuck, riddled with exceptionalism and oodles of power imbalance issues). And suddenly, against Bill's plans, Ford's no longer just a disposable pawn, but someone Bill wants as part of his team, someone by his side, closer than his henchmaniacs are. He's unwittingly fallen for Ford, and so when everything goes sideways in his plan, and Ford swears it off, suddenly cutting off their relationship and that acceptance Bill had finally felt, he spirals into grief and anger from the rejection. As a result, he becomes extremely abusive to Ford in desperate attempts to continue their relationship, and ultimately he becomes obsessive over Ford joining him again as Ford continues to refuse, as evidenced by both Weirdmageddon and the Book of Bill.

Stanley Pines, and the Refuting of Exceptionalism

Exceptionalism, being a negative driving factor behind many core character dynamics, is ultimately refuted by the show. This occurs multiple times over the show, such as with Mabel in the Pioneer Day episode, especially compared to Pacifica, but mostly through Stan's characterization. Stan is someone who has been since the beginning characterized (if lovingly so) as someone who is a failure by societal standards; he’s an older man running a run-down tacky tourist shop to swindle gullible tourists out of their money, has multiple divorces, has an ongoing feud with a literal 12 year old, clearly has had multiple mishaps with the law (some ongoing), is generally pretty self-serving and is extremely lonely and really had no close relationships until Mabel and Dipper showed up. He's not exceptional; he's not even what we would consider 'decent' enough to have a 'typical, hard working job’. In short, he’s a failure, a stark difference to the idea of 'exceptionalism' that characterizes Ford. If he's gifted in any area, it would be charisma (debatedly), not anything else.

But it's still Stan who rebuilds the portal from literally only one journal (not all three!) and gets it to work. It even seems like he only needs some codes from the other two journals when he does get them, suggesting that he was able to extrapolate from what was left and the first journal’s blueprints to fix it entirely, something that is extremely difficult and technically complicated (Ford, Bill and Fiddleford all worked on it together!). Stan's able to do it, even if it's been shown he's not 'naturally' gifted in that area. And it's something he does as a result of his deep care for Ford; because even after their fights, he cares about Ford and wants to right his wrongs, believes he should, because of his whole life of being defined as a failure and even worse than that, screwing up his ‘exceptional’ brother’s life. And he’ll do it even if that means learning how to build an interdimensional portal, even if it takes up thirty years of his life doing so, and he doesn't waver. Much of this is connected to his own complexes around being deemed a failure compared to Ford, having failed to succeed in his life, and how he feels that he needs to atone for screwing up Ford’s life, now for the second time; but beneath it all, he also cares. Much like Ford, he's extremely lonely, but he's not blinded by Ford's arrogance, and as a result he wants to make sure Ford's safe, because that's what he used to do, they’re twins, they grew up together, they once they had fully accepted and cared for each other, and dammit that still means something, and Stan hasn't found that depth of emotional connection since. So if possible, he wants to rekindle that closeness they had, but first, he needs to bring Ford back.

And in the end, it's not Ford's own special gun he built using his intelligence that 'kills' Bill. It's Stan, someone who Ford had long ago broke it off with in search of validation of his exceptionalism, someone who both Ford and Bill labelled as 'not-exceptional', who defeats Bill. It's exceptionalism's devaluation of people who are 'not-exceptional' that causes Bill to underestimate the Pines beyond Ford, and it's only when Ford put aside his exceptionalism and his refusal to accept and trust 'non-exceptional' people, that is, trust Stan once more, that causes Bill to end up defeated by Stan.

In the end, it's not about who's 'smarter'; it's a reminder that everyone has different skills and are better at different things, but that doesn't diminish one's worth or value, and that just because someone isn't naturally 'gifted' in an area doesn't mean they can't learn or use different ways to get around obstacles. Ultimately, it comes down to that no one is worth more or less than other people; exceptionalism is a lie. It’s a lie and an excuse, and it's certainly not a healthy way to assuage one's poor self-worth. What does matter is creating positive healthy connections with other people, and caring about them. This creates a community where you can be yourself and be emotionally fulfilled through these connections; and when opposition does arise, you become able to fight it together, and fight so much stronger than if you are alone.

And by the end of the show, you see that. Ford begins to let go of the ideal of exceptionalism and its black-and-white categorization; finally recognizes his own faults around prioritizing validation of his intelligence and exceptionalism over his relationships, and finally, after all the years, chooses to create and rekindle positive relationships with people, trust people, and make amends. And in the end, he goes sailing with Stan, prioritizing their relationship, finally fulfilling their childhood promise.

Image id: One of the pages written by Ford into TBOB. Ford refutes Bill's idea of happiness, and says he has finally found his own happiness, and it looks like the photo taped in, of Stan, Ford, Dipper, Mabel, Soos and Wendy, all smiling together.

TLDR: Exceptionalism, an ideology of categorizing people into being special and worth more vs plebian and worth less, is a trauma response and subconscious ideology that characterizes Ford and Bill’s lives, deeply impacting all their relationships as it is used to coerce people into doing what they want, makes Ford easily manipulated, and breaks relationships through their arrogance. It is ultimately denounced through the way Dipper chooses to reject Ford’s offer and his rhetoric of being exceptional, and through the way it's not Ford’s intelligence, but rather Stan, who has been labeled as 'not-exceptional' and a failure at life, that defeats Bill through trickery. It's a reminder that everyone has worth, and no one is worth more than other people, even if one may be gifted in certain areas; the ideology of exceptionalism is fragile and a lie. In the end, creating a caring, loving community around oneself is where strength truly lies, as is seen with the deep care and love the characters have for each other, and the repairing of Ford and Stans relationship.

Thanks to the lovely @eshtaresht who deigned to beta read this monster of a post for me

If you enjoyed this meta, (first of all if you read all this you're a champ!) I've also done another gf meta post! (It's shorter I swear)

#gravity falls #ford pines #stanford pines #bill cipher #stanley pines #stan pines #hugin rambles #hugin rambles gf #journal 3 #the book of bill #thisisnotawebsitedotcom #billford #fordsquared #gravity falls analysis #gravity falls meta #book of bill #tbob #christ its so long whyyyy #also oh nooo i wanna do another thing but SPECIFICALLY on trust. gravity falls is ultimately about strength in community and hnnnghhhhh #that makes me wanna cry #also i had so many thoughts. also on the denial part of exceptionalism??? oh baby Bill fucking LISTS it in his book #like sir. please #anyways i love media analysis and im totally normal about all these characters #also like Fiddleford is. like. yikes man.#anyways uhm. does dropping a 6k essay post make me sexy? please say yes (i HIGHLY doubt it #sheesh who's got time to read all this... psssspsspspp theres PHOTOS that TOTALLY dont have more reading in rhem nawwww #i totally dont know what ur talking about mhmmm #if youre like is this about gifted kids- yes. yeah. i just didnt name it. its also about wider things but. yeah #also. unofficial title? Gravity Falls and Gifted Kid Issues an analysis #oh boy sure hope my post about gifted kid issues is a hit on the gifted kid issues site

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hyacinthsdiamonds · 5 months ago

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I'm sorry but the irony of Nico calling Max unprofessional is sending me so bad like sir there's an entire garage full of people, who were literally in the trenches trying to survive the Brocedes fallout while just doing their jobs, who might have a few things to say about your (& Lewis') level of professionalism at that time 😭✋️

#f1 #formula 1 #formula one #max verstappen #nico rosberg #lewis hamilton #brocedes #like niki lauda had to try multiple times to literally parent trap them to try and get them on speaking terms it never worked #because one would arrive they'd see the other and the other would leave #& if i remember correctly the garage crew would swap around from race to race as a like see we aren't favouring anybody gesture 😭#and thats no shade to nico because it was both of them contributing to that environment #his comment re max is just making me laugh #like if i was a part of the pr/media team - which is a part of the degree I'm working on irl - at merc that year i would've lost the plot #like its insane reflecting on it nearly a decade later but the poor souls just trying to do their job in the eye of that storm #truly gods strongest soldiers #ngl the professional comment irks me a bit because its not like max is engaging in inappropriate work place behaviour #he's engaging in another aspect of racing that his involvement raises awareness of & that makes racing more accessible #& we all know how inaccessible not only getting into racing is but also to continue to pursue the further along you go #theres so many stories of 1 sibling giving up racing so the other can keep going because the family can't afford for them both to race #its a huge financial strain & we only see a handful of drivers talk about that & try to do something to change it #and nicos fellow sky sports commentators are routinely unprofessional on so many levels #additionally max had a lot of valid reasons to be annoyed at his team today #but alas he's not english so he's ungrateful #i hate that drivers can't criticise their teams or car without immediately being branded as bratty & ungrateful #ESPECIALLY WHEN THEIR JOB IS TO GIVE FEEDBACK #you can see the double standards from sky when say Lando or George have complaints with their team/car v the likes of Max and Yuki #especially Yuki my god the things i would do to get the British media to leave him alone #this was a jokey post at one point and then became a rant whoops lmao #I'll leave it that before i write an actual essay here 😭✋️

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drenched-in-sunlight · 2 days ago

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one thing that i find interesting is that even though we never get to interact with Marika directly, only knowing her via obscure cutscenes and other characters' dialogue... she actually displays a wide range of emotions as much as any other NPCs.

her statues depict her as having a warm, gentle smile:

the Mimic veil description points to her playful, mischievous side:

(it's a popular theory in the JP/Asian side of the fandom that it's sth from her childhood - hence the "Marika's Mischief", not "Queen Marika's", and she used it to escape the grisly fate befalling her family.

additionally, its equivalence in Dark Souls is also something described as "the mischief of a young girl who sought relief from the solitude of the woods at dusk", aka Princess Dusk who hails from "Oolacile, land of ancient golden sorceries", but i digress)

her portrait, the story trailer's "Queen Marika was driven to the brink" and Gideon's dialogue after the player defeated Malenia pointed out her sorrow:

(back when i first played the base game, this is the portrait that drove my eyes most in Roundtable Hold. i kept gazing at her - the Queen with permanently lowered eyes, and thought "there is a girl in there")

The bat lady's song, Messmer's entire Crusade, all those conflicts to establish the Erdtree, shows her anger, and the cruelty she's capable of:

Then there's Shaman's village, the clinic underneath Shadow Keep, the golden braid, the Minor Erdtree, the sealing of Death - that points to grief, trauma, survivor guilt, kindness, and the ruinous drive for revenge that results in the above path down hell:

(there's also a theory for the Crusade's headless statue being a reminder for the Hornsent of what they put Marika's mother through, but it's not concrete canon so here is the link if you want to check it out)

The fact that all of Erdtree's incantations are heal and protection spells (with only one exception of Wrath of Gold spell which was found after the Elden Ring was shattered), the Capitol's Perfumers originally being blessed healers, and that all Erdtree blessings come in the shape of tears give the picture of Marika's gentle wish at the beginning: to heal everything and everyone.

(and to me personally, there's a kind of vulnerability and honesty in showing your tears to the world and let it be your power to heal at the same time.)

the eye she blessed Messmer with (i do think the Eng translation at some part lost the sentiment of the JP text - that the eye is always referred to as a blessing)

the blessing flask that - unlike its Dark Souls equivalent (which ranges from 6-13 flasks), only have 4 available to us player, heal all ailments and status effect, and specified as sth made for Messmer.

the Marika's soreseal in the Haligtree + the waterfall near Godwyn's final resting place

the Regal Omen Bairn (that was fashioned after the Jizo statue - sth made by grieving parents wishing for protection for their deceased child in the afterlife)

the blessing, gifts, equipment that Messmer and Godwyn's personal knights all get

the fact that Marika's bedchamber and the Impaler's Catacomb (which is the only catacomb in the base game to have the spike trap mechanic used in catacombs in the DLC) remain the proof of Messmer's existence in the base game

how Godwyn's ending is the only ending where the mending rune is placed on the position of Marika's womb (the lower arc or the Elden Ring - also referred to as the basin in which its blessings pool)

that's a whole barrage of motherhood. the love, the fear, the postpartum depression, the guilt and anxiety, (the occasional scheming for revenge with her son). and despite how flawed and tragic that love ends up being for all of them, it is there.

(there's a whole subplot about how Messmer is the only demigod to be called ugly in-game (Hornsent npc dialogue) while Boc's questline is about how his mother being the only one to always assure him he's beautiful, despite everyone else calling him ugly. and how each NPCs questline does reflect a wider theme seen in Marika and her children. but again, i digress)

every time i think of her, Marika is a constantly shifting kaleidoscope, holding everything from within (the beauty and the malign, light and dark, birth and death, she's warm and gentle, she's cruel and unjust, she's strong and kind, she's weak and resentful, she's sweet and she's bitterness made flesh)... and i could only stand there and admire it all.

#elden ring #queen marika the eternal #my uwu baby with a disorder #every time i do the ending the only thing in my head is “to you who bloomed and fell away as a fruitless flower. farewell”#she got me writing essays like the average fandom male character analysis :)#messmer the impaler #er brainrot #golden doomed mother and son #ending this year with another marika rant like god intended

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bloggerspam · 5 days ago

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A Christmas Carol AU

Inspired by a prompt found in the @haunting-heroes-creative-games :) (i.e. back on my shit again)

When a 15 year old Jason, pissed at Bruce for taking Robin away from him, finds his birth certificate he realizes Catherine Todd is not his real mother.

Just as he resolves to go out and search for his birth mother, Jason finds himself accosted by three ghosts in his room, talking about A Christmas Carol of all things.

===

"So, what? We're gonna Christmas Carol him?"

Dan scoffs, crossing his bulky arms with an unimpressed look. "We hated that movie."

"I didn't." Dani chirps, disturbingly cheery, "I didn't see it!"

"We hate Christmas," Danny corrects, "But the movie was alright, and the logic is sound."

"I don't hate Christmas," Dani once again interjects cheerily, "I've never participated!"

"Sound my ass," Dan growls over her, throwing his hands up. "We don't even know this guy!"

"Minor detail." Danny insists, "Tuck can look him up."

"He's a fucking Bat, Danny." Dan scrunches up his face, pinching the bridge of his nose just like Vlad does when he's disgruntled with any of Dad's shenanigans.

"He's a Robin, actually." Dani pipes in, "And he's just a kid. How hard is it gonna be to pretend to be this kid's Ghosts?"

"You're a kid," Dan reminds her, crossing his arms, "And you didn't believe me when I told you sticking a fork in the outlet would shock you."

"I believed you," Dani sniffs haughtily, crossing her arms and pointing her nose up with a snooty voice, "The warning simply did not deter me from doing it anyway."

"We don't have to convince him we're his Ghosts, or even that we knew him before," Danny reasons, needling, "We just have to convince him that we're…"

He hums, pointing at Dani. "Past."

He points at himself, "Present."

He points at Dan, "Future."

Dani does a little cheer, arms up and twirling into the air before landing with her legs over Dan's shoulders, hands and head settling atop Dan's fiery, but harmless, hair. It flickers, before going limp into long white strands that Dani messes up by gently scrunching up the strands and running her fingers through them.

Dan lets her, huffing and looking weirdly like a downtrodden, wet cat. "Why am I future?"

"Because." Danny doesn't continue, because he knows it makes Dan annoyed. True to form, his scowl gets worse, like sucking on a lemon. They all know why anyway.

Dani grins, triumphant and knowing, letting her voice go real deep, "The future," she intones into Dan's hair, "is here."

"The future is now," Danny corrects her, but doesn't lose his smile, floating up to tuck a strand of her hair back behind her ear.

"The future is already here," Dan mumbles his correction, or is it a follow-up? "It's just not evenly distributed."

"How about you distribute some of those muscles, Gibson," Danny sighs, shaking his head "Waiting for puberty is such a drag, and we both know you didn't get the mass from Vlad's side of the family."

Dan makes a moue of disgust, but it serves him right. The consequences of his own actions, and whatnot. He looks up at Dani, who simply shrugs. "I think you'll do great." She leans down to give him two pats on the arm.

"So how's acting out A Christmas Carol gonna help us stop this Jason guy from blowing up?" Dani fiddles with Dan's hair, tongue poking out as she attempts a braid, "Will he even see us? Ghosts in this dimension taste funny."

"He'll be able to see us, it's magically rich enough for some ghosts to maintain a semblance of themselves," Danny explains for the third time. Dani and Dan hum at different pitches, and even though Danny is the common denominator he kind of hates that Vlad has more of a lasting impression on them. "The ectoplasm here is scarce and mostly corrupted, though, so it's rare."

"So there's lotsa bad ghosts here?" Dani eyes the messy braid she's made, proud, even as Dan's silky hair immediately causes it to fall apart, "Or 'mentally unsound' or whatever Frostbite called it."

"No," Dan grumbles, annoyed and indulging all at once, "Corruption begets ecto-rot, but the scarcity means they're not strong enough to actually retain their sense of self enough to rot."

"Shades," Danny explains when Dani looks even more confused, "There's lots of shades."

"Is this one of the Olympian dimensions?" Dani groans, flopping over Dan's shoulder as he sits down on the sofa, "I love Pandora and all, but if I see Zeus again I'm gonna lose it."

"It's one of the hero dimensions," Danny hums, taking over braiding Dan's hair the way Jazz made him when they were little, "There's a couple of Amazons walking about, but on the whole no Olympians."

"I don't know why he didn't just dump me in a Norse dimension." Dan leans back and closes his eyes to their ministrations. "Especially with my current occupation."

The three of them are sitting in Dan's apartment, a large loft studio located somewhere in the UK of the aforementioned hero-dimension. Alber-something, Danny can't remember. Doesn't need to, it being a different dimension from his anyway.

Dan doesn't have a lot of things: a sofa and TV, a bed in the corner, a decent but small kitchen. They're still trying to figure out decorations, but Dan on the whole is a minimalist so it's been slow going.

He's working as a bartender these nights, whiling away his odd existence now that his form has stabilized.

And wasn't that a trip? Learning that hey, adult lightning halfas shouldn't really be mixed with teenage ice halfas, actually!

Apparently, ectoplasm can become corrupted if you try to combine incompatible sources.

Apparently, side effects include (but are not limited to) unmitigated violence and a devastating need for vengeance.

Sound familiar?

"This dimension has a lot of time continuity errors," Danny reminds him, "Dropping you here gave the least amount of pushback."

"Yeah, yeah," Dan flaps a lazy hand, "Praise be the speedforce and flashpoints and whatnot."

"Plus," Dani adds softly, absent-minded as she watches Danny finish up the braid, "Lotsa heroes to help out if you relapse."

Dan heaves a slow, controlled sigh. Danny and Dani both pretend they don't notice.

"Is it bad?" Dan doesn't open his eyes, his voice is so low Danny can only hear him by virtue of his ghost powers, "Like me levels bad?"

"No." Danny shakes his head, leaning into his older self, his older brother of sorts, "He decapitated eight crime lords, killed a couple of assassins, maybe an innocent or two depending on your definition of things."

"Past tense?" Dan scrunches his nose. They all hate how confusing Time Shenanigans are.

"He's living as Red Hood, right this very moment."

"Red Hood?" Dani questions, "That his hero name?"

"Crime lord alias." Danny corrects her, "But he's more of a vigilante these days. Has a bat on his chest and everything."

"But it's bad enough to warrant a trip to the past." Dan points out, "Bad enough for us to try and persuade him. Does he relapse?"

"Not…exactly." Danny scrunches his face, not wanting to explain Clockwork's ambiguity.

Dani floats to spread over Danny and Dan's laps, sprawling out and purring like a cat. Self-soothing, though it's more for their benefit than hers.

"Like Dani said, there’re lots of heroes here, and he doesn't have powers." Danny continues, petting at Dani's soft hair, "The world doesn't end. He doesn't have the means to, even with the ecto-rot."

Danny pauses, and chooses his words deliberately and carefully. "And deep down, Jason Todd is a hero through and through. Relapse would be…difficult. His Obsession is similar to yours."

Dan lets that sit for a moment, but nods, Danny moving a little with the motion. The tension slowly bleeds out as they wait like that, enjoying each other's company.

"If the world doesn't end," Dani whispers, "Why is Clockwork sending all of us?"

Danny thinks on that, on his meeting with Clockwork. The Ancient's voice when he explained what would happen.

He thinks about Jason Todd, about Bruce Wayne, and Catherine, and Sheila. He thinks about Batman, and Robin.

He thinks about Dick Grayson and Tim Drake, about Damian Al Ghul, about Cassandra Cain, and all of Jason's Outlaws.

He thinks about a tattered uniform that stays up in a glass case for a long, long time.

Most of all, he thinks about Dan.

He thinks about regrets and one bad day away.

And then he stops thinking about it, because sometimes the past is the past, and other times, it's the future that never happens that haunts you instead.

"You know, Dani." He settles on, "I'm not sure. He probably has his reasons."

Dan leans heavier onto him, and they lean together like that, with Dani in their laps.

Ghosts of decisions made, unmade, and never to be.

Follow the story on AO3 here!

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tangibletechnomancy · 8 months ago

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The reason I took interest in AI as an art medium is that I've always been interested in experimenting with novel and unconventional art media - I started incorporating power tools into a lot of my physical processes younger than most people were even allowed to breathe near them, and I took to digital art like a duck to water when it was the big, relatively new, controversial thing too, so really this just seems like the logical next step. More than that, it's exciting - it's not every day that we just invent an entirely new never-before-seen art medium! I have always been one to go fucking wild for that shit.

Which is, ironically, a huge part of why I almost reflexively recoil at how it's used in the corporate world: because the world of business, particularly the entertainment industry, has what often seems like less than zero interest in appreciating it as a novel medium.

And I often wonder how much less that would be the case - and, by extension, how much less vitriolic the discussion around it would be, and how many fewer well-meaning people would be falling for reactionary mythologies about where exactly the problems lie - if it hadn't reached the point of...at least an illusion of commercial viability, at exactly the moment it did.

See, the groundwork was laid in 2020, back during covid lockdowns, when we saw a massive spike in people relying on TV, games, books, movies, etc. to compensate for the lack of outdoor, physical, social entertainment. This was, seemingly, wonderful for the whole industry - but under late-stage capitalism, it was as much of a curse as it was a gift. When industries are run by people whose sole brain process is "line-go-up", tiny factors like "we're not going to be in lockdown forever" don't matter. CEOs got dollar signs in their eyes. Shareholders demanded not only perpetual growth, but perpetual growth at this rate or better. Even though everyone with an ounce of common sense was screaming "this is an aberration, this is not sustainable" - it didn't matter. The business bros refused to believe it. This was their new normal, they were determined to prove -

And they, predictably, failed to prove it.

So now the business bros are in a pickle. They're beholden to the shareholders to do everything within their power to maintain the infinite growth they promised, in a world with finite resources. In fact, by precedent, they're beholden to this by law. Fiduciary duty has been interpreted in court to mean that, given the choice between offering a better product and ensuring maximum returns for shareholders, the latter MUST be a higher priority; reinvesting too much in the business instead of trying to make the share value increase as much as possible, as fast as possible, can result in a lawsuit - that a board member or CEO can lose, and have lost before - because it's not acting in the best interest of shareholders. If that unsustainable explosive growth was promised forever, all the more so.

And now, 2-3-4 years on, that impossibility hangs like a sword of Damocles over the heads of these media company CEOs. The market is fully saturated; the number of new potential customers left to onboard is negligible. Some companies began trying to "solve" this "problem" by violating consumer privacy and charging per household member, which (also predictably) backfired because those of us who live in reality and not statsland were not exactly thrilled about the concept of being told we couldn't watch TV with our own families. Shareholders are getting antsy, because their (however predictably impossible) infinite lockdown-level profits...aren't coming, and someone's gotta make up for that, right? So they had already started enshittifying, making excuses for layoffs, for cutting employee pay, for duty creep, for increasing crunch, for lean-staffing, for tightening turnarounds-

And that was when we got the first iterations of AI image generation that were actually somewhat useful for things like rapid first drafts, moodboards, and conceptualizing.

Lo! A savior! It might as well have been the digital messiah to the business bros, and their eyes turned back into dollar signs. More than that, they were being promised that this...both was, and wasn't art at the same time. It was good enough for their final product, or if not it would be within a year or two, but it required no skill whatsoever to make! Soon, you could fire ALL your creatives and just have Susan from accounting write your scripts and make your concept art with all the effort that it takes to get lunch from a Star Trek replicator!

This is every bit as much bullshit as the promise of infinite lockdown-level growth, of course, but with shareholders clamoring for the money they were recklessly promised, executives are looking for anything, even the slightest glimmer of a new possibility, that just might work as a life raft from this sinking ship.

So where are we now? Well, we're exiting the "fucking around" phase and entering "finding out". According to anecdotes I've read, companies are, allegedly, already hiring prompt engineers (or "prompters" - can't give them a job title that implies there's skill or thought involved, now can we, that just might imply they deserve enough money to survive!)...and most of them not only lack the skill to manually post-process their works, but don't even know how (or perhaps aren't given access) to fully use the software they specialize in, being blissfully unaware of (or perhaps not able/allowed to use) features such as inpainting or img2img. It has been observed many times that LLMs are being used to flood once-reputable information outlets with hallucinated garbage. I can verify - as can nearly everyone who was online in the aftermath of the Glasgow Willy Wonka Dashcon Experience - that the results are often outright comically bad.

To anyone who was paying attention to anything other than please-line-go-up-faster-please-line-go-please (or buying so heavily into reactionary mythologies about why AI can be dangerous in industry that they bought the tech companies' false promises too and just thought it was a bad thing), this was entirely predictable. Unfortunately for everyone in the blast radius, common sense has never been an executive's strong suit when so much money is on the line.

Much like CGI before it, what we have here is a whole new medium that is seldom being treated as a new medium with its own unique strengths, but more often being used as a replacement for more expensive labor, no matter how bad the result may be - nor, for that matter, how unjust it may be that the labor is so much cheaper.

And it's all because of timing. It's all because it came about in the perfect moment to look like a life raft in a moment of late-stage capitalist panic. Any port in a storm, after all - even if that port is a non-Euclidean labyrinth of soggy, rotten botshit garbage.

Any port in a storm, right? ...right?

All images generated using Simple Stable, under the Code of Ethics of Are We Art Yet?

#ai art #generated art #generated artwork #essays #about ai #worth a whole 'nother essay is how the tech side exists in a state that is both thriving and floundering at the same time #because the money theyre operating with is in schrodinger's box #at the same time it exists and it doesnt #theyre highly valued but usually operating at a loss #that is another MASSIVE can of worms and deserves its own deep dive

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duskdog · 2 months ago

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I think we're agreeing on that, actually -- as far as Steph's relationship with Tim contributing to her death, I was coming at it more from the angle that the instability there ultimately deepened her self-esteem issues, which contributed to that eventual desperate need to prove herself (to Batman specifically, but to everyone ultimately). I feel like there was a lot of instability in her relationship with nearly everyone, a lot of situations where someone would help/encourage her, only to later shut her down painfully, then later help/encourage her again. Bruce was the most overt of these, and the one most cognizant of what he was doing (at least for part of it, IMO, though not all), but he certainly wasn't the only one -- none of her relationships were ever a relationship of equals. This constantly-shaky footing contributed to the stronger, more independent side of her personality slowly breaking down. When I go back and read Steph's journey pre-War Games, I feel like I'm watching someone's self-esteem and self-confidence being systematically chipped away, one tiny little piece at a time, until she reaches a point where she feels that no one believes in her, and she's having an increasingly hard time believing in herself as a result. The low self-esteem is starting to win despite how hard she's fighting, and by the time she becomes desperate for Batman's approval, she's probably aware on some level that she doesn't feel right anymore -- that the part of her that was bold and strong enough to put on a costume and brave danger to spoil her father's plans is fading away a little more every day. Gaining Batman's approval would gain her everyone else's approval, too -- and, by extension, she probably thinks it would restore her self-confidence, too, and make everything right again. (It's not that simple, of course, but she wasn't in a state of mind to realize that.) I would LOVE to read a deep-dive from you on how Steph's approval complex with Batman comes about!

It’s been one of those days. It’s Time for me to violently defend stephanie brown on the internet beyond what should be considered reasonable or good.

I saw an older anti stephanie brown post which blamed Steph for Robin #87 (when Bruce reveals Tim's secret identity to Spoiler and offers to train her) and all the comments and reblogs and whatever were ragging Steph and it pissed me off and it made me sad so I'm going to break down why being mad at Stephanie for something Bruce Wayne did is insane, why Stephanie is genuinely in the right, and why having the same opinion as Alfred "boy mom" Pennyworth is embarrassing.

This ones gonna be more rambly and less analysis like than my other Steph posts for the record, I just kinda need to get this off my chest.

Let's break it down.

When Batman first brings Steph onto the team as Spoiler he tells Steph Tim's secret identity. When Tim finds out his secret was told to her, he freaks out. Tim's perspective is super understandable. He feels betrayed by Bruce, because he didn't even consult or ask Tim first, a clear betrayal of Tim's trust and the supposed equality of their partnership. Especially in light of how much Tim feels he has sacrificed to keep Bruce's secret.

But lets look at the situation from Stephanies perspective. Because she is just NOT at fault here.

Here are the facts: Stephanie is approached by Batman, who has in pretty much every interaction beforehand been cold and dismissive, and who she expects to tell her to quit being Spoiler again.

This man has only ever shown an ounce of approval towards Steph's vigilantism one time before this, for like one line in Stephs very first appearance. For him to be asking her for help sets off serious alarm bells. Steph is "really scared" when Batman asks for her help to find Robin.

Robin #84

Furthermore, its important we don't take Batman at his word here. Bruce is withholding information, something he does with Steph a LOT. He says "no one" knows where Tim is, and in Robin #87, he clarifies that Robins transmitter went dead.

Robin #87

"No one" is an exaggeration of epic proportions, given that Batman has not checked Tim's boarding school, or contacted Alfred, the location which it is overwhelmingly likely he is at, and the person who would be able to check extremely easily.

Robin #87

Because Bruce didn't want to go to Brentwood himself and run into Alfred, or have to speak to Alfred, on account of their fight in Officer Down, he sends Steph.

While the fear and worry Steph is portrayed with in Robin #84 doesn't really carry over to #87 (one of the numerous inconsistencies between these two issues) the fact of the matter is Steph is misled by Batman about the stakes of Tim being missing, which she is led to believe are much higher than they are.

In addition to this, Stephanie was under the impression that Tim was only ever holding back his secret ID soley because of Batman's wishes, that Tim was just waiting on Batman to change his mind.

Robin #56 #75 #82 #62

Tim will assert this is true later, and he certain says this is true beforehand.

If he's telling the truth, he doesn't have an issue with Steph knowing his identity. He has an issue with Batman telling her without checking with him first.

How is Steph supposed to infer this?

Steph has no reason to think it's important that Batman checks with Tim, because Tim has made it abundantly clear to her that he does want her to know but has just been waiting on Batman's approval.

Let's look how Steph acts when she meets Robin knowing his identity for the first time.

Robin #87

Steph enters the situation seeming to believe Tim will feel happy for her and relieved that their relationship no longer has to be as one sided as it has been. She still leaves room for Tim potentially having conflicted feelings, by mentioning she "hopes" that it's okay with Tim that she's finally on the main team. Tim, as mentioned early, freaks out.

Again, Tim's frustration is understandable. But let's look at Steph's dialogue for a second.

Robin #87

She says "we can be together now". This is weird and really interesting choice, because Tim and Steph have been dating for the entirety of No Man's Land and over the course of her entire pregnancy. This is a substantial amount of time. So what does Steph mean by "now"? There are two explantations.

Steph and Tim were not on speaking terms before this, because Steph was under the impression Tim had been cheating on her. He isn't cheating, but it surprisingly never gets resolved. Like the many other threads which were brought up in Robin #84, it gets completely ignored in Robin #87 and onward. Steph could be referring to the fact that she believes they couldn't be together because he was supposably cheating, but now that she knows his secret identity, he has no reason to cheat anymore. This is a super flimsy idea however, and given the fact that no character brings up how Steph believes Tim was cheating with Star after Robin #84, the logical conclusion is that it was either resolved off screen, or retconned.

The second explanation is much stronger. Steph says "now" because despite the fact that they have been dating for so long, their relationship has been extremely unbalanced. She's been closed off to half of Tim's life, something she agrees to when they first get together, but clearly has taken a toll on her. To the point she says "now" because, to her, the relationship never really truly started.

Robin #80

This isn't a stupid or petty complaint, for the record. Tim has seen her at her worst, he was there for there immediately before and after childbirth, but she doesn't get to know anything about an entire half of his life. This is especially true when you consider much Tim was in control of their communication.

He can show up at her house anytime, but if he doesn't initiate contact Steph's on her own. In Robin #80 for instance, Steph is presumably just hopping around rooftops hoping to bump into Tim, because she has no other way to find him.

Robin #87

And after Steph expresses excitement that they can finally be in the balanced relationship, a real relationship, she is rebuked with a violent "No!" that she seems to lean away from. And in the next panel, she asks, confused: "What?" in a small speech bubble which gets entirely ignored. In fact, neither Batman or Robin speaks to, or even addresses directly Stephanie for the rest of the encounter.

When Robin storms off without even a look to Stephanie, Stephs reaction is (big Shocker) to blame herself. Batman uses neutral language to place the blame on Tim, stating that Tim feels betrayed. In direct contrast, Steph actively disagrees, clarifying that Tim was betrayed, and more than that, she directly places the blame on both her and Batman's shoulders.

Robin #87

But Stephanie is a prop in the plot. Tim doesn't yell at her, he runs from her. Because she isn't Stephanie Brown, his girlfriend who has been in a massively unbalanced relationship, who is overjoyed at finally getting to be in a "real" relationship with him, she's the person Batman told Tim's identity to. He's not angry at her, he's angry she knows his identity and Bruce didn't bother to ask if Tim could tell her. He's angry at Batman. This conversation, this whole drama, is about the partnership between Bruce and TIm.

Stephanie Brown, who believed Tim was just waiting for the Batman go ahead, had no reason to think Tim would be anything but as happy as she was. Importantly, Stephanie Brown is seriously just not to blame in this situation, even if she blames herself (which as I've discussed before, is a running theme with her characterization, her low self-esteem and occasional tendancy to blame herself for the actions of others).

Not to mention, Tim doesn't blame Steph either. So if you're reading Robin #87 and somehow coming to the conclusion that Steph is a monster, please reassess.

Robin #92

How does Alfred factor into this? I'll make it quick.

Robin #88

Oh no Alfred, I'm so sorry that your loyalties to Master Timothy run so deep that you HAVE to yell at the teenaged girl who was more of a prop than anything in that encounter and had no reason to think Tim would be hurt. Oh no, really that must be so hard for you. Well, at least we know he's consistent, I'm sure if he's this mad at Stephanie, he's fucking fuming at Bruce Wayne, right? Right? Right?

No, of course not. Alfred Pennyworth, hypocrite extraordinaire is out there actively defending Bruce to Tim. Which no one asked him to do.

It's all "in his defense" and "you knew the perils" and "master bruce's crusade ill afford the delicacy of privacy required in affairs of the heart" and "stop feeling sorry for yourself"

I cannot believe he has the gall to yell at Steph for this. Talk about wounding Master Tim deeply bro, just wait until its Tim's 16th Birthday Party and Alfreds applying his stupid latex mask with a smile on his face. Sorry Alfred, you’re not always wrong, but when you’re wrong you’re really wrong.

That’s all. Goodnight 🌙

#I also have some thoughts about the Spoiler identity #and how it was Steph's way to claim power and control in her life #and how that influenced how she felt when people told her to hang it up #rejecting Spoiler = telling Steph to sit down shut up and remain a victim #“you deserve to be powerless”#but that's an essay for another time #Stephanie Brown

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