#exploration of faith

[bc-maq24]

“Lead me to the cross…” 🎶

God, I do want to be led to the cross, and I do belong to You, but You made me, all my flaws and faults made in Your glory, and I don’t want to be rid of myself. I’m finally finding myself, and starting to genuinely love me, and grow. I do belong to you, but you made my individuality to shine bright in this world and be a beacon to others for your love. So guide me, please, guide my steps and words and works, but let me keep some individuality. Like Chad said last week, there’s no reconciliation for “Thy will be done” and the gift of free will. I still think You wrote every word on every page of my story, including the missteps, which you work with me to get past.

I still believe there’s a cooperation of sorts between God and His son Lucifer and Lucifer may have some influence in our stories but God will always prevail (more so for believers).

[potato-lord-but-not]

sorrryyyy I needed to draw these guys having half decent communication skills or I would’ve fallen ill

[cockroachesunite]

i’m so sorry but this is how i read the scene every time

[fictionadventurer]

For all the talk about bad Christian fiction, I've seen several different ways that Christianity can be well-integrated into the story.

The story is about something unrelated to Christianity, but the characters are Christian and their faith affects their outlook and daily life. I recently stumbled across Wormwood Abbey by Christina Baehr, which is a light, fairly forgettable cozy fantasy that happens to do this really well. The story is about a woman who learns that dragons exist around her family's estate, but as the daughter of a rector, she often mentions prayer, sings religious songs, or thinks of Bible verses that relate to things she experiences. The Christianity feels organic to the character, and thus enhances the story rather than distracting from it.

The world is a Christian world where Christian beliefs are shown to be the correct framework through which to view the world. This happens in good Christian fantasy, like Lewis and Tolkien, but there are plenty of real-world stories where the themes line up with Christian truths, and this can make a story Christian whether or not religion is explicitly practiced by characters within the story.

The characters wrestle with how to apply their faith in their daily lives. Regina Doman's Fairy Tale Novels often feature this, as the characters struggle to deal with plot problems while living out their faith. Amy Lynn Green's work often features this as well--characters hold certain values (like, for instance, a Quaker pacifist) and have to figure out how they apply or don't apply to specific situations, especially when they conflict with other values, or they have to figure out how to live out their values (such as forgiveness) in moments where it seems impossible or even ill-advised. Charlotte Yonge's best works (specifically, what I've read of The Three Brides) do this as well--instead of preaching the one right answer, you have characters trying to figure out what the best answer is as they figure out what's right or wrong in this specific situation.

Characters face the revelation that there's a spiritual world that exists beyond our ordinary world, which can cause terror, but also provide comfort and hope. Elizabeth Goudge's novels often exist in this space, with very internal stories of characters coming to embrace the truths that come with living in a spiritual world. To a lesser extent, I'd say Amanda Dykes' work often fits here, with characters ultimately find comfort and hope from philosophies that line up with Christian truth. In less-cozy works, there's also the possibility of stories where an entirely secular person encounters God and has to figure out what that means for their life.

So our options are Christianity as character, Christianity as setting, Christianity as theme, or Christianity as plot. The ways this is integrated most seamlessly is when Christianity (or the ways they struggle with it) is a vital part of the character, so the plot that arises from it lines up with a Christian worldview. It also works well for the characters to just exist within a world where Christian truths are the way the world works. It doesn't even necessarily require the characters to be explicitly religious. Truth is something that everyone is searching for, and stories that honestly showcase truth or the search for it are going to resonate with a wide audience, even if they aren't Christian themselves.

[gummi-ships]

Kingdom Hearts 3 - The Caribbean

[dollya-robinprotector]

British schoolboys assemble!

Reference from this fantastic post of @fraternum-momentum. Thank you so much, Fura-san, for letting me use the concept!! Portraits only under the cut:

And of course, a little bonus for Kylar because the social anxiety boy hid his face too good

[casscainmainly]

I was thinking about this panel from Batgirl (2024) #3 again, and how I was puzzled at the choice of "faith" for Dick. The others in the issue more or less make sense - Barbara's will, Stephanie's heart, Bruce's pride etc. reflect Cass' perceptions of her family, and what she prizes in them. But "Dick's faith" is not as intuitive as the others. To over-analyse this panel for a sec, I'm going to take a look at Dick and Cass' relationship through the lens of faith (in the sense of belief/trust), and what that might mean for what they value in each other.

Bruce Wayne

One of Dick and Cass' first significant interactions is Batgirl (2000) #29, during the Murderer/Fugitive arc. Here, Cass expresses guilt for "doubting" Bruce, for losing faith in him. Dick replies, "we all do." Of course the "all" includes people like Babs and Tim, but it's significant that this conversation takes place between the two of them. They are the two people who arguably have the most faith in Bruce - both, but particularly Dick, staunchly refused to believe he killed someone. The doubt still comes in, though.

Cass and Dick do a re-enactment of the murder, ending in Dick declaring that Bruce couldn't have done it. Alfred thanks Cass for helping Dick overcome his doubts, but I would argue that Dick helps Cass overcome her doubts, too:

Here, Cass looks to Dick in the midst of her own uncertainty, and probably reads the assurance in his body. The re-enactment allows both of them to find solace in each other's faith. Faith and doubt become important parts of their relationship, particularly because they both recognise each other's similar faiths in Bruce.

In Nightwing (1996) #81, we get another example of how their relationship is closely tied to their perceptions of Bruce.

Cass laughingly tells Dick that both him and Bruce will never learn what they "can't change about each other," and Dick responds, "I wouldn't change a thing." Cass' smile to me indicates that she understands and appreciates what Dick is saying - while it's not exactly the same, her relationship to Bruce (especially pre-Horrocks) also centres the deep trust her and Bruce have in each other. Like in Murderer/Fugitive, this little exchange reflects their faiths in Bruce.

This faith in Bruce translates into faith in each other. Right after this exchange, Dick asks Cass for help:

This part is SOOO precious to me. For two characters who haven't interacted that much, there is such trust evinced here. For Dick to so openly ask Cass to help, for Cass to so readily reply; it's an implicit trust in each other's abilities, and an instinctive knowledge that they will help each other out. This trust is the foundation of the Dick-Cass relationship, and in my opinion underscores all the beef that follows.

Heaven and Hell

I've talked before about how Dick functions more as an ideal in Horrocks' run, and I still believe that, but in a 'faith' context this hallucination is also interesting. In Batgirl (2000) #46, Cass inhales a drug and hallucinates her devil/angel selves. Her devil self says: "Ah, yes... Dick[...] brave and noble and kind... They're all rotten to the core. Everyone is. Even you!"

What these lines reveal is that a) Cass had an extremely high opinion of Dick and b) Dick, to Cass, represents some kind of reflection of herself. Finding out he's rotten unlocks the fear that "even [she]" is rotten. Dick and Cass is fundamentally a relationship of reflection: in Murderer/Fugitive, they reflect each other's doubts or faith in Bruce, and here Dick reflects Cass' growing doubts in herself. When she begins to doubt Dick, she similarly begins to doubt her own humanity and capacity for good.

The Dick-Cass Beef

Now we get to everyone's favourite Dick-Cass topic, Batgirl (2008). Dick is definitely OOC here, and there are behind the scenes reasons why Dick is the one to distrust Cass, but in this doubt/faith reading Dick being the distrustful one actually fits.

Their relationship began with sharing their doubts/faith in Bruce. Now, at one of Cass' lowest points, they're sharing their doubts in her.

Cass wants to kill Slade + David Cain, thus reneging on her vow never to kill. In other words, she has lost faith in her own redemption: "I am not a detective. Not like the man whose symbol I am privileged to wear." She's distancing herself from Bruce, saying she's "not like" him and distancing herself from the bat symbol. Though her inner monologue refers to this journey as making up for her wrongs, it's clear that deep down, she doubts they will take her back after she kills again. Dick is, in a lot of ways, an external manifestation of that doubt.

In both Dick-Cass fights (#1 and #5), Cass doesn't reply to any of Dick's accusations. Her silence implies she agrees with him:

"Nightwing is right not to trust me." Once again, Dick's faith in her reflects her faith in herself, which at this point is nothing.

But Dick-Cass relationship doesn't end here. In the wake of Bruce's disappearance/death, Cass and Dick make up in Batman & The Outsiders (2007) #14, putting aside their differences to "fill the void he left". Once again, their relationship revolves around their faith in Bruce + the bat symbol; in the wake of Bruce's absence, and the doubt that engulfs them, they band together.

Dick trusts Cass' network, and Cass trusts Dick to lead it. Even after the entirety of Batgirl (2008), when push comes to shove (and with Bruce gone), they still have faith each other.

Do You Really Believe That?

Most of this post is about Dick as a reflection of faith for Cass, since a lot of these issues are from Cass' perspective. But Cass bolsters Dick's faith in himself, too, in Gates of Gotham #4:

I've written about this issue a bajillion times, but it is just so good and so important to how I understand Dick and Cass. Firstly, this scene parallels the scene in Murderer/Fugitive, with Dick and Cass in a car discussing their doubts and fears. Except this time Cass, instead of Dick, is driving; this time Dick is the one looking for reassurance.

Dick expresses doubt in his abilities to protect Gotham as Batman. Cass asks, "do you really believe that?" Belief is a central part of this run, with the main villain operating on false beliefs, and Dick working through his own beliefs about himself and Gotham. Cass being the one to help him highlights the centrality of faith in their relationship -like Murderer/Fugitive, they look to each other for reassurance, for trust.

This run is a lot about Cass and Dick coming to terms with Bruce/the bat symbol - for Dick, it's proving he can handle the mantle, and for Cass it's overcoming her exile to Hong Kong and choosing to stay in Gotham. These choices are made outside of Bruce (who told Dick not to become Batman/told Cass to give up Batgirl). This conversation in the car is them affirming their faith not in Bruce, but in each other.

Conclusion

"I am[...] Dick's faith." Maybe it's the fact Dick's faith has been shaken before that makes her say this. Dick and Cass have gone through periods of doubt in Bruce, in their ability to wear the bat symbol, in each other, and in themselves. But they eventually come back to that foundation of trust, that faith that threads through their entire relationship. Obviously Brombal probably didn't mean any of this, but it's a fun look into what makes Dick and Cass' relationship so hard to pin down, and so uniquely special.

[revvethasmythh]

i'm not going to lie, this deep discussion of faith in the heart of vasselheim has been very healing for me, i am having a great time about this

[hauntedorpheum]

ok but we seriously needed more episodes about versions of the main characters as vampires. Vampire Cordelia could have been so much fun! Vampire Tara would have been sooo tragic and terrifying. Vampire Giles would have been a good way to explore more Ripper Giles. Vampire Faith trying to turn Buffy. Vampire Dawn!!!!!!!

[booksandothersecrets]

Dedication of Maurice by E.M. Forster // Sappho // The Well of Loneliness, Radclyffe Hall

[short-wooloo]

I'm always a little confused by people saying they want to see Force groups other than the Jedi (and not like, in addition to the Jedi, what people often mean is INSTEAD of) because like...

A. This is Star Wars, the story of Jedi, if you're not here for Jedi, why are you even here?

B. Most other Force groups are just Jedi-lite (or sith-lite when dark siders), they don't really have all that radical or different views from the Jedi, usually it's just differing traditions

(And before anyone says it, no to any "both sides of the Force/don't use the dark or light", insert Han tfa gif here, you're either a dark side group or a light side group, that's just how it works, hence Jedi-lite/sith-lite)

C. Speaking of traditions, most non-Jedi force groups (aside from dark side ones) are just Boring

The reason we almost exclusively focus on Jedi is they're one of the only non dark side groups that actually goes out and does things, diplomacy, crimefighting, peacekeeping, etc are aspects of the Jedi most Force groups just don't partake in, at best they're active in their localities but for the most part other Force groups are content to simply watch as the galaxy happens while remaining uninvolved

[wistfulwatcher]

in an era where every show without record-breaking ratings gets axed immediately, i would just like to say how deeply grateful i am that crazy ex-girlfriend managed to air for four whole seasons and tell one of the most beautiful and moving stories of self-acceptance and love i've ever seen.

i just finished rewatching it (yet again) and every time i do i just think what an absolute shame it would have been if it had been cancelled after one or two (or even three) seasons. because, while it was clever and fun from the beginning, rebecca's mental state required the show to be so boy-crazy that it was a little tough to believe that the show would end up seeing the story through to where we eventually end up. the audience certainly got hints as to its final message early on ("love doesn't need to be a person, it can be a passion"). but because rebecca was rejecting those messages, the audience sort of had to, too. and if the show had been cancelled while rebecca was obsessed with josh? certain that her only path to happiness was romantic love and validation from a man? if we had never seen her truly understand and acknowledge ghost!akopian's words? i'm sure there would have been articles speculating on where the series could have ended up, acknowledging with resigned tones that the show had potential, with the seeds that had been planted.

but god, discussion of "the potential" of the show would have paled in comparison to what we got. because hot damn, did cxg end up doing character growth better than the vast majority of other series. (and not just for rebecca! almost every character in the large ensemble got to grow in a very organic, subversive, and meaningful way!) for a show that was consistently in danger because of their extremely low ratings, it was pretty ballsy of cxg not to rush through rebecca's story to prove its intention. for them to let rebecca be as frustrating and unlikable and unhealthy as she was for so many episodes, simply because they knew how necessary it was to show us the depth of rebecca's mistakes and struggles before she finally sought help and began to heal and grow. and the story was so, so much better and poignant for it. rebecca's season four growth feels very earned, and her end of series resolution to pursue her passion (her true love!) is so satisfying because it feels realistic. the audience has spent four years seeing her love for theater (and how it got tangled up in josh/the idea of romantic love) and when rebecca eventually realizes the same it's such a satisfying sense of finally.

it's an experience that has become painfully rare lately; too many series feel as though they're trying to cram as much into the first season as they can for fear of cancellation, and allowing no room for characters or relationships or story to grow naturally. they don't allow for anything other than the bare minimum plot. their characters can't breathe.

cxg didn't do that. they continued to tell the story they were telling, at the pace at which it needed to be told. and the series was truly phenomenal because of that choice. because of that trust in its own story and characters. cxg is a perfect example of what television can be, how powerful it can be, when it's allowed to be treated like the long-form storytelling medium it is. and i am so grateful for that.

[maliciousalice]

A commission for @cjmeerkat of their OC Wesson having a chat with Janeway while they wait on a vessel at drydock.

[rainbowsky]

Congratulations to Yibo for winning

Breakthrough and Innovative Work of the Year - Exploring the Unknown

Influential Work of the Year - War of Faith

at the 2024 Weibo TV and Internet Video Summit Awards.

[a-typical]

“She had studied the universe all her life, but had overlooked its clearest message: For small creatures such as we the vastness is bearable only through love.” ― Carl Sagan, Contact