#i don't even write about him much...

[dootznbootz]

Thinking about how Telemachus has heard "You are just like your father" by so many people for most of his life. How different yet refreshing it is to hear said father tell him warmly "You're so much like your mother".

[sassypantsjaxon]

Listen. I know most of the earlier one piece movies aren't really canon, but I am obsessed with the implications of Saga in the Cursed Holy Sword, because he really adds a layer to Zoro's relationships with his rivals.

Okay. First, there's Kuina. His first rival. The one he can never beat. The promise to become the greatest. Untouchable, indestructible, until she isn't. Wado Ichimonji.

Then there's Saga. His next rival. They're more equally balanced. They're both orphans. There's an understanding there. A more even footing that he didn't have with Kuina. A gifted short sword instead of an inherited katana.

And Sanji. The proof of Zoro's rule of three. Twice over, in fact, third rival, third son. Never gives Zoro an inch in a fight, but doesn't hesitate to give him food afterwards. He doesn't fight with a sword, so there's no blade shared between them. Instead there's a much heavier promise.

Kuina dies. Saga dies. Both so close to Zoro, and he couldn't even do anything. Of course Zoro's worried when Sanji boards the sea train by himself. Of course he pushes Sanji out of the way at Thriller Bark. Of course he's angry with Sanji when he runs off to Whole Cake.

Zoro's already mourned his first two best friends rivals. Does he really have to go through that again?

Maybe Kuina wouldn't have fallen if Zoro had never asked her to fight him. Maybe if Zoro had been a little better he could have saved Saga. Maybe Zoro will have to kill Sanji himself.

[beatcroc]

there's no way the bathroom at peppino's pizza is actually that big but ¯\_(ツ)_/¯ . hey ummm anyway.... i care them...... anyway there's a lil ramble on my take on fake pep's like psyche or whatever in tags on the og post if ur into that kinda thing :y

hey! it's a series! fake peppino world tour: [noise] [noisette] [peppino]<- u are here [gustavo] [gerome] [noisette again]

[transmascutena]

the poor little meow meow-ifictation of saionji in this fandom has got to stop i can't take it any more

[sysig]

Blood sugar levels (Patreon)

[thekittyokat]

you ever just have a lot, a LOT of feelings all at once about a character and not even remotely enough words or brainpower to FORM the words to describe everything you're feeling. so it feels like you may explode. yeah

[uniiiquehecrt]

Voice actors are NOT the same as actors.

It takes a specific kind of skill-set and training to be able to warp and meld the voice. It takes a certain kind of talent and dedication to hone that talent into the ability to meld the voice and invoke emotion with one's voice alone. Actors are used to using their voice secondarily to their body language and their facial expressions. It's all mirrored back on camera. They do have nuance. But it's a different kind of nuance and a different kind of training to produce that nuance.

Voice actors might get their likeness transposed on their character's design, and maybe their mannerisms might seep into the character's animation. But when it's all said and done: their presence is in their voice. They are bringing a character to life, showing that emotion in their voice, trying to keep a specific accent, drawl, pitch, tone in that voice and keep it consistent for their recording sessions.

The voice actor is like a classically trained musician who can play first chair in a competitive, world-renown orchestra. The actor (who fills the voice actor's role) is like a moot who played violin in beginner and intermediate high school orchestra and thinks they can get into Juilliard with that 2-4 years of experience.

This doesn't mean that the HS orchestra moot can't play. They can even be really good at it. Maybe they won competitions and sat first chair. But they are not in the same league as the person who's been training their whole lives and lives and breathes to hone their craft using the instrument and all of the training they've ever acquired to perfect it. They are not meant for the same roles. They are not in the same caliber. You do not hire the HS equivalent when you want to play complex music in a competitive orchestra.

Actors are not the same as voice actors.

And furthermore, actors - especially big name actors - taking the roles of animated characters for big budget films or TV pilots makes no sense anyways when - at least in the case of TV pilots - there's not a point to hiring a big budget actors anyways. That money could be used elsewhere (like paying your animators), and the talent that is brought onto the screen for X character could then be hired on to voice said character no recasting required.

I wouldn't say voice acting as a profession is in danger exactly, but it's certainly being disrespected and overlooked for celebrity clout, and this has ALWAYS been an issue. Shoot, even Robin Williams knew that much - which is why he tried so hard not to be used as a marketing chess piece for Aladdin and got royally pissed off when it happened anyways. People shouldn't go to any movie (but especially not animated films) because "oh famous actor is in it". People should go because it's a good movie and the voice acting is good.

People who honest to god think that voice actors are replaceable because "oh well anyone can voice act" or "I like xyz celebrity so naturally it'll be good" ... Honestly I just wish you'd reassess your priorities because you're missing the point and are part of the problem.

Voice Actors ≠ Actors.

[pain-in-the-butler]

A compilation of art for my Dadbastian fanfic Coattails that I commissioned from the incredibly talented @tomoyoo! They went above and beyond with the details... Each picture feels as cozy and warm as a storybook, right? I'm so delighted with how they turned out!! Thank you for making each one so beautiful! 🥹🥹🥹

[necrotic-nephilim]

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

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

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

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

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

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

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

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

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

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

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

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

[gingermintpepper]

As usual I read your tags always and so you said Apollo did not ask for resurrection of Asclepius and Hyacinthus so i just wanted to share this. About Asclepius death I read it on theoi.com, that earlier authors don't make him resurrect as a god but that's a later development mentioned only by Roman authors like Cicero, Hyginus and Ovid. But still Apollo has a role in Ovid's version

Ovid, Fasti 6. 735 ff (trans.Boyle) (Roman poetry C1st B.C. to C1st A.D.) : Clymenus [Haides] and Clotho resent the threads of life respun and death's royal rights diminished. Jove [Zeus] feared the precedent and aimed his thunderbolt at the man who employed excessive art. Phoebus [Apollon], you whined. He is a god; smile at your father, who, for your sake, undoes his prohibitions [i.e. when he obtains immortality for Asklepios].

So here it is actually because of Apollo the decision was taken to resurrect him as god. And with Hyacinthus, I don't think I've read about Artemis playing the primary role. I know in Sparta there was a picture of Artemis, Athena and Aphrodite carrying Hyacinthus and his sister to heaven.

This is not on theoi.com but I saw on Tumblr it's from Dionysiaca by Nonnus

Second, my lord Oiagros wove a winding lay, as the father of Orpheus who has the Muse his boon companion. Only a couple of verses he sang, a ditty of Phoibos, clearspoken in few words after some Amyclaian style: Apollo brought to life again his longhaired Hyacinthos: Staphylos will be made to live for aye by Dionysos.

So since he is singing inspired by amyclean stories it probably means in that place it was believed Apollo was the one to bring back his lover to life.

Apollo as god of order was very important so i think it shows how special these people (and admetus too) were to him that he decided to go against the order for them 🥺

ANON!! Shakes you like a bottle of ramune!! BELOVED ANON!!!!! I'm littering your face with kisses, I'm anointing you with olive oil and honey - you absolutely made my night with this because, not only did I get the pure serotonin shot of having someone interact with my tags (yippee, wahoo!!) I also got to have that wonderful feeling of "oh wow, have I misunderstood something that was integral to my understanding of this myth/figure this whole time or is this a case of interpretational differences?" which is imo vital for my aims and interests as someone who enjoys mythological content and literature.

I'll preface my response with this: Hyacinthus is by far the hardest of these to get accounts for because his revival itself, as you very astutely point out, is generally accounted for in painting/ritual format which muddies the waters on who interceded for what. I wasn't actually familiar with that passage from the Argonautica - and certainly didn't remember it so thank you very much for bringing it to my attention!

That said, what I've come to understand, both about Hyacinthus and about Asclepius is that in the accounts of their deaths, Apollo's position is startlingly clear.

For Hyacinthus, it is established time and again that Apollo would have sacrificed everything for him - his status, his power, his very own immortality and divinity. Ovid writes that Apollo would have installed him as a god if only he had the time:

(Ovid. Metamorphoses. Book X. trans. Johnston)

Many other writers too speak of how Apollo abandoned his lyre and his seat at Delphi to spend his days with Hyacinthus, but they also all agree that when it came to his death - he was powerless. Ovid gives that graphic account of Apollo's desperation as he tries all his healing arts to save him to no avail:

(Ovid, Metamorphoses Book X. Apollo me boy, methinks him dead. trans Johnston)

Bion, in one of his fragments, writes that Apollo was "dumb" upon seeing Hyacinthus' agony:

(Bion, The Bucolic Poets. Fragment XI. trans Edmonds)

Even Nonnus in the Dionysiaca speaks constantly of Apollo's helplessness in the face of Hyacinthus' fate where he writes that the god still shivers if a westward wind blows upon an iris:

and when Zephyros breathed through the flowery garden, Apollo turned a quick eye upon his young darling, his yearning never satisfied; if he saw the plant beaten by the breezes, he remembered the quoit, and trembled for fear the wind, so jealous once about the boy, might hate him even in a leaf...

(Nonnus, Dionysiaca, Book 3. trans Rouse)

And the point here is just that - Apollo, at least as far as I've read, cannot avert someone's death. He simply can't. Once they're already dead - once Fate has cut their string - all Apollo's power is gone and he can do nothing no matter how much he wants to. And this is, as far as I know, supported with the accounts of Asclepius as well!

Since you specifically brought up Ovid's account, I'll also stick only to Ovid's account but in Metamorphoses when we get Ovid's version of Coronis' demise, he writes that Apollo intensely and immediately regrets slaughtering Coronis. He regrets it so intensely that he, like he does with Hyacinthus, does his best to resuscitate her:

(Ovid, Metamorphoses Book Two. Apollo's regret)

And like Hyacinthus, when it becomes clear that what has happened cannot be undone, Apollo wails:

(Ovid, Metamorphoses Book Two. Apollo wept.)

Unlike his mother, Asclepius in her womb had not yet died and so, with the last of Apollo's strength, he does manage, at least, to save him.

(Ovid, Metamorphoses Book Two. Apollo puts the 'tearing out' in Asclepius.)

But it goes further than even that because Ocyrhoe, Chiron's daughter, a prophetess who unduly gained the ability to directly proclaim the secrets of the Fates, upon seeing the baby Asclepius, immediately prophesies his glory, his inevitable death and then his fated ascension:

(Ovid. Metamorphoses, Book Two. Ocyrhoe's prophecy. trans Johnston)

Before she too succumbs to her hubris and is transformed by the Fates into a horse so she can no longer speak secrets that aren't hers to share.

These things ultimately are important because it establishes two very important things: 1) Apollo can't do anything in the face of the ultimate Fate of mortals, which is, of course, death and 2) even when Apollo is Actively Devastated, regretful, yearning, mournful, guilty or some unholy combination of all of the above, when someone is dead, he accepts that they are gone. Even if he is devastated by it, even if he'll cry all the rest of his days about it - if they're dead? Apollo lets them go. In Fasti, when Zeus brings Asclepius back, he does not say Apollo asked him to - Zeus, or well, in this case Jove, brings Asclepius back because he wants Apollo to stop being mad at him.

(Ovid, Fasti VI. Apollo please come home your father misses you. trans. A.S Kline)

Even Boyle's translation which you used above in your findings hints that Zeus made Asclepius a god because he wanted Apollo to stop grieving. (i.e 'smile at your father', 'for your sake [he] undoes his prohibitions')

And like, Apollo was deeply upset by Asclepius' death - apart from killing the Cyclops in anger, in book 4 of the Argonautica, Apollonius writes that the Celts believe the stream of Eridanus to be the tears Apollo shed over the death of Asclepius when he left for Hyperborea after being chastised by Zeus for killing his Cyclops:

But the Celts have attached this story to them, that these are the tears of Leto's son, Apollo, that are borne along by the eddies, the countless tears that he shed aforetime when he came to the sacred race of the Hyperboreans and left shining heaven at the chiding of his father, being in wrath concerning his son whom divine Coronis bare in bright Lacereia at the mouth of Amyrus.

It all paints a very clear picture to me. Apollo did not ask for either of them to be brought back. Though bringing them back certainly pleased and delighted him, they are actions of other gods who are moved by Apollo's grief and mourning and seek to mollify him. Him not asking doesn't mean he didn't want them back which I think is a very important distinction by the by, but it simply means that Apollo knows the natural order of things and, even if it hurts, he isn't going to press his luck about it.

Which, of course, brings us to Admetus. And I'm really not going to overcomplicate this, Admetus is different because, very vitally, Admetus is not dead. Apollo can't do a thing once Fate has been carried out and Death has claimed a mortal but you know what he absolutely can do? Bargain like hell with the Fates before that point of inevitability. And that's what he does, ultimately for Admetus and Alcestis. He sought to prolong Admetus' life, not revive him from death or absolve him from death altogether and even after getting the Fates drunk, he's still only able to organise a sacrifice - a life for a life - something completely contingent on whether some other mortal would be willing to die in Admetus' place and not at all controllable by Apollo's own power.

All of these things, I think come back to that point you made - that Apollo's place as a god of order is very important and therefore these people are very special to him if it means he's willing to go against that order but, I also wish to challenge that opinion if you'd let me. Apollo's place as a god of order is very important and therefore, I would argue, that it is even more important that it is shown that he does not break the divine order, especially for the people that mean the most to him. The original context of my comments which started this conversation were on this lovely, lovely post by @hyacinthusmemorial which contemplated upon Asclepius from the perspective of an Emergency Medical personnel and included, in their tags, the very poignant lines "there's something about Apollo letting go when Asclepius couldn't that eats my heart away" and "you do what you can, you do your best, but you don't ever reach too far" and I think that's perfectly embodied with the Apollo-Asclepius dichotomy. Apollo grieves. He wails, he cries, he does his best each and every time to save that which is precious to him but he does not curse their nature, he does not resent that they are human and ultimately, he accepts that that which is mortal must inevitably die. There is nothing that so saliently proves that those who uphold rules are also their most staunch followers - if Apollo wants to delight in his place as Fate's mouthpiece, he cannot undo Fate. And, if even the god of healing and order himself cannot undo death, what right does Asclepius, mortal as he is, talented as he is, have to disrespect it?

The beauty of these stories isn't that Apollo loved them enough to bring them back. The beauty is that Apollo loved them enough to let them go.

[silverwhittlingknife]

hi Silver! o/ because that fanart made me wonder - would you happen to know when/where Dick's stuffed elephant plush Zitka turns up in the comics?

GREETINGS CAM <3333 THAT ART WAS SO CUTE

Yeah, I think your instincts are right - it's a truly adorable bit of transformative fandom, but I'm 95% percent sure it's not comics canon. Barbara has canon plushies, but I don't think anyone else does.

I got kinda invested in the investigation (it's hard to prove a negative!) and I ended up typing out an entire History of Elinore/Zitka, so, uh, if you're curious, meet me below the cut for:

Where does Elinore / Zitka - the animal - appear in comics?

Did Dick ever have a stuffed elephant toy in comics?

Where does Elinore / Zitka appear in comics?

We're gonna go in chronological order!

Dick's circus elephant friend was first created for practical reasons: in Batman 436, Marv Wolfman does a big expanded flashback to Dick's circus backstory as a way to subtly show us Tim before officially introducing him (so that we can have a technically-solvable mystery-of-Tim's-identity in LPoD). In this comic, there's an elephant named Elinore who loves Dick:

Aww. Such a cute elephant!

Batman 436 comes out in August 1989. New Titans 60 comes out a few months later, in November, and guess what? When Dick visits the circus, he is suddenly surprised by an unexpected blast from the past! It turns out that even though it's been years, Elinore still remembers him!

Here's the part where Elinore remembers Dick:

SUCH a cute elephant. I love her.

(Guess who else still remembers Dick even though it was so long ago. Guess which other character is about to be an unexpected blast from the past. Guess which character Elinore is directly paralleling guess guess guess sorry everything is about Dick and Tim in my mind but I can focus I swear)

Four years later, in 1993, Batman: The Animated Series retells Dick's origin story. They like and keep Wolfman's elephant, but they change her name to Zitka:

Wolfman doesn't return to the elephant beyond those two appearances, and a few years down the line, New Titans gets cancelled and Wolfman's not writing Dick anymore anyway. So the animal gets abandoned for a while, until Devin Grayson, a fan of both Wolfman and B:tAS, revives the Wolfman-era Titans team in JLA/Titans and then the ongoing series Titans 1999.

Grayson then brings back the elephant in a flashback to Dick's past in Titans 16 (Jun 2000), where she imports the B:tAS name. Sometimes I'm skeptical of TV-to-comics imports, but honestly, I endorse this one. You lose the alliteration, which is a shame, but IMO Zitka is a better elephant name than Elinore.

Here's Dick with the newly-christened Zitka in Titans 16:

Grayson also briefly references the elephant in Gotham Knights 20 and - in a final angsty callback - in Nightwing 88 (Feb 2004), where Zitka tries futilely to comfort Dick in the midst of his trauma conga line:

... And... honestly, I think that's it for comic appearances? The two Wolfman comics plus the three Grayson comics.

Both Wolfman and Grayson are writing multiple titles - Batman, New Titans, Titans, Gotham Knights, and Nightwing between the two of them, spanning a big chunk of Dick's post-Crisis canon - and both writers use the elephant for heartwarming moments of nostalgia, which means if you're doing a post-Crisis readthrough for Dick, Elinore/Zitka feels memorable. But I don't think she actually shows up that much.

For post-2011, I am not as well-informed - throwing this out to the dash? anyone know? - but I feel like Zitka the heartwarming symbol of Dick's heartwarming circus past is, uh, thematically very at odds with the Court of Owls evil!circus vibes, so my instinct is that this story element was almost certainly dropped in the reboot.

Did Dick ever have a stuffed elephant toy in comics?

In WFA, yes; in main comics continuity, no. Technically, I have not read every comic ever published, so I could be wrong!! But I don't think so.

Below, find my rambling reasoning on the tonal vibes of pre-Crisis, post-Crisis, and post-2011, and why this particular story element doesn't seem right to me for the first two.

Pre-Crisis (...okay, mostly the Silver Age): stuffed animal, yes or no?

tl;dr no, requires too much background knowledge on the part of the reader, plus the elephant wasn't a thing until later

Elinore doesn't get created until post-Crisis, but also just generally, pre-Crisis callbacks are more along the lines of this reference in Batman 129 (published in 1960), where, wow, Batman and Robin are hunting jewel thieves - and it turns out Robin recognized this strongman! BUT HOW?!

The comic goes on to recap Dick's entire origin story in flashback, on the assumption that you may not know it.

(BTW, if you'd like to know more about Haly's Circus throughout the years, nightwingology has a great post here summarizing a lot of fun plotlines and characters!)

Basically: Silver Age comics are very self-consciously episodic and kid-friendly; they're not generally gonna do overly-elaborate callbacks because they don't know what comics their kid readers may have randomly picked up or remember.

By the time of post-Crisis, comic books were being written for an adult audience buying from the direct market, i.e. readers who are collecting whole runs & don't need or want Dick's origin story to be recapped to us in full every time it's referenced. That's why in post-Crisis, we get stuff like "hey, neat, this particular soda brand is getting mentioned in several different books!!" or "in order to understand this story arc, buy SIXTEEN DIFFERENT COMICS in FIVE DIFFERENT RUNS and read them ALL ACCORDING TO A NUMBERED ORDER and also you better be following the individual plotlines and recognize these five minor characters who we don't bother to introduce!! Good luck!!" But the elaborate post-Crisis plotlines - and subtler worldbuilding like a stuffed animal callback to Dick's backstory - don't make a lot of story sense UNLESS you're imagining your readers as completionist adult fans.

So IMO a stuffed animal wouldn't be a pre-Crisis thing unless it was The Episodic Story Of the Week, and I don't think a stuffed animal is action-adventure-y enough for the fast-paced storytelling of the Silver Age. (Unless it, like, came to life and tried to eat you or something.)

Post-Crisis: stuffed animals, yes or no?

tl;dr: no, Dick's a manly tough guy, he's not gonna have a stuffed animal, that'd be lame, like something Tim might do

Part of the edgy grimdark adult vibes in 80s/90s comics is that some characters who used to be kinda silly & goofy & lighthearted - like Batman and Robin - get reimagined as Serious and Angsty and Edgy in a Tough Cool Manly Brooding Way. This massively affects characterization for Bruce, Dick, and Bruce and Dick's relationship.

(I obviously love this change & love the tense Bruce-and-Dick interactions, but plenty of fans of the earlier fluffy comics really disliked the edgy retcons of Miller / Wolfman / Starlin / et al.)

The upshot is that post-Crisis is a period when you could have a recurring reference like a stuffed elephant, but you wouldn't have a stuffed elephant, not for Dick. I think a toy like that would be too cutesy / childish / effeminate to give a male character in post-Crisis, unless you were poking fun at him.

Now, you could probably let Tim have a stuffed animal, because Tim is sometimes cool but also sometimes a tryhard loser who is faking being cool and not entirely pulling it off (see e.g. the Robin comic where he practices tough-guy faces in the mirror, or the Teen Titans comic where Conner discovers his cringy Enya CD, or when he's fanboying over Connor and it's awkward, etc etc.). A stuffed animal would be deeply embarrassing, and you'd have to be careful to compensate by having Tim do something cool afterward - but Tim's character concept allows for "he's kind of a loser sometimes."

But Dick isn't!! In post-Crisis, Dick's a tough / impressive / "cool guy" character, the kind of guy anyone would want to be, even in the flashbacks where he's Robin, and even in the stories where he's more lighthearted than angsty. It'd be kinda lame for Dick to have a stuffed elephant, so he wouldn't. I feel like Dick would be more likely to poke fun at it if someone had one, like when he's making fun of Wally for liking the Hardy Boys. Dick could have a Batman action figure, at most, and if he had one he would have it ironically.

Basically: in post-Crisis, a male character hugging a stuffed elephant feels more likely to be a punchline to me, not something poignant. (Even with Tim, Tim could have an embarrassing stuffed animal, but he couldn't hug it when sad - that's too far. Maybe Booster Gold might do this. Probably he wouldn't, but spiritually, he would. Sorry Booster ilu! <3)

Instead, Dick instinctively deals with his inner turmoil like the TORTURED ACTION HERO he is: by punching things and brooding and yelling and joining the mob and sleeping on rooftops and going on obsessive secret missions and acquiring Angsty Stubble!! Just like Batman!

(Technically I don't know if Bruce ever joined the mob but you know he would.)

Anyway as you know this is my favorite continuity and I am poking fun affectionately, but uh, yeah sdfsfdsfs. No stuffed animals.

Post-2011 / Infinite Frontier / Wayne Family Adventures: stuffed animals, yes or no?

tl;dr it's in WFA! Probably not anywhere else, but it could be.

Post-2011 stuff tends to be cutesier overall, most of all in the current Infinite Frontier era. So I don't feel like this would be tonally out-of-line with IF comics. Taylor tends to go for more meme-y references rather than fanfic references, though.

So the obvious best fit is WFA, which is aiming for a rough approximation of Silver Age family-friendly vibes - wholesome, episodic plots, Teaching Good Moral Lessons For The Youth, etc. - plus lots of Easter eggs for fanfic readers and some comic references.

And look, here we are:

Aww.

Whew - that's everything I could find!

Anyway as you can probably tell, I LOVE the elephant, so this was a very entertaining rabbit hole to go down, thank you <3

[wonder-worker]

Thinking about Elizabeth Woodville as a gothic heroine is making me go insane. She entered the story by overturning existing social structures, provoking both ire and fascination. She married into a dynasty doomed to eat itself alive. She was repeatedly associated with the supernatural, both in terms of love and death. Her life was shaped entirely by uncanny repetitions - two marriages, two widowhoods, two depositions, two flights to sanctuary, two ultimate reclamations, all paralleling and ricocheting off each other. Her plight after 1483 exposed the true rot at the heart of the monarchy - the trappings of royalty pulled away to reveal nothing, a never-ending cycle of betrayal and war, the price of power being the (literal) blood of children. She lived past the end of her family name, she lived past the end of her myth. She ended her life in a deeply anomalous position, half-in and half-out of royal society. She was both a haunting tragedy and the ultimate survivor who was finally free.

[sciderman]

Which do you prefer, Spideypool or Poolverine?

glances at my decade-long running spider-man and deadpool blog

...hm. good question. i'll have to think about th

[skyloftian-nutcase]

The Pirate (Dad Squad)

EVERYBODY COME GET YOUR LINEBECK SOUP!!

Abel shook the strange feeling off of himself as they stepped through the gate created by the item. If it had led them here, that likely meant its twin had opened a portal to this land as well.

Blinking a few times to reorient after the brief kaleidoscope of light, Abel took in the sight of a bright sun, the smell of sea salt, and the sound of crashing waves. They were obviously by the ocean, though he had no idea where in particular, or what sea. He only knew of the Lanayru Sea, but tales spoke of other bodies of water that rivaled it.

Rusl walked ahead first, adapting quickly, eyes alert but face placid. Abel watched the Fierce Deity walk after him, unreadable as usual.

Something clearly caught their attention as they stood at the edge of the dock, staring. Abel peeked around them, wondering what it was, when he caught sight of the scene.

A ship was sinking. But it was moving towards them. Its deck had just been submerged, and its mast was all that was remaining. A man stood atop it, glaring ahead fiercely as if willing the boat to make it to the dock in time, but his posture was proud as if this had been planned all along.

What in the world...?

The mast managed to reach the dock in the nick of time, allowing the man to step off. He blew out a sigh, looking like his knees were about to buckle, when he caught sight of the group of men. He sized them up quickly, eyes widening a little at the sight of the deity, and then waved sharply. "How's it going? I'm just passing through. Gotta go now. Important things to do."

"Wait," Rusl interrupted, stepping into his way. "Can you tell us where we are?"

The man blinked, hackles less raised, confusion evident. "Where you--this is Mercay Island. How do you not know that? What, you get clocked by those red spandex wearing freakshows too?"

Abel immediately stiffened. "The Yiga were here?!"

"The who?" the man bounced back, looking even more confused as the wind whipped through his dark brown hair.

"It's a group of demon worshippers," Rusl explained. "They've taken our sons. We're tracking them. Where did you see them?"

The man's face flushed, eyebrows coming together in outrage. "They took someone of mine as well! And he's my best crewmate! Well, he's my only crewmate, but that isn't the point! I came here in search of a new ship to track them down since they--they sunk--"

Here the man sniffled, glancing away in seeming anguish at the lost of his boat.

"I'm sorry about your ship," Rusl said appeasingly. "But perhaps we can help each other."

The man hummed, crossing his arms and squinting at them as if he were debating the matter.

Abel started to grow impatient. "Do you want to find your crewmate or not?"

"Don't get short with me!" the man snapped. "I am Linebeck, captain of the seas, and I know this place better than anyone, especially you guys. I'm your only chance to find those freaks, so you're going to take orders from me now!"

The Fierce Deity picked the greasy looking man by the back of his coat, bringing him to eye level. The man, in turn, squealed, flailing his arms and legs in a desperate maneuver to get out of the hold, yelling, "LET ME GO, YOU BEACHED WHALE!"

Abel glanced at the deity, tempted to tell him to toss the man into the sea, but if he truly had seen the Yiga, then they unfortunately needed his help. Rusl just sighed, seeming to grow a little tired of being the sole negotiator of the group.

"How do you propose we find the Yiga if your ship has been damaged?" Fierce asked, silencing the man's squeals. "If I retrieve it, will you be able to repair it expediently?"

"Retrieve--it's sinking into the sea, you small brained land mass!"

Abel did have to almost laugh at that one. Rusl looked unimpressed by the man's impolite demeanor, but at least his insults were entertaining. Nevertheless, they needed to move.

Fierce seemed to sense Abel's impatience and Rusl's disapproval, casually tossing the sailor aside as he walked up to the mast. The man spluttered, shakily trying to get to his feet before promptly falling back on to his backside as he watched the deity singlehandedly start to pull the ship out of the water with a firm grasp at its mast. Abel heard the wood start to give, though, not tolerating the force it took to fight the water crushing the rest of the ship, and he put a hand on Fierce's shoulder. "Let it go. We'll have to find another way."

Rusl turned to Linebeck. "We'll work with you, friend, but not for you. Understood?"

Linebeck gulped, still trying to process what he just saw, and then he huffed, rising. "F-fine. Whatever. But I'm still in charge."

Abel felt his eyebrows pinch together. "That's not--"

"Let's go!" Linebeck announced, twirling around and marching towards the island. "I know just the ship we can acquire."

The three trudged behind him somewhat reluctantly. Abel bristled at being given orders from someone like this, but he kept his mouth shut for now. Instead, it was the sea captain who spoke first.

"So... what are all your names?" he asked as he continued to stride ahead.

The Ordonian answered first. "I'm Rusl. This is Abel, and Fierce."

"Fierce?" Linebeck repeated, glancing back at him. "Weird name."

"It is my title," Fierce clarified.

"Title? Who calls you Fierce? Fierce what, Fierce Breaker of Personal Boundaries?"

This man talked entirely too much.

"What's the plan?" Abel asked before the conversation could continue.

"That ship," Linebeck said, pointing towards a relatively large ship sitting in the harbor. "We can use that to track those scum."

"If you already had another ship, why were you perturbed at the loss of your other one?" Fierce questioned.

"It's not his," Abel surmised quickly.

Rusl smiled, rolling his shoulders. "All right, then. Who owns it?"

Abel glanced over at the Ordonian, a little baffled. He still hadn't entirely wrapped his head around what kind of work this man did - he was the most polite and kind of the group, easy with people, yet he condoned stealing in a heartbeat.

Not that Abel wouldn't steal if he had to, but... he had to. Rusl was... he didn't know. This just certainly was not the first time the man had done it, that was for sure.

And clearly, this sailor was more akin to a pirate.

Sighing heavily, Abel listened as Linebeck prattled on about some women "who won't be a problem," and the three men started moving steadily towards the boat.

Surprisingly, it only seemed to have two women aboard - Linebeck claimed that the rest of the crew was at the market. That at least made things simpler.

The four moved quickly. Rusl crouched low, leading the way and pulling out a dagger he hid in his belt. Despite being quite the swordsman, Abel had observed that Rusl often resorted to a dagger in close combat, and the more he saw it, the more he questioned the blacksmith's occupation. Fierce, on the other hand, left his hands open, likely not wanting to use his powerful blade on a couple women guarding a ship. Linebeck was also unarmed, curiously.

Sighing, Abel unsheathed his sword. He caught up to Rusl, and the two rushed up the gangway, picking a target and quickly overpowering them. Rusl never unsheathed his dagger, only using its small hilt to smack the woman across the temple, knocing her unconscious and covering her mouth as she fell. Her companion caught sight of him before Abel could get to her, yelling, but Abel easily tossed her overboard while Rusl pushed the other down the ramp.

Fierce walked aboard next, glancing around, while Linebeck sauntered aboard. The pirate's face was tight, as if he hadn't quite expected the ferocity the men had displayed, but he tried to cover it with a quick little, "Well done. Now we can depart."

"Not yet," Fierce said quietly, his voice in that low tone he used when stalking prey. Abel immediately went alert, whirling to find what he was looking at, when--

"Intruders!!"

Turning sharply, Abel saw a woman pointing from a door leading below deck. Within an instant, at least ten other women appeared, all armed and snarling.

"You said they were in the market!" Abel yelled as he readied for a fight.

Linebeck didn't reply, seemingly vanishing into thin air, and Abel only caught sight of his blue tailcoats slipping under a barrel.

"Did--did he just--"

"Not now!" Rusl snapped as their enemies charged on them.

Abel focused quickly, dodging a strike from a nearby fighter before parrying her blade and kicking her away to create some distance. Thankfully, he still had at least one functional shield left, and he quickly used it to block a jab from another enemy. Before he could retaliate, the two women were swept away by a... screaming woman?

Abel glanced to his right to see Fierce holding one of the fighters by her wrist and using her as a weapon to ram into the others. At his questioning glance, the deity explained, "The little hero usually does not approve of killing mortals. If these women prove problematic, I'll eliminate them, but for now--"

"Behind you!" Abel interrupted, pointing as another fighter tried to leap off the rail of the deck and stab Fierce in the head. The deity swatted her like a fly, and she rammed into the opposite end of the ship.

"Jolene!" some of the others shouted. Abel immediately perked up at the reaction - clearly this woman was important, maybe even the leader.

"Toss her off!" Abel ordered the deity, moving to intercept a few other enemies. He glanced to his left to check on Rusl and found the Ordonian starting to accumulate a pile of enemies who were on the ground writhing or motionless.

The former knight felt a swell of pride for his friend before looking back to see Fierce easily throwing the leader off the ship. As predicted, the others followed to check on her, leaving the men in peace temporarily. Abel put his sword and shield away to pull out his bow and arrows while Rusl pulled the gangway up to prevent them from returning. Moving to the edge of the ship, Abel nocked the arrow, aiming for a second before letting it fly. It sank into the woman's shoulder, making her scream in pain.

He nocked another arrow.

"Abel," Rusl interrupted, putting a hand on his shoulder. "The fight is over."

Abel continued to stare at his target. Killing her would put the rest of her crew into chaos. It would prevent them from following them.

Rusl's hand tightened a little, reassuring but firm. "Abel."

Sighing, Abel slowly lowered the bow and arrow. His focus was interrupted as he heard splashing, glancing over to see Fierce throwing the bodies overboard.

There was a scrape of wood on wood, catching the men's attention, and they all drew their weapons to see--

Linebeck, peeking out from under the barrel. "Oh, are they all gone?"

I'm going to kill him. Abel marched forward, eyes alight with rage, when he was held back by Fierce, who pinched the back of his tunic to prevent him from moving ahead. He turned to snap at the deity, but his words were quickly overrun by the pirate, who dusted himself off and continued, "Well done, then! We're ready to set sail! I'll man the helm."

As he moved forward on the deck, he scurried all of a sudden, filled with seemingly feral energy, and stood on his tiptoes at the railing, shouting, "THAT'S FOR ALMOST BLOWING UP MY SHIP TWO WEEKS AGO, JOLENE!"

Before anyone could comment, he rushed to set sail as if his life depended on it, guiding the ship out to sea.

Abel blew out a frustrated breath, and he felt Fierce release him. He kicked the barrel under which the pirate had been hiding, taking little satisfaction from it but having to get his anger out somehow.

Rusl took a moment to calm himself as well, though far less noticeably, before he walked over to the wheel. "So where are we going?"

"Bannan Island," Linebeck answered, eyes on the horizon. "That was the direction they went, towards the north sea. They also claimed to be going to a Banana Island, so I think they heard the place's name wrong."

Banana Island. Goddess. Sometimes Abel was almost embarrassed that these were his enemies. Though it simply proved that sheer numbers could cause enough of a threat, despite how idiotic they were.

There was silence for a while as Marcay Island grew steadily smaller. The adrenaline of the fight wore off, and Abel slowly slid to the ground, feeling his stomach grow steadily more upset at the tossing of the waves.

"Who are these people, anyway?" Linebeck eventually asked, glancing at Rusl. "What do they want?"

"They essentially want to see the world burn," Rusl answered, crossing his arms. "Somehow that involves taking our sons hostage."

Linebeck pursed his lips, debating some issue, and sighed. "Well, that's rotten luck. Good thing you have me."

"Oh yes," Abel huffed. "Where would we be without you?"

Linebeck didn't seem to catch his quip, or if he did, his rebuttal was interrupted by Fierce asking, "Why did they take your crewmate?"

Linebeck's face soured, and he glared ahead of him at nothing in particular. "Whatever the reason, Link can probably get himself of out of it. But... I need a crew. So I'm finding the kid."

Link?!

No. Surely not. There was no way this disgrace of a man had a Hero in his crew, and--

Oh goddess he did, didn't he? That would be why the Yiga targeted him.

"Our boys are named Link too," Rusl said, eyes widening a little as he came to the same conclusion. "Heroes of Hyrule, spread across time. I think they must be targeting them because they know they'd stop them otherwise."

"Heroes? Hyrule?" Linebeck repeated, staring at him. "My kid isn't a--I mean, he's--look, he's my crew, and... he's a good kid, but..."

The pirate bit his lip, staring at the wheel a moment, still and silent. Worry etched every feature before he shook his head.

"The Yiga will perish," Fierce assured him. "We'll find your child."

Linebeck flushed. "H-he's not my child!!"

"Right," Rusl chuckled, patting the man on the back.

Abel sighed, ignoring the pirate temporarily and looking at at sea. The horizon bounced up and down along with the ship, giving him a headache, and he closed his eyes. He wondered if they'd actually have any luck this time - all they'd found were scraps of information and cold leads. This attack seemed fairly fresh, so hopefully they could make it in time.

Ugh. Closing his eyes made the seasickness worse.

Thunder rumbled, catching Abel's attention, and he hastily opened his eyes to see dark clouds ahead. "Uh..."

"Are we going to sail through the storm?" Fierce questioned, staring at the abysmal weather.

"No sailor goes through a storm on purpose," Linebeck immediately said. "That's just suicide. Lucky for you, I'm an excellent sailor. We'll skirt around it - I don't want to lose too much time."

At least Abel could agree with the man on that. But still... even he, someone who did not navigate the ocean, knew not to get near a storm out in the open sea. "Are we sure about this? We should probably try to avoid it altogether."

"And give those sea vipers time to get away?" Linebeck growled, glaring at the clouds. "Ha! I, Linebeck, master of the seas, can handle this just fine! I'm getting my crew back, blast it!"

Well... he couldn't fault him for his determination, at least. But still... Abel sighed, hugging the wooden support rung under the railing, lightly bouncing his forehead against it. "We're going to die."

Abel's relatively mild quip felt more and more like a promise the closer they got. The winds picked up, the sea turning a sickly green, and Abel nearly threw up with how much they were being tossed around. Rusl nearly flew across the ship as one wave almost overturned them, and Fierce had to grab him by his shirt to save him. The three men clung to the rail desperately, occasionally getting beaten by walls of water spilling overtop them.

Abel looked to the helm worriedly, feeling completely out of control and petrified, only to see Linebeck standing firmly, holding the wheel with a steel grip. He glared defiantly at the sea, almost daring it to try its worst, confident and firm in his stance.

At the sight, the former knight had to admit he felt almost a little reassured.

Another wave crashed into them, and Abel watched Linebeck release the wheel a moment, letting it turn sharply, guiding the ship to ride with the wave. Then he grasped it, guiding the mast with gritted teeth as he fought against the whipping winds. Fierce pulled Abel close, shielding both him and Rusl with an iron grip to the railing so the waves wouldn't knock them off.

Honestly, with the way they were getting tossed, Abel would be surprised if they didn't capsize. He clung desperately to both the rail and the Fierce Deity, feeling the mythical being's strong arm pressing him and Rusl closer together. Rusl and Abel exchanged a look, some kind of finality or certainty in each other's eyes as they nearly flew over another wave, facing it head on.

They still had to find their boys. Abel had to get back to Tilieth. He'd survived a damn apocalypse, he wasn't letting this be what killed him.

Glancing up at the pirate again, Abel saw the same fierce determination on his face. It was a promise, and despite how Abel's entire world was trying to kill him, he took comfort in it.

Abel closed his eyes, his forehead touching Fierce's sleeve, his hand brushing against Rusl's as they both held on to the deity for dear life, shivering and trusting and letting go.

Hylia... I leave this up to you. Don't let me down.

He lost track of time. All he heard was the crashing of waves, like claps of thunder, roaring in his ears, making his heart pound. But slowly, surely, the boat jostled them less, the wind didn't howl as it had, and the ship rocked and bounced up and down like a hammock instead of feeling like an earthquake.

Abel opened his eyes, dripping wet, tasting salt and bile, and saw sunlight.

Linebeck smiled down at them, hands on his hips, looking triumphant. "Told you I was the best."

Rusl barked out a laugh, slowly rising while Abel continued to shiver in Fierce's hold. "Well, I'm certainly impressed."

"Are you alright?" Fierce whispered softly, his arm shifting to rest his hand on Abel's back.

Hesitantly, Abel rose, testing his legs, though his knees certainly felt like they could give out at any moment.

It was official. He despised sailing.

But he could recognize and admire skill when he saw it. "Well done, Linebeck."

The pirate beamed, postiively preening at the praise, and Abel found he couldn't hold himself together any longer, leaning over the rail and vomiting.

Linebeck cackled quietly, heading back to his original spot. "Well, it isn't for everyone, I guess. But I promise the rest of the way is less rough."

Rusl helped Abel sink back to the floor while Fierce grabbed some water at the Ordonian's request.

"You good?" Rusl asked. He was shivering too, just as soaked to the bone as Abel, but he seemed far better put together.

"Nothing fazes you, does it?" Abel asked hoarsely, somewhat annoyed and jealous.

Rusl smirked. "We all have our strengths. You're certainly a better fighter than me."

If you say so. Abel pinched the bridge of his nose, feeling a little less nauseous, and accepted the water Fierce offered him.

The sun slowly dried everyone off as they continued to make their way to their destination. Eventually, Rusl, being the talkative man that he was, starting gently interrogating their captain while Abel leaned against Fierce with his eyes closed. The deity didn't mind, letting himself be a pillow, but Abel could hear fabric shift as he turned to listen in to the other two.

"How did Link become part of your crew?"

"Well, I was hunting treasure," Linebeck explained. "Link wanted to find the ship I was looking for. His friend, uh, needed some help. So we worked together. I figured the kid worked so well it only made sense that he stick around. He..."

Here the pirate paused, and Abel looked over at him. His eyes were cast downward, and though shadows pulled at the dark circles under his eyes, he had a gentle smile on his face.

"He's a good kid."

Fierce sighed quietly, barely audible over the breeze. "I must figure out why these Yiga are after our children."

Linebeck grew flustered. "I said he wasn't my kid!! Look, he's just a useful member of the crew, okay? Honestly, I'm not that soft!"

Fierce blinked, the slightest crinkle to his nose, a dead giveaway that he was bemused. "You speak of love and affection as if they are weaknesses."

"Wha--I--this is silly, I am a pirate, and--"

"And?" Rusl prompted, eyebrows raised, a mischievous, gentle smile pulling at one corner of his mouth. Fierce may not have understood the man's blustering, but Rusl clearly was just trying to mess with him now, seeing right through his bravado.

Personally, Abel was just a little exasperated by it. Men who pretended they were "tough" and nothing affected them all the time simply to show off annoyed him. He used to maintain a calm façade not because he was trying to prove a point, but because the last thing people needed was to see someone in charge panicking. This was different. This wasn't a way to keep others feeling safe and secure, this wasn't a means of protecting others, this was a pitiful attempt for Linebeck to protect himself.

Perhaps it wouldn't annoy him so much if he didn't suspect the man behaved this way in front of his kid too. He could act a fool to others, but if he denied his affection for his boy right in front of him, Abel did not approve of that.

But he didn't have to say anything. Fierce's innocent confusion would tear down his argument well enough.

Linebeck huffed, looking like he was scrambling for an argument, but Abel had to interrupt it when he caught sight of something. "Is that land?"

Everyone turned to look, seeing a small splotch of yellow and black andd green, and Linebeck laughed triumphantly. "There it is! Land ho! I told you I would get us there in record time! Now hold on, you sorry land slugs, we're coming in fast!"

He was true to his word as it seemed to take little time to reach their destination. For once, it was blessedly easy to find their target - a large ship with the Yiga symbol on its mast, painted sloppily as if it had just been done, was at the port. Linebeck worked to slow their approach, when Abel instead insisted, "Don't slow us down, just ram it - we'll take care of the rest!"

"There's a cannon on this ship," Rusl noted.

"We can't risk hurting the boys if they're aboard," Abel argued, shaking his head. "Just damage it enough to stop them from escaping, and we can board."

Linebeck nodded. "Just so you know... it's uh, all up to you once we get there. I'm a fantastic fighter, but I'm afraid my sword is on my own ship."

Rusl and Abel both stared at him dully. "Right."

The men prepared themselves, weapons at the ready. Fierce pulled out his double helix blade, making Linebeck's eyes double in size. "Geez, overkill much? Get ready, we'll hit them on the port side."

"The--the what side?"

"Port, on the port--ugh, on your left!!"

The three moved, and Linebeck snapped, "Your other left!! Left from facing the bow!"

Abel sighed heavily, positioning himself and bracing for impact alongside the other two. As the Yiga ship grew closer at an admittedly unnerving rate, he prepared to jump.

Their boat slammed the Yiga ship, impaling its hull slightly and causing it to rock so severely that they could hear some of the enemies screaming and falling into the sea.

Linebeck roared in satisfaction. "HAHA, TAKE THAT YOU BRAINLESS JELLYFISH!"

Abel let the momentum of the movement carry him, Rusl, and Fierce across as they leapt with the contact. The Yiga boat was still nearly on its side when they landed, causing them to slip a little, but Abel recovered quickly, decapitating the first Yiga in sight before moving on to the next. The team moved quickly, with Fierce taking out swathes of the enemy in one fell swoop while Rusl tore ahead. Abel scoured the area for signs of a leader, entering the underbelly of the ship as well.

When he reached the brig, he froze, breath stolen from his lungs. There was another gate there, its bright kaleidoscope dizzyingly swirling, and two Yiga stood before it, holding an unconscious boy.

Oh hell no! Charging ahead, Abel stabbed one Yiga quickly, kicking the other off the child before finishing him off. Rusl hastened in shortly thereafter, wiping blood of his sword.

"Anyone else?" Abel asked as he knelt down to check on the child.

Rusl shook his head, cheeks flushed, eyes aflame. He held up a booklet. "Found a journal log, though. Might be able to help us."

At this point, Abel honestly wasn't surprised, just exasperated. He supposed the Yiga's main purpose in being here was to take this boy. Theirs were still at large.

At least they'd spared this boy the same fate.

Fierce entered last. "The enemy has been eliminated."

Abel sighed, looking down. The boy in front of him was young, not even a teenager from the looks of it, though he was likely close. His hair was thick and wispy, golden as the sands and thick with mositure and sea salt. He wore a green tunic and undershirt, paired with white trousers.

"Link!"

Catching the men's attention, Linebeck rushed into the room, kneeling down beside the boy. His hands hovered over him hesitantly, face paling at the abrasions on the boy's face. At first his concern was genuine, but his eyes shifted to the dead Yiga around him and suddenly he looked woozy.

Abel fought the urge to roll his eyes. He motioned with his head to Fierce, who quietly removed the bodies. With the distraction gone, the pirate returned his attention to the child, considerably less pale but still oh so hesitant and gentle with Link.

The boy stirred, squeezing his eyes before slowly blinking them open. Abel could see the immediate sparkle of relief as the boy registered seeing Linebeck, and the former knight smiled a little.

Linebeck smiled in return, hands finally settling on the child, patting hsi cheek and helping him sit up. His grip settled on the boy's shoulders, and he took a steadying breath.

And then he started shaking him like a rag doll.

"You stupid sea monkey, what were you thinking do you have any idea how much trouble I had to go through just to get to you, they sank my ship, now we have to get a new one--!"

The other men stared, a little caught off guard, and then Rusl gently pointed out, "Easy, you're going to give the kid whiplash."

Linebeck paused, glancing at them, leaving Link nearly limp in his grip, eyes dazed and clearly dizzy. The pirate huffed, pulling the boy to his feet, and Link stumbled around a few paces before nearly collapsing against him.

Sighing, Linebeck settled an arm around the child to keep him from falling over, letting him lean against him. "Well. The job's done, at least. But... didn't you say your boys were missing too?"

Rusl smirked. "Ah, so he is your boy?"

Linebeck jumped, eyes widening. "W-wha--no, I--you're dodging the question!"

Rusl waved the booklet in response. "I'm sure this log will have valuable information for us. But you and your son should get out of here. We'll make sure the Yiga can't come back."

Linebeck was practically inflating with hot air to rebuke Rusl's claims about him and Link, but he instead stormed out. "Honestly, I rescue you ungrateful sea barnacles and you mock me. I'm leaving."

"You forgot your kid," Abel noted dully as the boy shook his head and steadied himself.

"Link, let's go, what are you waiting for!" Linebeck called from above deck.

Abel put a steadying hand on the boy's shoulder while Rusl smiled warmly at him. "Better get going, son."

The boy looked between them, adn then the Fierce Deity, and then he nodded, saying softly, "Thank you. Thank you for taking care Linebeck."

With that, the kid ran outside, and Rusl laughed. Abel had to chuckle at the ridiculousness of it all.

"Let's get through this gate and seal it," Abel suggested. "We can read the journal after we get out of here. The less likely they can come back, the better."

Fierce's reply was cut off by voices from above.

"Linebeck, look! It's Jolene's ship!"

"Of course it is, I stole it!"

"But then why is your ship over there?"

"What?! My ship was--that's my ship!"

"Oh! I think I see Jolene on it!"

"She fixed my ship? SHE STOLE MY SHIP??"

Rusl and Abel exchanged a look, and then they both snickered.

Fierce glanced hesitantly above deck, but Abel shook his head. "Leave him to his fate. Clearly this is not their first encounter, and they've managed without us. We should go."

With that, the three men strode forward, preparing for another adventure.

[theerurishipper]

I took upon myself the herculean task of compiling all Dick and Diana interactions.

Batman/Superman: World's Finest #16

Nemesis: The Impostors #3

Nightwing (2016) #100

Titans (2016) Special 1

Titans (2016) Annual 1

Justice League (2011) #51

Wonder Woman (1987) #161

Wonder Woman (1987) #166

Batman/Santa Claus: Silent Knight #4

Nightwing (1996) Annual 2

Some honorary mentions:

These two ones where Diana doesn't interact with Dick one-on-one and is only a part of a larger group, but it's still a good way to show that she respects and trusts him as a leader.

The Brave and The Bold (2007) #15

Justice League: Generation Lost #1

This one where Dick isn't here but Diana shows appreciation for his skills and is very quick to accept that Nightwing should be honored by being in the League (also this isn't about him but I love Clark's "finally, someone easy." That's a proud uncle y'all).

Justice League of America (2006) #2

This one where Diana isn't here but she lets Dick use her Lasso, I think that counts.

Batman/Superman: World's Finest #17

This one where Diana gifted Dick the fastest horse in the world, apparently.

Justice League (2018) #53

These from the 1966 Batman and 1977 Wonder Woman shows' crossover comic.

Batman '66 Meets Wonder Woman '77 #5

Batman '66 Meets Wonder Woman '77 #6

Batman '66 Meets Wonder Woman '77 #10

And then—

Then...

Yeah. That's about it. It's an unfortunately short list. But what little we do have shows that they have a bond of mutual trust and respect for each other. It's very interesting and I wish they explored it more.

[chaosxcrushed]

There's a certain CCCC summary video that we really, really like. We think it is a great video for people if they want to grasp the story more clearly, if they're confused, or if they're listening to the album for the first time.

That video being Chonny Jash and the Weight of the Mind on Youtube by W3tBl@nk3t. We think they cover it really well.

However, I'm sharing this for a different reason; they say few certain things that really struck with us until now, that I'd like to share with the fandom. Sometimes, we see people really just.. Miss the point of CCCC entirely, and I'd like to shine a light on what was said here. If you'd like to hear this for yourself on video, the timestamp is 35:57-36:45.

“..I bet we all could relate to that, they are the prime example of the side of you that suffers and the side of you that hates yourself for suffering:

The side of you that just wants to slow down and feel everything even to the unhealthy extent of not being able to do anything else(1), but also the side of you that so desperately wants you to get over it(2).

Sure, laying in bed all day every day to rot isn't healthy, but neither is boiling things down and invalidating your own emotions. Both are paths to inevitable disaster, and that's what Chonny is doing here. Keep in mind that the idea behind this album is being whole, and that means neither of these sides are entirely in the right or the wrong; this album is about inner compromise and acceptance(3).”

1.) The side of you that suffers; Heart. He is representative of Whole's emotions, he holds them. Your emotions can go haywire, especially when one's mentally ill and has no way of their feelings being validated. An emotional person like Heart suffers under the weight of crushing, devastating feelings. He wants to feel things out, have time to just process everything, even if it takes them days or weeks to get over it. It's not healthy, but feeling is what he does, and he wants to help because he knows he has importance. Solely focusing on just your emotions isn't the best thing to do, however.

2.) The side of you that so desperately wants you to get over it; Mind. Many people have been there, have wanted themselves to stop wallowing in their own emotions and just do something else, even to the point where you think feeling things out is unnecessary. This is also unhealthy, but not intentionally. Like Heart, Mind just wants to help, everything he does is in best interest. This is what he thinks will get them to move on the quickest; to leave behind emotions and focus on anything BUT that. Also not the best thing to do.

3.) This album is about inner compromise and acceptance; About being whole. Neither of Heart and Mind are right nor wrong. They have their own ways of doing things, of what they think will help their whole self out the most, but both are unhealthy despite the good intentions. They fight over who's wrong or right, when they shouldn't even be doing so in the first place. It's your thoughts against your emotions, basically; your feelings contradict your thoughts, and it leads to an inner war of sorts. This won't make things better, which is why you can't have Mind over Heart or vice versa; you'll need both of them. In the album, they are only able to be whole when they get along. They harmonize, they 'combine', they see eye to eye with each other and work together instead of fighting over and over. Inner compromise is achieved with this, and acceptance can lead them away from any disaster that there's to come.

What we're trying to say is that mental health is a large thing tackled within CCCC, and yet we see a lot of people who overlook it; thus, end up missing the point of the whole album. We see a lot of people believe Mind's perspective a little too much and treat Heart quite harshly, or the other way where people demonize Mind and say that Heart is perfect, when it's not really that in the slightest.

This is not a hate post towards people's interpretations of CCCC or how they view characters, I'm just saying that people can tend to overlook what's in the very narrative, and we see a concerning amount of people do such.

Anyways. Stream CCCC and put your Hearts and Minds in the get along shirt. Have a nice day.