#i prefer hawkeye

[wanderingmind867]

This is my preferred look for Green Arrow. I grew up seeing Batman: The Brave and The Bold, and this was the way Green Arrow looked on that show. Green Arrow just looks better like this, to me. Before Denny O'Neil sunk his teeth into him. Back when he was just a very fun hero, travelling around in his arrow car with his sidekick speedy. Speedy, who dennis o'neil used as a punching bag for his hamfisted drug story (which Stan Lee did first and probably better, by the way!). But I'll cut myself off before I get too angry at Denny O'Neil again. (Justice League of America #4):

[remyfire]

In my perpetual spread of Let Trapper Bottom propaganda, I keep waking up more and more to top-leaning switch Hawkeye and I believe that we should celebrate him more often.

[zonatcannibalism]

Im really enjoying the Agatha show for now, but wanda maximoff, kate bishop and billy kaplan are my favorite comic book characters of all time and if they treat billy the way they treated wanda in doctor strange 2 and kate in the hawkeye show i will go there and personally assassinate whoever did it

[harbingerofsoup]

i have a concert in 4 hours. i haven’t slept. im about 1/3 of the way through a paper i need to finish before these 4 hours are up. my brain is melting out of my ears. the dark circles under my eyes are visible from 50 paces.

luckily it’s a halloween themed concert and im going as hawkeye so at least it’ll be accurate

[thedupshadove]

Is "Too Sweet" a Houlihawk song? Discuss.

[pectinpeeress]

A little clarification

I want to clarify why I tend to have an issue with Riza being characterized as 16 when her father died. To be clear, I’m not trying to say that that interpretation is non-canon compliant, I also don’t have an issue with people personally head-canoning her as that age. 

My problem is that people act like it’s canon, not even because I dislike the idea of Riza being 16 ten years ago. It’s actually because I don't like the assertion that she has to be 26 in the present. Shonen has an ageism problem, especially with female characters. I’ve noticed that there’s rarely a female character in Shonen over the age of 26. I think this is because 27 is when you stop being in your ‘mid-twenties’, and start being in your ‘late twenties’.

I think Riza’s character is less interesting if she’s only 26 because I feel like people use it to minimize her narrative autonomy. If she’s 16 when her father dies that shifts the narrative from ‘A naive woman chooses to have faith in the future of her country to ‘poor baby Riza is too pure for this world! She must be protected!’ Like I realize that 16-year-olds are capable of making their own decisions, and I’m aware that 17-19-year-olds are also young and dumb and make mistakes, but from a narrative perspective, people react differently to a character being 16, as opposed to a character being ‘in their late teens.’ I also feel like people don’t make this change because they want to explore any of the psychological ramifications of experiencing trauma at that age, but rather out of a desire to make her still young within the present story.

I’m not always great at articulating why I feel a certain way, but I thought it was important to clarify my feelings about this. It’s good and healthy to explore morally complicated situations through fiction! I’m actually a really big fan of Lolita and Chainsaw Man because they focus on the trauma of being a child who’s expected to act like an adult. I just wish people wouldn’t act as if their personal interpretation is canon, especially when I feel like it perpetuates the sexist tropes inherent to a lot of shonen.

[marley-manson]

Hawkeye has virtually no shame about public displays of emotional vulnerability and mental instability, imo.

I’ve seen a lot of people who place a lot of importance on Hawkeye’s “If this keeps up, people are gonna realize I'm as crazy as I think I am,” line in Hawk’s Nightmare but honestly I just see it as mainly a wry acknowledgement that he’s acting less than sane in public and weirding out his childhood friends back home by detailing his nightmares to them, with a side of alluding to his actual fear, which is being crazy, as he tells Sidney over and over during that conversation. The key word there is “think” not “realize” imo.

Sidney reassures him by telling him his nightmares mean he’s sane, not by telling him that they’ll go away and he’ll stop publically sleepwalking. In fact he implies it’s something that will continue until the war’s over, and Hawkeye doesn’t seem to have a problem with that as long as it doesn’t mean he’s actually going insane.

And Hawkeye never really demonstrates any concern over people witnessing his breakdowns, and in fact seems to go out of his way to make them public half the time. I mean you got your most blatant example in Bananas Crackers and Nuts where he’s happy to exaggerate his feelings to make people think he’s insane to get a break. But even when it’s genuinely serious (and less cartoony, tonally), he’s also got no issues making public scenes.

He doesn’t quietly seek out Potter or BJ alone when he decides yes he is in fact seriously ill in Bless You Hawkeye, he walks right into everyone having a meeting and announces that he’s gonna die. He’s not only perfectly fine with Sidney visting him for a consultation in Hawk’s Nightmare, he’s the first to acknowledge why he’s there during the poker game while Sidney’s trying to be politely subtle (”Mind if I come along?” “Fine with me Doc, as long as your couch has wheels on it.”) He also ofc calls his childhood friends and tells them he’s having fucked up nightmares about them, tells everyone else about them to ask for their opinions, and tries to have a heart to heart with Frank about being afraid to go to sleep.

He makes a joke about cracking up at the farewell party in GFA, and tells some random patient he just had his “head in a cast,” apropros of nothing. He throws a tantrum in Adam’s Ribs, he publically screams out his feelings at the end of For Want of a Boot, he loudly narrates his impending panic attack in CAVE (and says that the reason he kept quiet about it for a while is specifically because he didn’t want Potter to choose a less safe place to retreat to on his account), he casually describes his emotional state as “mania” to Potter in Depressing News while, yk, building a big tower for 2 days without breaks in the middle of the camp, he breaks down in front of BJ - a guy he’d only recently met - in The Late Captain Pierce, he angrily confronts everyone about feeling betrayed and abandoned by them in the phone scene in GFA. We don’t see what he does after Dr. Pierce and Mr. Hyde but he casually mentions the insomnia to Winchester in Dr. Winchester and Mr. Hyde so he’s fine talking about it. He has two public breakdowns in the O.R. that I can remember off-hand.

And he never demonstrates any shame or regret about the public nature of any of this.

He never tries to hide his feelings - I think the closest he gets is in Sons and Bowlers, and he proceeds to tell Charles how he’s feeling for the entire rest of the night in that one - and while nearly everyone else gets plotlines where something’s troubling them that they don’t want to talk about, Hawkeye never ever does. He’s usually the one prying these feelings out of other characters and chiding them for not talking about them. Even in GFA what’s stopping him from talking about it is the amnesia - he’s reluctant and upset about having the conversations about the bus because he’s subconsciously afraid of remembering, but he still does, and after he has his breakthrough he willingly talks it through with Sidney multiple times afterwards as well, both offscreen in Sidney’s mention of follow-up sessions (including Hawkeye explicitly wanting more of them), and on screen when Sidney visits the 4077.

And in Bless You Hawkeye, the other trauma amnesia episode, he’s perfectly willing to a) accept it could be psychosomatic, b) talk about it with Sidney to find the root cause, and c) joke about it afterwards during a poker game.

And then you got a bunch of moments and jokes where he shamelessly reveals personal information about himself, sometimes likely exaggerations that he’s still fine with people believing, sometimes clearly accurate. I sucked my thumb until my twenties, I can’t get hard, here’s the kind of niche sex I like, I’m a coward and proud, I’m fucking my married ex, I was jealous of my dad’s girlfriend, monologue about how much I miss my dad to a stranger, monologue about how miserable I am to a stranger, monologue about how terrified I am to a stranger, etc etc.

There’s also overt commentary on this - in Check-Up for example, Hawkeye suggests that Trapper got an ulcer because he’s the strong silent type who keeps his feelings in, in contrast to himself. In Bless You Hawkeye Sidney points out that Hawkeye never holds back when it comes to his feelings about the war, which is why he’s assuming the root cause is something Hawkeye isn’t even consciously aware of and goes back to Hawkeye’s childhood.

When it comes to Hawkeye it’s very difficult for me to imagine a scenario where he would try to hide anything about himself, whether that’s his feelings or something about his life, and I have a feeling it was the same for the writers of the show most of the time too lol, hence relying on amnesia twice for the mystery and reveal structure.

[theminecraftbee]

sparrow hawk may sound cool; but like; immage how funny it would be to have an episode about 'so marvle wants to sue us......'

okay so the thing is a few things. first, idk if scar’s design has WINGS, so idk if I want to give him a bird name at all. (I mean I think he’d still try to name himself hawkeye but this is about the name that actually gets used by everyone else not the one he tries to give himself early on.) the second is that I do sorta wanna keep “the name that sticks to scar’s magical girl form isn’t one he directly picks himself”.

I do like the idea of sparrowhawk, or maybe just like… sparrow? maybe early on he panics and says “a little bird did it” when asked who the person is who just beat that monster and he goes home and sobs to jellie that he sounded SO DUMB JELLIE he sounded SO DUMB. and jellie’s like. there there? and the next day they’re calling him “little bird” or, as the enthusiastic person holding a camera called him, sparrow.

and this is so early that scar enjoys the FANTASY of being a superhero but it hasn’t really sunk in that he is one, or for just how long this is going to last. so he’s half dizzy with “oh my god they’re talking about me in the newspaper” and “they’re talking about me in the newspaper… with a stupid name?” and “is that picture actually me?”

but he decides he won’t suffer this indignity. he’s gonna get a cooler name. he has a bow! he can be hawkeye! yeah! that’s even a bird!

anyway this is where cue the jokes about disney sueing comes in and eventually the names combine and he ends up sparrowhawk and he can live with that, fine, fine. hey cub, this means you need a bird name too—

[variousqueerthings]

the fun of having put out the "bj's moustache is gay culture" post while also headcanoning first and foremost that whatever bj is, it's not actually gay but something way funnier and more fucked up

[trickarrows-bishop]

simon's not actually too upset about losing so much of his hearing. he learns sign language, struggles w the grammar a bit but catches on pretty quick, and when he makes enough money to get them, he gets hearing aids.

he's never been one to mope and despair about his situation. he's always tried to make the best of life, even when it fuckin' sucked.

OOOOO YEAH !!!

[majorbaby]

bit of a confession: i'm not too fond of "trapper thinks hawkeye is dead" because there's an implied "... and that's why he didn't write" which assumes that this is canon, and it isn't. We don't know if he wrote. It's left intentionally ambiguous.

I think it is valid to headcanon him as having not written because he thought Hawkeye was dead though, and I see why tbh because it's easy enough to interpret Trapper's whole unquestioning support of Hawkeye as his being a very devoted and loving friend. Why would Trapper do all of that just to not write to Hawkeye? It kind of only makes sense with such a drastic explanation and well, The Late Captain Pierce happens so soon after Trapper leaves. I get it.

"Isn't that splitting hairs?" Well, I think it was a deliberate writing choice to not tie up that loose end with Trapper. No closure for the audience, no closure for Hawkeye.

GFA delivers closure to everyone. Actually, this is why I think GFA is one of the best executed finales of all time. It's very well acted and directed and written yes, but it's not without its flaws, some of which I think are glaring. And just the format of it alone means it's hard to analyze as an "episode of MASH". There are things about MASH that imo, do not translate well from a 20 minute format to a feature-length film.

But before this turns into the Trial of GFA, let me say the reason I say GFA is a great finale is because it is a proper farewell to the audience from the characters, all their loose threads tied up. This is something we were denied when Wayne left the show. Confirming whether or not Trapper wrote undercuts the non-goodbye, just like confirmation that the 4077th including BJ and Hawkeye ever see each other again undercuts their goodbye in GFA.

Trapper is invoked by the narrative three times and each time it pointedly does not create emotional stakes for Hawkeye. The first time is in PoA, where the person who has the biggest emotional response to the Trapper character is BJ (huge L, grow up BJ). It's BJ who has the worse reaction to the destruction of the still, in what I personally think is the only redeeming moment for him in that episode, when he shows remorse for having damaged something he knew was precious to Hawkeye in part because Hawkeye built it with Trapper. I don't think his response to Trapper being home is a Trapper-exclusive thing, because BJ also says he's jealous of Radar being home.

In Depressing News, Hawkeye isn't torn up about Trapper when he mentions him being replaced by BJ, he's torn up about how the military dehumanizes people and views them as disposable. Even if we are to believe Hawkeye is shown to be still mourning Trapper's exit, it ought to be nothing compared to the grief he must feel over Henry's death. And that is without even considering that Hawkeye is demonstrably happy for Trapper in Check-Up. So it is a big stretch for me to believe that this scene is about Hawkeye ruminating on Trapper.

Finally the Joker is Wild. Hawkeye has some fond words for Trapper but the point of this episode apparently is that Hawkeye has been tried by a jury of his peers, found guilty of being The Worst, Actually and should suffer for his crimes. The other point of the episode is that Trapper and the early years are also the worst, which is ironic considering how Joker is at best, MASH as a pale imitation of itself.

I lied, there is a fourth mention of Trapper, in GFA but before I get to that, I want to mention the weird snub in As Time Goes By. It is technically a snub because they mention Henry and not Trapper but let the record reflect that this episode is also MASH as a pale imitation of itself and on rewatch I think Trapper would have hated the sentimentalization of his time in Korea. Idk what BJ and Hawkeye especially are doing in this one. The point of this episode is to invoke fond and soft memories of cast members past, so my theory is that they couldnt mention Trapper for this reason. Maybe they still hate Wayne or something but from what I understand it as Mclean they were properly annoyed with.

Okay fourth, in GFA, when Hawkeye for the first time since Welcome to Korea expresses some hurt over Trapper's exit. Or does he?:

"BJ is not really what's bothering him" threw me when I first saw the script for GFA because i absolutely thought he was bothered by BJ leaving initially without saying goodbye. But whatever, point here is that if he's not upset about BJ, then there's no way he's upset about Trapper. Even before seeing this i found that line somewhat... well, if Hawkeye hadn't been through what he had been through and wasn't feeling so vulnerable and didn't have Margaret's shoulder to cry on prompting him to be more forthcoming than he might be otherwise... then I might call Hawkeye's lament melodramatic.

So all these examples show that I don't think the show was at all interested in giving us Hawkeye dealing with his feelings about Trapper post the first of Welcome to Korea. And you can imagine that had they confirmed he had written, or hadn't this would have engaged Hawkeye in that way.

I'm further convinced by the scene that didn't make into the show where Sidney asks Hawkeye if he'd heard from answer and Hawkeye has this infuritatingly vague response "He sent me a nail file in a cupcake". In theory Alan Alda's delivery might've swayed us one way or another but I can also imagine him saying it like a joke, of which he has no shortage of, that still wouldn't make it clearer.

The fact that they cut it altogether seems very deliberate. They did not want to talk about Trapper in a way that gave us any hints as to what their relationship (or lack thereof) might have been like after Wayne left the show.

And that's pretty clever, because it gives further further significance to Hawkeye's insistence that he and BJ have their goodbye. Hawkeye doubts they'll remain as close as they were in Korea once he and BJ go home, BJ clings to the idea that they will. Ultimately we do not know if they will. When asked if they might see each other again, Alan Alda maintained the ambiguity, (paraphrase) "they might, if we wrote it" which I personally see as "no" because they did not write it. But there is also "they might". It's ambiguous. Sucks doesn't it? But that is what fanfiction is for.

[remyfire]

Feeling normal about this right now.

[raywritesthings]

i know you rb'd it a while ago but if you're still interested in doing it, ship asks (and if you don't actually vibe with any of these ships feel free to skip!)

roy/riza: 8, 9, 15 hawkeye/trapper: 15, 21, 26 margaret/hawkeye: 15 (i really want to know what songs people associate with ships lol), 46, 50

Oh, fun variety with these ones! If it's alright with you, I'm gonna skip #15 for all three (at least for now) because it takes me a while of listening to music while specifically thinking/looking for parallels/vibes with a given ship before I can come up with anything. By the time I do that, I'll forget to come back to my ask box to answer this! So apologies, but also my music taste is extremely old-fashioned so it probably wouldn't be all that interesting anyway.

Roy/Riza:

8. What do they love most about the other? Why? I think going from a strictly canon reading, Riza loves the ideals that Roy believes in and wants to put in place as reforms. She's dedicated her whole life to helping him achieve that. And in turn, and I think Roy loves Riza's loyalty - not to him, specifically, but to their shared cause. He knows he can trust her above anyone else to see it through, even if she has to go through him to get there. In addition, I think they both find solace in knowing each other so well, having met before the military really entered their lives and changing together through Ishval and beyond. 9. What do they dislike most about the other? Why? I think Riza dislikes Roy's carelessness most because it makes her job harder because it in some ways betrays their goals. Roy is the one and only person she will ever trust with her father's life's work and the only person she trusts to see the necessary reforms put in to in some way try to atone for their actions in Ishval. She also can't cope with the idea of living without him, so for him to try and fight a killer in the rain without thinking of how severely disadvantaged this makes him understandably upsets her on multiple levels. For Roy, I think he probably most dislikes the fact that Riza clearly can't cope without him, more so because he would hate the idea of her suffering like that in his absence than because he sees it as some kind of character flaw.

Hawkeye/Trapper:

21. Do they enjoy domestic life? So, given it'd be the 50s and they're two men, that's a tough one. I think in the absence of any fear of being "discovered" and discriminated against/arrested, though, they'd get on fine together. They already have experience sharing living space, and in the worst possible conditions. There's little things that would bother each other (just watched "Alcoholics Unanimous" yesterday, and they have a wonderfully domestic spat about Hawkeye using Trapper's towel while shaving and Trapper's toenail clippings ending up by/under Hawkeye's bed), but I think they'd be able to just bicker for a few minutes and move on. The major roadblocks are pretty much external factors (how their relationship would impact Trapper's ability to see his girls, the strain of living semi-closeted in 50s America, etc). 26. What sacrifices do they make for the other? Given the way the show was written, it's easier I think to pinpoint the sacrifices that Trapper makes and could/would make in a relationship with Hawkeye than the other way around. He's almost always the one getting roped into Hawkeye's schemes or messes (good example is him blatantly committing perjury in "House Arrest" while coming up with a cover story for where Frank got his shiner), and if they were to pursue a relationship back home he would be the one having to give up his stable family life with the wife and two kids unless they kept it secret, and then Hawkeye would be the one sort of making sacrifices there (but I just can't really see that lasting or being something either of them would put up with for longer than just a casual "every once in a while" sort of thing when they happened to both be in the same area). Not that Hawkeye doesn't ever make sacrifices for Trapper (from the infamous "Longjohn Flap" to shelving any sadness he might have over Trapper possibly leaving in "Check-Up" in order to celebrate with him), but it's something he'd have to work on in a serious relationship with Trapper. For the record, I don't think he'd struggle too hard with it, just the way the show framed him as the protagonist and Trapper as his sort of "second" gives it that slightly uneven dynamic. Probably the biggest thing is that, once stateside, Hawkeye would likely have to be the one to move so that Trapper could remain close to his daughters. Depending on where you land as to how much Hawkeye really loves Crabapple Cove or not, that may be a small or a really large sacrifice.

Margaret/Hawkeye:

46. Do they consider their relationship casual or serious? Is the answer different depending on who you ask? Why? Hm, this one probably depends on the circumstances. I think in "Comrades in Arms", Hawkeye was looking for something more casual than Margaret (partly because Margaret was married to Donald at the time, and partly because he liked their dynamic as-it-was whereas Margaret seemed to think she needed to go into Mistress Mode like with Frank or the generals that used to come knocking). I think Hawkeye valued Margaret's friendship so much at that point that he'd rather that not change and they not be together than to be together and have her change her behavior for him. If we were talking post-canon, I think it could almost end up flipped, where Hawkeye might cling to Margaret harder for the sense of familiarity she gives him while she's more focused on figuring out her life post-army. Then again, I could also see them mutually agreeing to a casual thing post-war based on the finale kiss. 50. Would they ever break up? If so, why? Who would handle the breakup better? Haha, well they sort of did? If they were in a genuine relationship, I could definitely see them breaking up (and getting back together, and breaking up again, etc). The big, unresolved thing between them is their political/ideological differences, which the show really de-emphasized as the years went on and Margaret became part of the "in" crowd less enchanted with the army/the war (compare her clear distress at the idea that peace talks might be starting in an early scene with Frank from I want to say "Dear Dad" vs her commiserating with Hawkeye about the points system being changed to keep them longer in "Peace on Us"). However, without the army/the war as a mutual enemy of theirs, they could definitely end up butting heads on politics again back stateside which could possibly result in a permanent break. I'm not sure who would handle a breakup better, honestly. I think Margaret would handle it worse at first and then probably get over it if she found someone new, whereas Hawkeye would probably be outwardly fine but miss her long after she was gone.

These were all really interesting to think about, so thanks for sending them in! List is here for anyone interested in sending in other questions/ships!

[salwithoutthes]

Only really my ma liked this, so yall can have it!!! A collection of MASH doodles i've done as I've binged the show!!! Still not done yet, it's a long one! (ignore the quote in the corner its a nonsense shakespeare quote)

[missallanea-archive]

If Riza never needed to return to Atlas, it would be too soon. The constant noise was a bit much for her, the electric thrum of Remnant's most advanced kingdom. Still, there was no getting around it: when her weapons required maintenance, there was no where else she would trust to take it on.

It is only through years of breaking habits that she does not greet the man when he first enters her periphery. Once a solider, always a soldier, and all that nonsense -- still, she does regard him with a slight nod of her head. It wasn't Ironwood's fault that she had lost her respect for the military. He was little more than another cog in a broken machine.

"You've had a promotion since I last saw you. Are congratulations in order, or pity?"

@caeloservare || sc

[clintbarton-thearrowguy]

10/10 drawing. Love the double bulls-eye in the background.

I have fallen and I can not get up orz