#i think i may be obsessing

[beeturtlle]

Maizula nation please where r u

[myuminji]

Doodles of loser behaviour (he gets kisses)

Another loser behaviour (he gets kisses, again)

they bring Roberto a headache on a daily basis

[deklo]

:^)

[chilly-lily]

hmmmmmmmmmmmmm.

[fumifooms]

do you happen to have that page that talks about the beauty standards of each race?

Yeah sure. While scavenging pics for this I found this neat reddit compilation & chart & theory talk too. I had um, way more to say than I anticipated (I know you only wanted the one page. I have nothing to say for myself. Like most topics in Dunmeshi things snowball because they’re so interconnected. Mercy…) so, many races and observations are only mentioned near the bottom.

Beauty standards and race in Dungeon Meshi

Not pictured there’s also how elven society is harsh on visibly disabled people, and how the demon took away Mithrun’s silver eyes and ears to take away his pride. There’s also how Senshi might have fit in with the orcs more easily because of the dwarven wide body shape, and how they tend to have more body hair too I suppose. In the extra on orcs we see Senshi living with the orcs and he gets judged because of the hierarchy rather than his looks.

What is fashionable also differs from culture to culture, and there’s how tattoos only seem common with elves, though dwarves and others do also sometimes have some. They seem to not raise much brows, which makes sense since for many essentially they’re for professional (magical) purposes especially with elves. Gender roles also differ in type and importance, but generally they are similar to irl ones for the races we see. Elven society seems to be the least gendered, which would be an unsurprising logical outcome of having lesser sexual dimorphism aka they look more androgynous. Comparing fashions and gender roles and how they affect beauty standards would be a whole other compilation and conversation. Kui has great worldbuilding partially because she’s got such a good grasp on sociopolitics and geopolitics. History affects cultures and beauty standards greatly. Kui’s oneshot Distant Utopia was very eye opening on her way to worldbuild and the consideration she gives these things, I do really recommend reading it.

Out of the big 5, we know the least about gnomes, but their sheet does say both culture and region are similar to dwarves’ and they end up being confused together often, so we can imagine the beauty standards are similar to dwarves’ as well.

I wanted to touch on this in a post eventually, but how one daydream hour page said half-foots tended to be curvaceous like in the artwork below puzzled me for a long time, all the half-foot characters we see during canon are rather slender and lanky after all, Chil’s succubi also being more curvy than plump. Economics are for sure a factor in that I imagine, the half-foots characters we see are all implied to be some flavor of poor or malnourished, as are half-foots depicted as empoverished oppressed minorities in general. Even comparing the artwork with the half-foot sheet’s depicted average half-foot, the ones on the left seem bigger. Wouldn’t it make sense though, if unlike dwarves half-foots don’t have similar naturally wide bodies, yet due to idolizing dwarves they work towards having a similar body shape/type to emulate them?

It’s said half-foots tend to stick to pretty ethnically homogeneous regions (aka half-foots-only communities) unless they move to the big city with ambition to try and make it big (like Chilchuck and his wife & kids did), and that’s interesting imo because then that would mean that in a ton of half-foot communities, they rarely see or interact with dwarves whom they try to emulate. Of course, one thing about beauty standards is that when they get adopted, at one point it stops being "this is how dwarves look and so this is how half-foots should look" and just becomes "this is how half-foots should look", most people feel as though beauty standards aren’t learned but innate, so I figure the half-foots wouldn’t have any problem still seeking dwarvish traits when there are no dwarves around.

There’s also stuff you can glean here and there if you want to extrapolate more. Like how in the race swap artworks, Mickbell is only smiling in the dwarf portrait, and Rin’s elven portrait looks very close to her elven one- Rin who is stated to be beautiful in her profile blurb. Benichidori’s extra does teach us tallmen can definitely have harsh beauty standards, but also since the text portrays her as very dysmorphic that’s likely reflected in her thoughts to a much more intense degree than is common, not an accurate strict baseline to go off. Ah, Kabru’s blue eyes are also why he and his mother lived a rough life in Kabru’s hometown, but that seems to be regional. Good post here on the topic of Kabru’s blue eyes and ties to irl history. There’s a lot to be said about Kabru being a man that in many ways is close to elven beauty standards, and how that might have affected or been affected by his upbringing with elves + his persona as someone that can effortlessly charm most people. Marcille’s section here in this essay also goes into Marcille’s struggles to fit in with the ideal image of an elf.

Looking human

Also notable are beastkins and demihumans: Demihumans are all dehumanized which makes people treat them worse. So if you differ from the visual idea of "human" (an in-world subjective categorizatiom just as much as demihuman is) most people do judge you negatively. Elves and dwarves get to fight about which type of human is considered the prettiest, but demihumans are below tallmen and half-foots, they are considered as simply below the beauty contest, incompatible with it.

Onis are perhaps the demihuman people we know of with the least cultural influence on the dunmeshi world, and with less intensely different appearances than other demihumans, but even them are treated as lesser than human, treated as beasts to slain for reputation points or useful strength to have around and command. It’s said their "magnificient horns" and fangs are often shaven off when the oni lives in tallman towns, so you could easily make the argument that onis are denied the right to have their own beauty standards, having to conform to other people’s and going through mutilation to take away features they might otherwise have taken pride in. Inutade was bought by the Nakamotos from a dangerous sumo fighting ring that got one of Inutade’s tooth broken on her first and only fight. Remember when I said different fashions existed in dunmeshi and how those could also affect beauty standatds? Like the elves, if you look at the portraits pages that include a lot of characters that aren’t in the story you can see distinct cultures within the same races, for example one young elf is bald which is in sharp contrast with usual elven long luscious hairstyles, and that’s especially true for onis I think. Maybe not only from different regions but different eras as well… They have a bit of population in the very north of the western continent, so I like to think some of the ogres live in very cold, maybe even subarctic conditions. The point I’m getting at here is that within a race, culture/ethnicity like with Kabru as well will also influence them, different communities will have differing beauty standards. The oni history blurb and third row first collumn portrait remind me of Mongolia (which historically was a lot of different nomadic communities with different cultural identities as well. Something something, the oni empire experienced a decline and then tallmen overpowered them, and now they’re governed and split apart by stronger social classes & slavers and the richness of culture was hurt for it), but obviously many of them are dressed and look rather japanese, makes sense considering living in/close to Wa, and first row second collumn portrait reminds me of ainus which again would be logical considering geographical placement, though I’m far from an expert. Interestingly, ainus are indigenous people both in Japan and Russia- Perhaps the northern western continent ogres are meant to be closer to Russia than Canada like I imagined? Ok tangent over.

The kobold sheet says they’re especially sought after as slaves because they’re "adorable", but locally in the western continent they’re repeatedly said to be seen more as ferocious and dangerous. The dehumanization is most apparent in the first comic below. The language barrier and conflicts no doubt worsen this by a lot, but I think it’d be hard to deny that their canine appearance makes the dehumanization worse. "They’re ferocious beasts, they’re demihumans, they can’t be communicated with". Most characters in Dungeon Meshi’s world are desensitized to slavery and most characters are prejudiced one way or another. Point being, kobolds are fully removed from human beauty standards, but no doubt for kobolds, other kobolds are more beautiful than humans are. They’re assumed to be an uncivilized bunch, but just like any other people they like to aforn themselves with nice clothes and jewelry and keep themselves clean and groomed; they too take care of their appearance and take pride in it.

And the orcs! This one we have the most contact with in canon, with not only there being foreigner characters from the ethnicity or hearsay of their homelands and culture but full on contact with a community. We get to see up close what they’re like and what they think, and of course in turn they’re our introduction to how demihumans are harshly looked down upon and seen as inferior, less human and thus less worth valuing and less dignified. It’s text that orcs are ugly to most humans and humans are ugly to most orcs. Since I judged they didn’t need accompanying explanation the pictures showing this are in the pictures dump at the top.

God forbid you sell vegetables to orcs my god- but then again they do basically mandate adventurers to kill any orcs they come across so yeah the world isn’t above that even a bit.

So yes, my main point here is simply that orcs are yet another evidence of the physical ideal of "human" being an important beauty standard for human societies globally.

Izutsumi is our glimpse at how beastkins are treated in the world, and in Wa at least that’s ending up being caged and mistreated as part of a freak show. Izutsumi hates her appearance and wishes she could leave the feline part of herself behind to only be human. Interestingly, not that we have a lot of info on them so this is very much a take with a grain of salt situation, but there seems to be less stigma around artificial beastmen, those who can shapeshift at will. The main difference is of course appearance, that most of the time they simply look like average tattooed humans. Artificially creating humans is an illegal practice, and no doubt it’s not well regarded, but being able to hide that makes them less likely to be discriminated at any moment, or even just discriminated less intensely. Again, looking human is important, not only for belonging but for safety’s sake. Beauty standards rule the world with harsh hands.

Mermaids and fishmen

Ok we’re done now right? Right-! But wait… Wait…! Mermaids and fishmen are said to be demihumans too, special separate cases to the main three demihuman species however, which is also represented by how mermaids and fishmen both are in the Adventurer’s Bible chapter Monsters meanwhile ogres, kobolds and orcs are in the chapter World. They’re an interesting topic because they directly tackle this topic, not only in a meta way for the readers but also making characters themselves struggle to quantify their humanity with the goal of knowing wether they should be eaten or not, especially Chilchuck. Chilchuck’s "is it really just a matter of feelings?" mini arc.

The party asking themselves "Should we eat this?" is very common, and often they end up playing a little loose on morality, like eating the red dragon’s meat despite it having digested Falin. Not unsimilarly Marcille freaks out a little over the vegetables they harvested having been grown with fertilizer, aka largely human poo. Half of the motivation of "should we eat this perhaps sentient creature" is out of consideration and compassion, but more strongly and more often, the characters struggle with a sense of taboo at eating something too closely related to humans. Even, feel uncomfortable because of the deepseated impression that eating it would dirty them in some way. Cannibalism is an interesting and relevant topic in many ways, but what I want to mention is how there’s the more or less universal belief that committing cannibalism inherently taints you as a person and turns you more monstrous, morally but also literally depending on some myths such as w*ndigos and onis in some cases, like in Touge Oni. Marcille and Izutsumi both express a fear of eating monsters turning them monstrous. Maybe this is part of what Laios was hoping for, honestly. There are two fears here, if eating a demihuman monster constitutes as cannibalism or not, and so, will eating it taint you because it’s a human, or will eating it taint you because it’s a monster? You are what you eat, until it’s a little too literal. You morally are the means by which you get your food, and you physically are the result of your nutrition. Dungeon meshi manages to mix an exploration of humanity with the theme of food because our relationship to food is very deep and complex, psychological as much as physiological.

In the end, the characters sort of shrug and accept that they’ll never quite understand the world of mermaids and fishmen and how they operate, and what that means about them. Laios is the one always challenging these notions other characters take for granted, it’s not obvious to Laios why people are softer on mammals than other animals and plants, it’s not obvious to Laios why people would be afraid of eating a monster just because it’s a monster, it’s not obvious to Laios why some food is gross to Marcille but not fish testicles, it’s not obvious to Laios why you should immediately regard orcs and kobolds badly.

"Cows are probably closer to humans [aka closer to being human] than fishmen, though they’re clearly intelligent", dehumanization to lessen empathy towards them to be able to eat them. Meanwhile, mermaids seemingly have a less noticeable "civilization" or intelligence, they hunt in groups like fishmen, but they don’t use tools and such, they feel more primal and similarly instinct driven, and yet… Do they attract sympathy more? Mammals, humans, is it because of their nature or because of their appearance?

Both the nature and appearance of fish are ones people don’t typically sympathize with. "Fish don’t feel pain", "goldfish only have 5 seconds of memory", "it’s okay to keep fish in completely empty bowls too small for them until they die from it", so many lies and misconceptions exist that make people less considerate of them. The average lifespan of a goldfish is 10-15 years, the record is 43, but they’re not seen as lives that really matter, so a lot of goldfish die in a few weeks of bad aquarium conditions. There’s a lot of research on animals evolving to look cute and appealing to make some predators want to kill them less and parents want to care for them more, including humans. First good google research result gave me this credible short article on the topic. In Chilchuck’s weighing wether a fishman is far enough from being human or not to eat, "face is 100% fish" is his biggest argument for it being more acceptable. The face, the most important thing for empathy and recognition. The face, the decapitated fishman one that falls into his hands next chapter.

To quote @room-surprise: "Chilchuck can't explain why it's wrong to eat the merpeople, even though it's NOT complicated. But the problem is Chilchuck would have to accept and acknowledge that the merpeople might be people? And that's outside of the worldview he passively believes, so he can't just say that, because he doesn't think that's true. But that IS why he "feels" it's wrong. And it's all you'd need to say for Laios to understand! But it would require acknowledging that maybe the way they're treating and talking about the merpeople is wrong."

The idea of Chil not being able to grapple with how maybe some monsters are more humans than they seem, him who had been an advocate of half-foots rights, half-foots who get undermined and treated as inconsequential sacrifices… Grappling with how he could relate to the merpeople’s situation almost, and pulling away because it’s so existentially horrifying. I do not want to see myself into an hostile fish-faced warrior I can’t communicate with. In a way this also relates to Chilchuck being the only party member who doesn’t see Izutsumi as a cat in the relationship chart, the only one to treat her with full human dignity. He knows the struggle to be taken seriously, he knows being infantilized and he knows what it’s like to be treated as less than human.

Below, you will see Chilchuck draws the line of where they become not okay to eat as when "they already look like mermaids". Above, there’s speculation that the algae hair is partly to mimic "the mermaids’ beautiful female form". Is it because mermaids are their enemies and the ambiguity might give them extra seconds to attack or flee? Is it to trick adventurers instead? It’s striking to me that this is what works, with the adventurers. Sure the fishmen are intelligent, but explicitly here, what makes them no longer acceptable prey to Chilchuck is that they look close enough to a mermaid, close enough to human. Mermaids who of course themselves have this form to entice and seduce and charm the adventurers they prey on. Chilchuck considers the intelligence due to the tridents, but most of his internal debate centers around their appearance, and the image of a fishman skewered sickens him. The power of mimicry… Mimic being a beautiful human woman. Mimic being cute, babies being wired to make us feel protective and softened. Half-foots, sometimes pretending to be children for scams or help or avoiding trouble.

The mermaids are only concerned by their differences and not their similarities, and have no trouble treating the fishmen as food rather than peers. To an outside perspective like us, the audience, all these categorization of "more human" and "less human" between onis and orcs and elves and tallmen etc seem stupid and unfounded, but to the people living in Dungeon Meshi’s world, elves may as well be mermaids while onis are fishmen, not alike at all, unworthy of empathy and thus fine to eat.

Ultimately, Dungeon Meshi promotes unity. It’s about seeking to understand the unknown and the misunderstood, the dehumanized and the inhuman. It shows the good that comes from seeking to understand what you do not, even when that’s one another.

[divineandmajesticinone]

FANGS OF FORTUNE (2024) Yan An as Li Lun

[tenderjock]

hmm. even better than "obi-wan was cody's whole life before o66" is "cody had a tentatively blooming life outside the gar, had non-clone and even non-jedi friends, had hope and plans for the future, and the combination of the trauma of being mind-controlled to do endless battle by a person who saw him and his command as fleshdroids and also being forced to attempt to murder the man he loved and respected and swore to protect caused him to mentally and emotionally regress by fucking years"

[cocoacave]

Agatha Christie's Poirot (1989-2013)

Poirot & Hastings + being domestic

[mocha-tapioca]

inspired by @gooseagain8’s post !! hu + charles hairswap doodle :3

[rockingthegraveyard]

[waystarresourceco]

Harriet Walter on Caroline’s relationship with Kendall and in particular some of the past dynamics that are driving her conversation (or lack thereof) with Kendall in Season 2.

“Kendall’s quite a sort of complicated guy. There was a scene that didn’t get into the final cut in Season 1 where we had a little duo scene where it’s very evident that Kendall has a lot of anger towards his mother. And sort of as the oldest son blames her for a lot of – you know maybe he got the brunt of the divorce because he was the most aware of what was going on. . . . Here’s this guy who has been pretty angry with me in the past. And I think she says something like ‘Have you got over your – is it something you're gonna blame me for again?’ So that’s what she immediately assumes when he says ‘Can we talk?’ she thinks she’s gonna be in for a bit of blame and a bit of reckoning that she can’t quite face.”

The deleted Season 1 scene she references is included below the cut.

Harriet Walter has mentioned a few times that she thinks Caroline was "kicked out" of the family, probably for having an affair and getting caught. I can definitely see Kendall knowing more of the details than Shiv and Roman both by virtue of age and his relationship with Logan (and being pulled pretty hard into Logan's point of view).

Video excerpt from 2020 GoldDerby interview (x)

Script excerpt from a deleted scene in "Pre-Nuptial" in Succession - Season One: The Complete Scripts

[blvvdk3ep]

I don't know if this is just a Twitter phenomenon, but I am sick of some IWTV fans acting like those who identify Lestat as being abusive are being dramatic or misreading the show. Lestat's villainy intersects racial and supernatural lines; every power he has over Louis, physically or societally, he subtly uses to lure him in and to control him. He's a fantastic character precisely because he's charismatic, beautifully polished, thoughtful, and passionate, but also cruel, hiding a profound ugliness, so deranged about love it turns around into something monstrous, capable of unthinkable violence towards those he loves. And the first set of traits (are used by him to) disguise the second set. He's obviously purposefully written like that and dismissing that is doing the writers a disservice. They wrote an amazing fucking character, and he's selfish, manipulative, and yes, abusive to Louis and Claudia, and he's so cleverly written that even at his most cruel when he gets what he deserves, you can't help but feel just a little bit sorry for him. Ignoring that brilliance just to unironically uwu softboy he never did anything wrong babygirlify him is soooo lame sorry

[littlemissclandestine]

Emergence - Behind each arena

Thought this mission was chaotic af. Didn't expect zombies to be in the campaign since they literally have a separate mode for that but anyways let's take a lil dive into EMERGENCE.

⚠️WARNING: Spoilers for Call of Duty: Black Ops 6

-Advanced Combat Research-

For this section, we obtain a grappling hook and need to defeat the director of ACR with the help of some sentries.

I wasn't actually sure about this one since the zombies were just well....zombies that looked like guards. However, that said, the big guy we had to defeat was just a Cerberus/three-headed-dog-like figure.

-Administration-

For this keycard, we have to find the reports and slot them into the holders and this red mannequin comes to life (along with the others...)

Red is an interesting choice. It stands out from the rest and if we think back to Cold War, you'd remember red being used A LOT throughout the campaign.

Anyways, once it's free, the red mannequin goes on the run (a bit like Adler) and we have to chase it, the voice in Case's head saying, "I knew we couldn't trust him," and if we fire at it, the voice mentions, "Bullets are nothing to him," possibly referring to Adler being hardened by his years of service.

He cracks when we reel him in and get too close and then he pushes us away. The cracks remind me of Adler's scars - mental and physical. In fact, the mannequins actually take on the form of Adler mostly as well in this room. A coincidence? I think not.

After the initial phase, the red mannequin transforms into the monster as seen in the third image and again, we get another piece of dialogue - "See? He's a monster, just like the rest of them."

The thing that comes to mind here is Adler's nickname - America's monster.

-Joint Projects-

To acquire this keycard, we play some prop hunt basically! Objects around the room will rattle, signifying the monster's whereabouts and we have to sneak up on it and fire or it will disappear again - kind of alluding to the idea of secrecy, a core theme of Black Ops.

What's interesting to me is the fact that the zombie engages in a prop hunt like game with Case...like being on the move constantly and watching your back when others get too close to the truth perhaps.

We know that Sevati Dumas is the queen of disguise, excelling at being hidden in plain sight so this definitely fits her and that's why we see her in this arena.

-Cognitive Research-

During this phase, we have to drain some water to get the keycard and kill the big guy who's residing in the bathysphere.

The voice in Case's head seems to focus on rage here. I think for this part, there was a mix of Marshall, Sev and Adler zombies.

On escape, we see a Woods horde charging towards us. If we consider the theme of rage, we can certainly see where Woods' anger lies - Hudson and Mason's death especially to Woods' being kneecapped by Menendez and how that's mentally affected him, leading him to suffer. Hence, this is a part of the "cognitive research" bit.

-Biotechnology-

For this phase, we have to defeat a friggin' levitating zombie.

I thought this one was very reminiscent of Case...almost like it's his true form. He's essentially fighting himself for this one, just like looking in a mirror, right?

Troy and Sev zombies can be seen, most likely because this is where the three of them all are in reality.

---------------------

If you made it this far, thank you so much for reading! I'd love to hear your thoughts on this mission <3

[thatlenguy]

you can always draw self indulgent yuri of your ocs based off obscure 1920s magazine covers by the way. It's easy and it's free.

Reference under the cut, reblogs appreciated

[stagefoureddiediaz]

Oh Oliver Oliver Oliver how I love thee!!

In flux you say

Dealing with changes you say

Velocity you say

A lot of possibility you say

So many most excellent things all in one answer!

Flux and change in the same sentence is so interesting and telling on several fronts (and not just Eddie’s moustache!). It’s very loudly saying bt bones sooner rather than later, but it’s also suggesting some things going down at the firehouse and maybe with Bobby (the working together during the plane emergency was very much giving me calm before a storm vibes) which I’m excited to see as I think it will be fabulous for Bucks development both personally and professionally. But it’s also giving me changes with Eddie vibes - and on a couple of fronts - the Christopher front, and the personal front.

The use of velocity is an interesting choice - when you think Bucks been stuck on that hamster wheel for so long and then got off one to land on another, the fact we’re now talking velocity is pretty interesting! It’s very much suggesting we’re going to get a huge amount of buck set up stuff in the next couple of episodes - on multiple fronts. So btw bones obviously, which I’m expecting to trigger some soul searching and figuring out - that his bisexual awakening has triggered buck knowing himself more than he ever has before but that Tommy has been holding him in stasis and as soon as he’s gone it will actually catapult him forward quite dramatically.

I mean velocity is giving me feelings for Eddie realisation vibes, but then, because I think in 806 Eddie is going to shave the stache off and then head off to Texas to try to fix things with Chris, things settling down for buck for a little bit makes a lot of sense to me. In combination with ‘a lot of possibility’ and the concept of ‘next step’ and Oliver being excited to see where ‘the story goes in the not to distant future’ it’s very much giving buck sort of pining era vibes. Eddie being physically gone (and working on his own stuff which I expect to take 2 episodes at most) giving buck some processing space would be great to watch - especially if we are shown them being in contact by phone and video chat etc. As the audience we’d get to see Buck actively knowingly in love whilst not being able to act on it - Oliver obviously wouldn’t know yet how that initial pining era is going to go from there because it would take us through to 808 - which is what they’re finishing up right now, so it’s all set up to be exciting because Eddie will then return and Chris will be back (he better or I will be protesting at the studio!) so focus will shift to that aspect for an episode or so, and we’ll have fully pining buck who’s also delighted Chris is back and that leads to a cliffhanger mid season on the will they won’t they front!

I can see it all so clearly and I’m very here for it please and thank you

[phoenixkaptain]

Always get so worked up when people are like “Batman doesn’t kill people, he just puts them in critical care, isn’t that worse?” And it’s. NO. No it isn’t worse because that’s the point the point is that he hurts them to the point they wish they are dead I-

Modern Batman especially, but even early Batman portray “Batman” as something ominous. It isn’t normal, it isn’t what a normal person should want to be like. Batman is unflinching and merciless amd drops out of the shadows because he’s supposed to be creepy!! He’s an eepy creepy lil dude!

The original origin of the “bat” part of Batman was bats being seen as a bad omen. They’re ominous, they denote bad luck. Bruce says that criminals are all superstitious, so ge decides to dress as a bat. This is literally the first explanation given for why Batman Batmans, and it all leads back to the sole fact that Bruce is trying to scare people.

He WANTS to be the Boogey-Man hiding under beds, he’s AIMING to be the eyes watching ominously from the shadows, he’s TRYING to be scary!

Death is scary, but the lead up to death is the scariest part, isn’t it?

Horror movies are scary because of the unrelenting figure stalking through the night. Slashers were scary because they killed with knives- it took multiple, painful stabs to die. Saw was considered scary because the injuries the traps inflict, the horror stems from imagining yourself in that position and wondering if you could hurt yourself to the point you would wish you were dead to live.

That’s the horror of Batman. An ominous omen. A creature that doesn’t stop until it reaches its prey. A stalker who knows more about you than you know about yourself. Death is more desirable, because death equals escape and this is a monster you will never be able to escape from.

That was the horror of It Follows, wasn’t it? The monster was everywhere and nowhere, always following, unrelenting, and the only way to escape was to give it to someone else.

Batman makes villains wish they were dead and that is the point. That is literally what he’s going for. Bruce Wayne has stocks in Gotham Hospital EMTs and he’s going to cash in right before he retires. The pain is inflicted on purpose. “I don’t want to kill anyone” is not the same phrase as “I don’t want to hurt anyone.” He wants to hurt people. Just, undeniably. Mentally, physically, emotionally, spiritually; he wants them to be hurt.

And I can’t stand when people act like hurting people goes against his morals. Has Batman ever said he didn’t want to hurt anybody? It was a lie, if he ever did, because he definitely hurts himself literally everyday on purpose. He’s an eepy! Creepy! Spooky! Little! Guy! Let him be an eepy creepy spooky little guy!