#is a more interesting/tragic angle to this)

[eldritch-muppetshow]

pomni design for an au i’m planning hehe

[evilminji]

Broadway :3c

And I hear ya. (Insert spooky joke here) There is a sprawling WEB of central hubs, for The Arts. For trade. For getting drunk and having a good time. The Zone is large and it is endless. You'll NEVER reach the far end. It can never reach you.

All things, in gentle sweeping waves, across eternity.

So when folks want to have "a market" or "a movie theater" or "the waterpark"? You gotta PICK a point on the endless map. Figure if you are close or far enough away for others like it, to make it worth the effort to build.

You might even be the first to do it for GALAXIES in any direction! People might fly for WEEKS to come to your place! Move their Lairs to be closer too it. Like dust gathered by gravity, slowly creating planets and stars. A mega Lair. A CITY.

They rise, they fall, the Zone shifts all the while.

But!

Does the dead starlet stop singing? Does getting gunned down, stop the show?? I think NOT! Where is her STAGE? What musicals? What dramas? What operas and tragedies and forms unknown to human kind??! Ballet dancers who CAN defy gravity! Singers who have no NEED for air! The haunting blend of instruments, that could never in life have met! From empires long turned to ASH!

The greatest show in DEATH!

Ember was a world wide hit. Yes, her voice was hypnotic. But that could be FOUGHT. It was SKILL that carried the game. And she was hardly "I was Literally The Greatest My Planet Ever Produced" skilled. She was good, great even. Not "I was Born For Greatness" Excellence.

And like?

.....eventually? Danny's gonna ask after "cultural-y" Culture stuff. Clothes and food. Music and the arts. To help his parents get used to the whole "our son is half-dead" thing. To show he's not some mindless monster now.

And? Ghostwriter? Probably an absolute legend. Does he know where you can find some CULTURE? Oh THANK ZONE! He thought you'd NEVER ask! You unsophisticated-! *fist fight in a library* Still a dick, though. Always and forever.

And just? Imagine Broadway stretched out into a floating city. That never sleeps. Never stops. Shows ever changing. Some on a cycle, some only once. Dream-like. Beautiful. Eye catching.

And yeah, Danny didn't think he LIKED musicals. It was more of a Jazz thing. But? This was important! Gotta get the whole family in the Speeder. We're going to see a play, guys! We'll pick when we get there! Family road trip! Educational! We can make notes!

His parents are trying to be supportive. Big, fixed, strained grins. Trying to pretend to be excited. But they... DO seem reluctantly intrigued? And Jazz is all but vibrating in her seat. It's basically her "before you go away to college" present. And she is THRILLED.

The longer she excitedly speculates? The more into it she gets their folks. This IS gonna be new! Exciting! Never before seen Ghost Culture! Music! As a FAMILY! Think we could find souvenirs? Ooooh, wonder if they sell CDs??!

Then? They GET there. And it's... it's like seeing the Las Vegas strip for the first time, except multiplied into a city. Made of even MORE styles and eras. At angles gravity would never allow.

The air filled with laughter and excitement, people rushing to shows or humming bits of tunes. Street stalls. Fountains. Flowers growing everywhere.

They could stay for months and not even reach a fraction of these buildings. His parents are taking countless photos. His sister squeeling with joy as she races for an information kiosk like they just arrived at Disneyland. He, at least, remembers to lock up the Speeder. Grab their day bags.

When did HE become the responsible one?

The argue over shows. Obviously. Wouldn't be Fenton's otherwise. HE wants to see the alien one. It's from mars! But it's his sister's trip, as his dad points out, so she gets to choose. She picks a musical set during the Fall of Krpton. He's... reluctantly kinda interested. I mean, EVERYBODY likes Superman, right?

It's... it's amazing. Terrible, but amazing. I mean? A coming of age story cut tragically short? Oof. Hello, massively projecting then getting FEELS about it! Yeah, sure, rip my heart out why don't you? He's fine. No, really! Just drowning in his own emotions over here. The refrain of "A Life Well Lived"? *gargling dying whale noises* he's FINE. Not grappling with anything! Go on without him!

Thankfully?

They DO sell CDs.

He... he may end up, kinda, getting a bit of a collection. Going on the weekends, hoping show to show. Wandering to whichever catches his eye in the moment. Buying the CDs for one's he likes. Which? Honestly is a lot of them. Even though there's all sorts of genres and languages. Cause it... it RESONATES you know?

The grief. The anger. The "I have died but I wasn't FINISHED. It isn't FAIR.". And? Something about ghost speak flows so BEAUTIFULLY in song? It's hard to explain. But he... he needs them.

A pair of headphones, a CD, and a clear night sky? Nothing touches it. It's like a trance made of light. Like he can just drift.

The problem? Is the CDs are kinda... Zone made? They're radioactive, for one. Nothing a Fenton CD player can't handle. But... they? Also? Kinda fuckin GLOW? Like... very, very noticeably. And not in a "ha ha, cool glow in the dark paint!" Sorta way.

.........but like FUCK is he leaving his music behind when he goes to college. Gotham will have to deal. It's already a burning shit-nado, it can handle this. Probably. He'll put um in a lead lined box. Actually, speaking OF.... he needs to get a few more of those... *goes back to packing*

Which? Is how? The Bats are treated to some of the most HAUNTING music they've ever heard, belted and crooned from Some Guy's speakers, out an open window, on the "stop for a mid-patrol drink of water and a snack" building. It's one of the intersections of their patrol routes. And THAT? That is some dude listening to a Romani ballad about death and the circus. Now it's a musical about the trenches of an obscure war.

Okay, that was DEFINITELY Kryptonian. Like... coherent Krypto- *Bruce gets a call from Clark on his "work" number DEMANDING to know where that is coming from. Who is that voice Bruce?!* huh.... Well Then.

@hdgnj @hypewinter @nerdpoe @lolottes @babbling-babull @spidori @mutable-manifestation @the-witchhunter

[moonsaver]

Do you have any thoughts about the opposite of the "Im afraid to confess because our friendship could get ruined"? As in, "I'm afraid to reject you because I don't want to lose this friendship so I accept your confession even though I don't feel that way for you and never will".

Like the protagonist tries to convince themselves that this is just like being friends only that we now kiss (and more). I feel like it would fit with a yandere that is a bit delusional or desperate, eveb insecure so whenever the protagonist doesnt seem as into this relationship as them, they just try to convince themselves otherwise, or love bomb the protagonist.

Idk lately Ive been into reversing the tropes and I found this one particularly interesting to me when it comes to a yandere. In HSR i was thinking of Argenti as he seems like the delusional type. Or even Aventurine who would have had to put down a lot of walls to be friends with you and then even more walls just to confess, so rejecting him doesnt seem like an option to the protag (out of pity and care).

THIS THIS THIS!!!! qnon ur brain is so wrinkly and soggy with brain juice..... this used to be my favorite trope at some point idk why i forgot about it i remember eating up any fanfics out there based on this

Tw: yandere (obv), manipulation, intimacy (mainly romantic, only hints of sexual), emotional blackmailing, whatever yadda yadda

But anyways, under the cut!

Okay, so, I imagine this is possible with literally... almost all of hsr's cast. Mainly because most of them have such tragic backstories, and most of them out of that have a really shrewd and cunning mind, so they'll exploit this to hell and back.

I also imagine this is with a people pleasing reader, so lets go with a bit of implication of that.

Anyways, since Aventurine and Argenti are the ones mentioned specifically, I'll probably dive in on them first.

Aventurine is so hard to not feel pity for. Every stolen glance at the marking on his neck makes you feel worse and worse for "rejecting him", knowing he's been throwing signs of wanting more than a friendship quite possibly everywhere and you're most likely ignoring them in hopes of keeping your friendship. It's not like he hasn't quite caught on, either. He knows people's hearts quite well. And where there's opportunity, he seizes it.

It's a bit frustrating for him – just why can't you see he wants more? Or rather, just why aren't you accepting him? You're the first thing on his mind when he wakes up, when he clutches his chip and bets on his life, the last thing on his mind when he goes to sleep. Hell, he's even tried to dream of you, forcefully. But then he realizes.. how easy you are to just push around. He goes ahead with the confession, and it's almost a sadistic kind of pleasure when he sees you even try and stutter out any kind of a rejection when he's leaning in a perfect angle that shows off his little marking (out of all the times he curses it, it seems like this time it's worked in his favor). He watches carefully as your eyes nervously flit to his neck and you shut up immediately for a second, before accepting. And when you do.. he's over the moon! Coddles you, kisses your cheeks, becomes so much more grabby, as his keen eyes watch your discomfort. Well.. you didn't reject him, so this is what you should expect.

Again, the frustration doesn't wear off easily, but just seeing you writhe and try to create distance while he suffocates you in affection far from platonic nature, is so sadistically pleasuring to him. He loves watching you in that state, bending to his will so easily, as he waits for you to snap. But he'll probably find it easier to squeeze water out of a rock than to squeeze a rejection out of you – which is precisely what he exploits. You're not going anywhere, are you? He puts on his best, pleading little eyes that he used to have to put on, shaking, trembling voice, desperate hands that cling to you; all the things he acts out like his life depends on it when he senses even a waver of your hesitation.

Oh, fine.. he hates seeing you so queasy almost all the time, so he'll give you a reprieve from time to time. Plans and schedules things you used to do "back when you were friends" (he emphasizes this – you don't think you can just ignore everything, right?), and makes sure to at least crack a few smiles and giggles from you. Of course.. his hand is still loosely hanging around your waist, pecks you on the lips from time to time, just as a small reminder of what you guys really are now.

Argenti on the other hand, has no awareness of your discomfort at all.

He's like a huge dog, the way he's so happy about you accepting his confession and doesn't even stop to think afterwards just why you were so hesitant during it.

Constantly praises you, and it's not soon before it gets to a more intimate nature. He wants to do all the romantic things – kissing under the rain, protecting you from something, twirling you in the air and then kissing you again after putting you down, telling everyone proudly that you two are a couple, buying more and more "romantic" gifts that turn more intimate sooner or later. You have no way out of this without completely ruining everything.

It's.. almost painful the way he doesn't realise. At some point your discomfort probably gets so.. obvious, but he just shrugs it off; perhaps he hasn't been paying you enough attention? Or you're just too shy to ask something of him? Oh, how sweet! How adorable! He thinks. He simply falls deeper and deeper into this delusion, stringing you along and stretching your patience thin. Unfortunately, unlike Aventurine, you can't find most, if any bits of the things you both used to do as platonic companions in the relationship you have with Argenti. He's just a full-blown romantic who wants to do only that. It makes you even more queasy when people look at you in pity, if they realize just what happened between you two.

You can't back out, even if you tried. If you somehow manage to find a way to squeeze out a rejection, or have any kind of a reservation about things getting more intimate/romantic stuff, he's so devastated. Did he do something wrong? Perhaps he's not as experienced as you wanted him to be? Or you're not satisfied with some of the things he's said? Don't fret, he's right on it! Constantly holding you so close you're afraid your bones will break, whispering incessant praises into your ear that slowly spiral into affirmations that you belong to him, spoiled rotten with everything you want; yet, even then.. you can't shake off the intention they were given in. Not when you're suffocated by it.

[sigmaleph]

So the other day I finished When I Win the World Ends

--

A couple months back, my wife recommended me a pokemon fanfic. It was not When I Win; it's called Ghost Town and it's about a young trans woman returning home and coming out to her family while simultaneously finding out her closest childhood friend has been murdered. It's beautiful, definitely the most moving piece of writing i've read this year, and also entirely unlike WIW except that both are, nominally, set in 'the pokemon universe'.

These two works are not remotely set in the same universe. Their settings are entirely different, the result of two different people taking the thing we are presented with in the pokemon video game series and asking 'OK, but what does this world actually look like?' and coming to very different answers, because it turns out that setting is not really pinned down much by the games.

Are there animals beyond human and pokemon in the world? In WIW, the answer is no, except perhaps in some parallel universe like where the Ultra Beasts come from. In GT, the answer is yes; when the pokedex calls wingull the seagull pokemon, this is because there are actual seagulls in the world for comparison.

What's the deal with all the game-like elements of pokemon battling, like taking turns and pokemon only being able to use four moves and so on? In WIW, this is a competitive ruleset; pokemon battling is a highly regulated sport, and pokemon act in turns because their trainers specifically train them to wait between moves. In GT, this is just not a thing; 'pokemon only know four moves' is an abstraction made for game design concerns, the same way the game present us with a location with three building and tells us this is a town. The 'real' Pallet Town has more people and buildings than that, and 'real' pokemon don't act like characters in a turn-based RPG.

I could go on further but I will not; you get the point. The games present us with broad strokes of a world, but it is not a world that really holds together very much; it is not a series interested in worldbuilding. Game Freak doesn't go into the question of what is the geopolitical relationship between Johto and Kanto, or what does a culture where ten-year-olds are allowed to go out on their own into the world accompanied by monsters look like, or what the hell is Cinnabar volcano burger made out of, and this leaves room for fanfic writers to step in with their own answers to these questions.

I spend a lot of time pondering these questions, perhaps more than I should, and while there are boring answers one could give sometimes writers come up with genuinely fascinating takes on it, trying to weave them together into a world that holds together while at the same time resembling a beloved video game series that cannot decide if America is real or not.

So when I finished Ghost Town and most of the other works by the same author I saw a number of people in my dash talking about this other pokemon fanfic, and it did not disappoint despite being so different and having a tragic lack of explicit trans lesbians.

I've never been much into competitive pokemon battling despite playing the actual games themselves on and off for most of my life, but the angle on that in WIW really does work as a central focus (even if it does, unforgivably, get Umbreon's ability wrong). The one thing in it that still sits oddly with me is that I cannot really get a handle on what Cely's deal is. She's not psychic, apparently (the public perception of psychics in the pokemon universe is yet another of those things WIW and GT have different opinions on). She's not some kind of fated RISE messiah, because RISE is just a cult and doesn't have any deeper insights into the nature of reality. Is she just lucky? Are we just happening to observe the one particular timeline where she got all her predictions right for no reason in particular, or was it perhaps necessary that Cely get all her calls right for us to see an outcome where the world doesn't end, anthropic-reasoning-style? If there is an answer I was supposed to get from the story, I didn't

But that's quibbles. It's an excellent work, I loved it, i'm very glad I was following people who'd talk about it often enough I gave it a shot. This is not really a review of it, though, or of Ghost Town. This is just my excuse to talk about pokemon worldbuilding and namedrop the cinnabar volcano burger.

[mollyrolls]

stop the clock 𖦹 matsukawa i. x reader

day 8: the name drop

in collaboration with get ugly by @eggyrocks @warlocksoup

an: if you guys haven't seen my rampant screaming, eggy's new phenomenal fic get ugly is in the stc universe!!! you must go read it and give eggy love otherwise ill eat you

uquiz 𖦹 pinterest

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“You broke my heart, you know that?”

Issei calls out to the expanse of the store as he enters, foot barely past the threshold before he speaks.

“Uh, sorry?”

Suddenly, his blood runs cold. The voice coming from the desk is not the one he’s come to love, but a completely new one. He turns slowly, preparing himself for the embarrassment he will have to endure.

Sitting in her perch was a shorter guy, with a streak of blonde cutting right through his hair. He’s looking at Issei like he knows him, which is confusing because Issei’s sure this is the first time he’s seen him.

Upon seeing his face, the guy from the counter breaks into a huge grin.

“Oh my god, you must be Mattsun.”

Adjusting slightly to appear more relaxed, he gives a tentative smile.

“Uh, yeah. I am.”

The guy leans forward on his elbows, watching him like a TV show.

“How much money have you actually spent on cherries? It’s got to be like ¥4000 at this point.”

This peaks his interest significantly. He hasn’t told anyone but Makki and Suna about the cherries, because he had to explain the new business expense he’d been logging, so it must have been her.

This of course means-

“She talks about me?” He can hardly contain his glee at this news.

“Yeah. It’s not-”

Issei puts a hand up to stop the guy. He doesn’t care to hear what she’s been saying, for better or for worse. Since it’s likely worse, the knowledge that he consumes the tiniest bit of space in her brain is enough for him.

As he does so, the guy splits into a huge grin.

“You’re just like I imagined. Can I please watch you flirt? I need this for science.”

Before he can do anything, the guy behind the counter yells out to the store. 

Yells her name. Something in Issei’s head starts to spin. 

He wanted to know her name. So badly that he was chastised relentlessly by Makki for spending his whole shift on his phone with Suna. They had scoured every corner of her spotify account, looking for anything to identify her.

Tragically, she’d prepared for him. Her username was just a bunch of numbers, she had no profile name or picture, and all the playlists were simply numbered 1-16. 

So yes, knowing her name was like fireworks sparking in his head. But this was not how he wanted to learn it. He likes that she makes him work; he wanted it to be a prize that he’d earned.

At the sound of her name, she appears behind the little isles and looks over at where they are. Issei can’t help but notice she’s in his corner. Where the cherries are. 

As she makes eye contact with Issei, her facade cracks. Surprise, embarrassment, realization, embarrassment, collected, all in the span of a few seconds. She comes around to round out their circle, not really looking at Issei. 

He thinks it’s weird seeing her from this angle. She’s not different, maybe a little nervous, but not enough to really change her demeanor. Yet, without the safety of her counter she looks more vulnerable. 

“Is something wrong, Noya?” She asks the guy behind the counter, seemingly unprepared to handle Issei. 

Noya grins cheekily, and gestures to the space between them as if inviting the show to begin. She glowers at him but he seems unaffected. Issei’s impressed; if he was on the receiving end of that glare he’d need some new pants.

Noya beams wider before turning to him again. “Cmon, let’s see it! Lay on the charm man.” 

“You’re gross. And stealing from me by still being clocked in,” She bites back before Issei can even start. He just stands back and watches their exchange, like a spectator at the zoo. 

Something in him is jealous of Noya and the way he can get her to shed her skin. Regardless, he takes what he can get. Despite his nasty gut feeling, he’s seeing a side of her he’s never gotten access to. What she’s like with her friends, when she’s not putting on her facade. Who his mystery girl really is.

Noya eventually concedes after being threatened short of death and is pushed out of the store. Before he disappears into the dusk, he whispers something to her that makes her eyes roll all the way to the back of her head. 

She watches him turn the corner and disappear into the night, and Issei notices the steadying breaths she has to take.

Upon re-entering the store, she looks more collected. As she tucks her hands in her back pockets, she rocks a little on her feet. He looks down and notices the boots she’s sporting, and the tiniest little streak on the toe.

“So.”

His attention is brought back up when she addresses him, still swaying slightly.

“So?”

She shifts her shoulders back reflexively, like she’s ready for a fight. “You know my name now.”

He looks back at her, saying nothing. She doesn’t take the bait.

“What, you aren’t gonna berate me to death? Wax poetic about how beautiful it is and how it suits me and how when you heard it, angels sang?”

He tries to hide a smile. “Do you want me to?”

“No.”

“Then I won’t.”

She narrows her eyes at him. “What happened to you?”

He gives a tiny shrug.

“I don’t know what you mean. I’m still the same old Issei.”

Unconvinced, she glares at him a little longer. He takes it on the chin. When she presses, he stands firm.

Issei thinks she’s sorting things out in her head. He’d give her whatever she needs, even if it makes his knees a little weak, and right now that means a silent dressing down. His hands are sweaty.

“This is unnerving.” She admits after a few moments, then turns on her heel to walk back deeper into the store.

Issei waits a couple moments then follows.

“What is?”

“You.” She reaches her destination, and starts to restock his cherries.

“Haven’t I always annoyed you though?”

“Yeah. But this is different.”

She continues picking up the pots from the box, rotating them around and sliding them into their place. There’s about 20 little jars, only taking up a single shelf.

Issei lingers nearby, leaning on the doors of a fridge. His back radiates enough heat to make some condensation. “How do you mean?”

She stops for a second in contemplation; looking over her shoulder to peer at him again, turning thoughts over in her mind. She opens her mouth to say something, but closes it just as fast. 

In her hesitancy, Issei notices a touch of vulnerability in her eyes. It’s hidden deep behind her irises, but he knows her now. With a blink, it’s gone.

 Instead, she lets out a deep sigh, a bit of frustration and a drop of disappointment.

“I dunno. Never mind.”

“Hey, cmon.” Issei tries to probe her again, keep her talking, but she grows resolute in her decision. She quickly emits an energy that is impenetrable. He doesn’t have the tools yet to identify a crack.

He stands and waits for an opening, one that she doesn’t give. The condensation from the fridge starts to drip down his neck. 

He feels a buzz in his pocket, and sees a text. 

suna [9:57 pm]: ur gonna b late. get some salt while ur there, quit harassing women, and hurry up

He can’t help the small grunt of annoyance he lets out, resentment growing at everything around him. 

When he looks back up, she’s staring at him in a way he’s never seen. There’s not a lack of emotion, there’s too many to sort. He expects her to glance away, and she does.

The whirr of the fridges is louder than normal.

“I’ll uh… I’ll see you around,” Issei starts, feeling oddly small. He scuffs his shoe, hoping she’ll ask him to stay, or ask him a clarifying question, or anything other than this suffocating silence. When nothing comes, he pushes off the wall and starts down the aisle.

He really does try to leave, but sometimes he can’t help himself. He pauses, and she watches.

“For what it’s worth, I think it’s lame your friend ruined that bit. It was kinda fun having the mystery.”

She takes the peace treaty gratefully, but still doesn’t speak.

“If you want, we can agree to forget it? I’ll earn it fair and square?”

There’s a little chuckle, mostly to herself, before she replies.

“Are you even capable of forgetting that?”

He laughs, somewhat from relief that he had managed to salvage whatever he’d fucked up.

“Nah, probably not. I can try though.”

She dismisses that with a wave of her hand.

“Why bother. I’ll just… put bleach in Noya’s shampoo or something.”

He grins at her, easy and open. She doesn’t return it, but stands up a bit more casually. 

The unspoken words between them weigh heavy in the air, but it’s returned to a level that Issei can manage. They’re closer than he’d thought.

He realizes he’s been staring, trying and failing to place her perfume. Issei ducks his head quickly, before turning and walking out more intentionally.

Right before he reaches the door, he turns around one last time. To his surprise, he meets her eyes. 

“I- I hope the concert was good. I’ll see you tomorrow.”

He can’t hear her from across the store, but sees her mouth ‘bye.’

By the time he gets to work, he’s distracted. Anytime a woman tries to flirt with him, all he can think of is the melody behind her eyes, and what was going through her head. 

Issei doesn’t make that many tips that night.

She’s hunched over her drawing table, various trashed doodles surrounding her. Her phone is plugged into the wall, just above 14%. It always dies faster when she’s on the phone.

“I don’t see what the big deal is?”

Seven’s voice is breathy over the speaker, she’s out in the cold. She fills in the background of her strip with haphazard crosses.

“So he’s a little dorky guy with a crush. Is he threatening?”

She lets out a half-there chuckle. “No. He likes batman band-aids.”

“So what’s the problem?”

Her pencil tip breaks from the pressure. 

“I-”

Instead of sharpening it, she fishes for another.

“I think he actually likes me. Like, not as a bit.”

Over the speaker, some rock radio comes over from Seven’s side. It’s loud enough that she can hear it. It makes her cringe.

“Is that so bad?”

The response takes so long that Seven has to ask if she’s there.

“Yeah. It is.”

She hangs up before she’s faced with the next probing question.

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taglist: closed.

@bakingcuriosity, @nobodybutnnoorr, @ciderscape, @lilchubbyyy, @soulfullystarry,

@interstellarz, @wakashudou , @myromanempiree, @notverymarley, @aozui,

@lllaw,, @cnnmairoll, @cosmiicdust, @reignsaway,

@wyrcan, @garfieldissocool, @soobin1437, @guitarstringed-scars, @adorerinn,

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@honeekyuu, @rivaiken,

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@animenaces-world, @layskettlecookedchips, @chaotic-neutral-ig, @jadeoru, @anniewings

[haine-kleine]

rewatching Naruto and going insane over the extremely obvious way Horikoshi copypasted the essence of that story into MHA. funnily, the ending proves that he doesn't seem to fully understand the source material.

what really makes Naruto stand out is that every character is treated as a human who is worthy to make their story known. it's still shounen so the powerscaling and violence are ever present but the humane element never goes away. it might seem downright ridiculous that up until the undead evil aliens come to assume the big bad role in the end, every big bad that has been carefully hyped up before ends up revealing their sob story and leaving the spot vacant. but this was precisely what made the characters so interesting that they still have loyal fans nearly two decades later. the audience was always allowed to sympathize with the villain, no matter how evil, violent or how long their kill list is, because what it really comes down to, is a collection of various people's stories about their trauma and how they deal with it.

all of the villains have extensive kill lists: Gaara was a serial killer at the tender age of 12, Itachi killed his best friend, his girlfriend, then his entire clan and mentally tortured his 7 years old little brother, Sasuke later goes on a killing spree and nearly murders several people who considered him heir friend, Obito and Madara killed more people than there are named characters in the Naruto universe, and so on and so forth. the story still encourages the readers to sympathize with these characters, to the point of obnoxious stubbornness, but it drives the point home. Naruto's approach to writing the villain characters is the antithesis of 'cool motive, still murder'. the story is much more concerned with telling the stories about individual characters, their traumatic backstories and how they deal with the trauma, than it is with the worldbuilding angle of 'and what legal consequences are coming for them next?'. the story would rather conveniently lean to fit the chosen narrative for each villain character than deal with realistic consequences, just so that the character remains sympathetic and/or tragic in the eyes of the audience. Gaara was known for being violent and unstable in his village, but after he had his change of heart he is allowed to become the Kazekage and is accepted and supported by his village. Nagato wipes out the entire Konoha village because he is supposed to be introduced as the ultimate big bad to date, but then magically brings back everyone to life in a disney esque move, because after unlocking his tragic backstory, we are supposed to consistently feel bad for the guy. the story would rather be ridiculously unrealistic to overstress the tragedy and trauma, because realism was never the purpose.

then, in MHA, which is a story about magic people using their individual magic skills to fight and save people, you would assume that the realism wouldn't be a primary concern here as well. at the heart of the concept, before it fell apart, MHA seemed like a perfect successor to the message conveyed in Naruto, which excused the various rip offs. it seemed Horikoshi had successfully cracked what was the problem at the heart of every single villain in Naruto: trauma and mental illness, and capitalized on it. the concept of the story seemed to be 'what if Naruto set out to save the Akatsuki?'.

(and it is impossible to deny the heavy inspiration, because s1 Shigaraki is literally chuunin exam era Gaara. they are the exact same character)

as a fan of Naruto and not much of a shounen enjoyer, MHA seemed to take everything i loved about Naruto and amplify it. the kids characters got to spend more time together as a clas, rather than being paired randomly during filler episode missions. we got to spend more time with the Akatsuki League of villains and got to see how they interact with each other as a group and what their individual relationships are like. they got to build up their tragic backstories early on, to be dramatically revealed later, and not immediately die afterwards. Shouto got to actually talk to his older brother, and discover his tragic backstory from the source instead of hearing about it after his death and being powerless to do anything but cry about it.

but then, around the final arc, the story, or rather the author, seems to realize that it has become too big for a shounen. and his way of dealing with the issue was abandoning everything he has been building up for years. the comparison with Naruto really highlights how the issue lies not in the characters and their irredeemable actions but in the story straying too far from the main theme and eventually getting lost completely.

that is not to say the execution or the plotline wholeness were not an issue in Naruto, it's riddled with plot holes and retcons. but where it lacks the logic and stability, it makes up with the sincerity and compassion the author never fails to have for his characters. the uchiha massacre was a really shitty plot line from a political standpoint, but it's not there as a part of the plot. it has always served as a background for Sasuke, first and foremost, to the point Itachi's character was reshaped and retconned twice to fit what Kishimoto had going for him. the plot, the world are a stage for the characters, not the other way around.

and what made MHA's writing fall apart was switching the focus from the characters as the driving forces for the story to the sociopolitical plot starting to use those characters as tools. before the war arc, it wasn't meant to be realistic, the 'reality' was a playground for the characters. just look at the MVA arc (the best MHA arc). what about a malnourished insomniac Shigaraki defeating a CEO who happens to be the leader of a terrorist organisation so hard said CEO is so impressed with him that he gives up his spot for Shigaraki is realistic? alternatively, what about the Sports Festival arc makes sense? nothing! the students of the most prestigious hero academy having the competition where they show off their quirks and all of its drawbacks for the entire country to see on live TV is the opposite of sensible, and during the licence exams the students of the other schools even point this out! Horikoshi just wanted to have his own chuunin exam arc, and can you fault him for that? it was cool as hell.

the thing about MHA is that it was never meant to be too realistic. it can't be, because the realism hurts this kind of story. shounen isn't meant to be realistic, it's meant to be flashy, cool, over the top dramatic, perhaps tragic, but realism really has no place in shounen. most importantly, because shounen is supposed to tell the story of the main character, whose epic journey is as enjoyable as it is inspiring.

but the main character's journey is supposed to have an end purpose, and successfully achieving it would be the culmination of the story. Naruto's purpose was saving Sasuke, who was taken in by the Big Bad Orochimaru, when everyone else has given up on him. Izuku's purpose seemed to be saving Shigaraki, who was taken by the Big Bad All For One, and the entire world has given up on saving him when he was just 5 years old. thus, Izuku would become 'the world's best hero', because he achieved an unprecedented fit of saving a villain. hell, he would have been even cooler than Naruto, who mastered the therapy talk jutsu on all the villains he had successfully reformed, but still had all of them die on him.

but no. funnily, Izuku fails spectacularly at achieving the purpose he had set for himself. Izuku doesn't save Shigaraki, he actually kills him. not even on purpose, Tomura's death was entirely an accident. (to really drive home how ridiculous that is, can you imagine Naruto murdering Sasuke on accident during their final battle, and then moving on with his life? an even more accurate example, imagine Naruto killing Gaara instead of giving him a heartfelt speech in s1)

by simple shounen logic, this means Izuku failed as a shounen character. he doesn't get his happy ending, because he didn't deserve it through consistently written and developed hard work towards a singular goal the character had chosen for himself. this also means Izuku didn't become the world's greatest hero. he lies to us in the prologue.

but we can't have a tragic ending to such optimistic and hopeful story now, can we? so the story does a very awkward and forced job of switching the perspective to drive the audience attention from the reality of the tragedy the ending brought on it. to drive attention away from Izuku and his failure, we have the public aggressively blaming Shigaraki for the destruction. his story is never made known and Izuku is not particularly interested in making it known, putting this responsibility on Spinner. Allmight, who felt personally responsible for Shigaraki's kidnapping by AFO back when he was alive is suddenly unbothered by his passing. the epilogue has nothing to focus on because every hero character had failed at achieving their personal goals and thus peaked. it is also weirdly stubborn in its refusal to seriously view the aftermath as tragedy, following the characters (acknowledged!) failure to save the villains they intended to save. the explanation was still warranted however, so the chosen strategy was focusing on the outside world and how it was affected by the consequences. but it simply won't work because the story was never focused on this before! it's no Avengers Civil War, The Boys or even MHA Vigilantes. MHA was always about the characters and their individual experiences. the world leaned into the characters plot points and shaped itself accordingly, not opposed the various socioeconomic and political problems that the concept of heroes would bring. the heroes ranking and HPCS are the highest authorities we know of in MHA. who is the president? who are the politicians? why is so much budget spent on the heroes, to the point the devastated and ruined after the war country deems it important enough to build various statues of them? the issue of quirk racism is consistently important, but why aren't any anti racism organisations brought up? isn't there any legal punishment for violence against mutants? does the law just permit harming or even killing mutants? shouji had his damn face cut up as a kid and his parents never went to police or made a lawsuit about it? we do know that police exists separately from the heroes, but how does law work at all in this universe? the answer is, it doesn't, because Hawks has a footage of him committing a murder shown on national TV and he doesn't face any legal repercussions at all, and is in fact promoted to a HPSC president shortly afterwards.

i hope the above paragraph conveys how utterly cartoonish MHA's 'realism' is. and what makes it bad isn't the illogical inconsistency or even the double standards, it's that the realism is used as a coverup for the author smashing the core theme of the story he took from another manga with hammers and setting it on fire. it's 400 chapters too late to make the core theme of the story the society in general and various social issues as concepts. it was supposed to be a story about Izuku saving Shigaraki, Ochako saving Himiko, Shouto saving Dabi. i don't have to reach to get that message from the source text itself, because no one forced Horikoshi to repeat the world 'save' 27363279 times throughout the story. it was supposed to be a story about saving traumatized people who had no one to save them. it didn't have to be, Horikoshi could have easily continued with Kishimoto's established trend of having his villains die immediately after finishing their therapy session. but he didn't take that direction, and capitalized on the theme of saving people, even those who don't seem to deserve it, even those who say they don't want to be saved. and in the final, crucial moment, he didn't carry through.

this is the story of how Izuku didn't become the greatest hero.

my not-hero academia

[tk-duveraun]

Qijiu Modern AU

They're foster kids together. It's extremely rough. YQY is adopted by a guy who never had kids, but is not going to let his niblings or cousin's kids inherit his company, so he grooms YQY very strictly in both action and appearance.

SJ tries to call YQ, but adopted dad answers the phone and tells SJ that YQ has no interest in talking to him anymore, he's just a little brat and better not call again.

Unbeknownst to SJ, YQ was adopted for his striking resemblance to the adoptive family, so when there's a terrible accident that kills one of YQ's adoptive cousins a few years later, SJ sees the photos and the headline that "XX Family Scion died in tragic car accident" and thinks that's YQ.

Cue, years later SJ is a vicious academic that quickly rises through the ranks and gets sent by the University to important galas. (both bc the university is getting status from the orphan scholarship angle and also bc SJ is extremely dignified and proper and won't embarrass them - the rich people find his acerbic comments more quaint than offensive, thankfully)

And just who is hosting?

YQ.

[intuitive-revelations]

I don't know if I'm excited or frustrated at the 'future children' angle for Susan's origin. On one hand... I'm very interested in the possible links to the likes of Miranda, the Other etc.

On the other hand... ok confession time: This may make me a minority in the fandom, but I actually really dislike the 80s-90s retcons of Susan's origin. (Birth of a Renegade, Lungbarrow etc.)

I kinda just like her and the Doctor being some of the last surviving members of what was once a family on Gallifrey. I find the mystery and tragedy of what happened on Gallifrey, with implied student uprisings and political assassinations, far more intriguing than any twists saying "actually she's not really his granddaughter". Fortunately, some things can be canonwelded into that (eg. Susan really could be also related to the president / descended from Rassilon), but stuff that actually gives her an origin elsewhere is always a pain.

Idk. I just see once being a parent (and losing it all tragically) as such a crucial part of the Doctor's background and Susan fits very well into that as far as I'm concerned. Anything disconnecting her from that, or worse erasing it completely, ultimately damages what I find to be one of the most compelling things about the Doctor and Susan. :/

The few posts I've already seen talking about this suggests this is an unpopular opinion, but I'd be interested to know what people think, and if they agree or disagree...

[rat-studio]

People think I'm pretty So I'll buy a hotel room One bed trope without the tension The child and her groom

PART 7 AND I HAVE BEEN WAITING FOR THIS ONE. Do you know how much I love Corona???? I love drawing her hair and her stomach and her face and she turned out so pretty!!!! I had something very different planned initially for this verse, but, alas, plans change and I love how I posed these two and I love their expressions. I think the words fit Corona so well-- she's so tragic and she's such a survivor and she loves so terribly. I decided to skip the lyrics on the drawing itself on this one— I’ve still got that version below cut but it seemed too cluttered.

Part 1 (+explanation of premise)

Part 6 Part 8

Timelapse, thoughts, and version with lyrics below cut.

I actually see myself getting better as I progress further through this series. I’m experimenting more and it’s paying off! I think this one is my favorite so far out of the whole series, I like the rest of them a lot but I fucking love their expressions and the pose and how the hair on both of them turned out.

Also! My Apple Pencil tip broke during this! It was awful! Totally my fault as well because I totally dropped it from a balcony as I was aesthetically drawing in the sun! Oh well— art is not art without challenges. You can see me trying to get the specific angle at which it wanted to work right every couple of strokes in the timelapse— so watch that if you wanna see an interesting visual representation of me going insane!

[queenwendy]

My favorite thing with Relativity Falls is trying to wrangle Dipper and Mabel’s gender with the identity theft. Are one of them trans? If so, which one? If they don’t have any siblings, that means one of them is Stan and Ford’s grandparent. Is the remaining twin pretending to be the other or are they honest about being a different one? There’s a lot of fun combinations:

I flip flop on which twin works better as the author, but I really love Grauntie Mabel so if I ever made Relatively Falls fanfic I’d probably have Dipper be the Author with Mabel running the shack. I also really like the secret identity angle so I fully support Mabel impersonating her brother. To solve the gender issue you can either go the trans route or the crossdressing for 30 years route. The most “natural” feeling one, at least fanon wise imo, is that Dipper is transmac but fell into the portal before transitioning. But the dipper as transmac headcanon bugs me for reasons not relevant here, and I like Grauntie Mabel too much to make her crossdress as a man for 30 years; so I actually prefer transfemme dipper who fell into the portal after transitioning (I am also definitely not impartial, I am a trans woman lol). That also ties into Dipper feeling like a weird outcast who would study cryptids a la Ford, as opposed to him just being a mystery loving nerd with a constellation birthmark (of course, that’s if you make Dipper study the same things as Ford, which lots of people don’t).

Of course, that line of reasoning leads to all sorts of interesting questions as a result: who is the McGucket analogue? I usually see Candy or Pacifica, but if you wanted to mirror the show (and lean into the queer angle/a relatively falls fiddauthor), Wendy works pretty well. That also helps put Fiddleford in the shack so he can go on adventures with Stan and Ford. And Shermie? Oh god, Shermie.

Shermie is his own can of worms. If he’s Stan and Ford’s brother, is he older or younger? Is he there with them over the summer or is he back with Filbrick and Caryn? Maybe he’s still the unseen grandpa, making him Dipper and Mabel’s brother and sidestepping which one of them is the grandparent. Imo, Shermie works best as Stan and Ford’s older brother adventuring with them. Maybe even as a Soos analogue.

As for who the grandparent is, I dunno! Maybe Soos is, making him Dipper and Mabel’s brother. Maybe Mabel was, making the fact she faked her death and impersonated Dipper all the more tragic and gut punch-y (and very different from Stan, who Alex Hirsch thought never would do that). Maybe Dipper was, and so Mabel is pretending to be a grandparent. If it was Mabel or Dipper, who’s the spouse?

I like swapping Soos and Aubelita too much to make Soos Stan and Ford’s grandpa (though it’s a fun idea I don’t see anyone do). So then one of the mystery twins has to be the grandparent. I don’t think Mabel would abandon her family, so Dipper as the real grandparent has to happen via process of elimination (meaning until Not What (S)he Seems, Mabel goes by “grandma mabel”). Who the other parent is up in the air; Wendy or Pacifica are already popular ships with Dipper, and also potential McGucket analogues. If you wanna get really weird with it, Bill is, imo, a valid choice given the implied romance between him and Ford.

And that snowballs into dealing with Bill. Does he get swapped? If so, with who? Gideon kinda makes sense, especially if you want to keep the Hand that Rocks the Mabel(Ford? Stan?) plotline (as opposed to Stan x Bud which… okay that’s actually funnier). But Dream Demon Gideon sounds kinda stupid to me, even if it fits oddly well (I actually think that works better if Mabel is the author). Do you swap Bill with Euclid and Scalene? Then there’s two dream demons and baby bill running around, but Bill’s parents are kinda nothing burgers of characters. Why do they want a portal? You can also just keep Bill as Bill. I mean, the Book of Bill indicated that there’s a Bill for every universe. I dunno where I stand there, but I lean towards keeping Bill as himself. But swapping any obsessive ex tendencies of his from Ford to Dipper for obvious reasons.

I dunno if I’ll ever write anything, and that’s obviously not all the questions this AU raises (if Pacifica is swapped with Preston, how does Double Dipper play out? Does Boyish Dan work at the shack or is he the estranged son? Who do Candy and Grenda swap with? Are they the Rico and Jorge of Mabel’s backstory? How different is Mabel and Dipper’s backstory to a Tale of Two Stans?) but this AU is probably my favorite and every time I reblog art or an idea about it I get more and more drawn in. It’s really thought provoking.

[sincerelywhistler]

🪐 SAIPH 🪐

(they/xe/it)

Many moons ago, before more canon demon races were revealed, I had introduced my psychosis demon OC, Saiph. Since that time, a lot has changed with how I wanted their character to look, act, behave, etc...

💫 REINTRODUCTION TIME 💫

Facts about Saiph:

• Saiph, meaning 'sword', is a star located in the constellation of Orion

• Saiph is also selectively mute! They’ll communicate telepathically only if truly necessary

• Their original dorky Serenity Daemon personality, pre-sovereign tampering (read below), shows itself much more once they satiate their hunger/post-feeding

• Xe have a special interest in planets and celestial bodies so much so that xer “nest” is in an abandoned observatory, cloaked behind a ward so that it isn’t at risk of humans rediscovering it

• Saiph is one of the more gentle of the Psychosis Daemons, however still incredibly dangerous, especially when hungry bro they’ll fucking kill you

• Why, yes! After they feed, they do feel guilty for being a literal murderer once it’s said and done! Only for The Hunger to take hold again and then they don’t care who they gotta kill, so long as they get to eat! It’s tragic!

• The kind of mf that curiously cocks it’s head when listing to you speak

• NO SHOES !! FEELS YUCK !!

• They’ll make sure that the last thing you see before you die are the stars sparkling above, the ones of which they believe all living things have come from. It’s their inner conscious’s twisted version of showing it’s prey mercy during their final moments

Here's how the inner-workings of how my Psychosis Daemons work:

• Psychosis demons, also referred to as Nightcrawlers, feed from the inherent feelings of delirium, psychosis (obvi), and hysteria

• This is a hostile sub-class of daemon, though not necessarily by choice

• The Sovereigns toyed and experimented with Serenity Daemons in a similar vein to how they once did with Concubi, corrupting and warping the peace-seekers into its antithesis— into something so violently obsessed and aggressive in finding their picture of perfect and 'divine serenity' that they spiraled and drove themselves into an enraged madness

• Thus classifies them as a sub-class to Serenity Daemons, so they get to keep the (a) in their Daemon title. Nightcrawlers did not coalesce— they were forged, making them only a handful in numbers and very old beings

• They were initially experimented on with the intent of being forged into unrelenting weapons for the Sovereigns to use during the Cacophony

• Psychosis Daemons often appear to look starved and malnourished, their physical bodies reflecting how that their dietary demands are hardly ever satiated

• The shape of their horns represent sharks teeth, because the teeth of a shark are angled inwards in such a way that it's nearly impossible for prey to pull free from its jaws once bitten. Once these Daemons have its grip on you, you’re done for.

• There are so very few existing Nightcrawlers that they used to be practically considered a myth until modern Department technology was able to better track and contain them for research purposes. D.U.M.P. has aptly given this subclass its name, as the majority of documented Nightcrawler feeding patterns display nocturnal behavior

• Saiph's kind is extremely patient and meticulous when picking their meals, so rather than feeding from a gathering of people in a single passing go, this race modifies one single human's memory by implementing overwhelming senses of deja-vu and confusion into their minds. This piques their curiosity, which then lures the human into the Daemon’s “nest” while kept in a trance-like delusion

• They literally stalk their prey before Getting You

• Nightcrawlers keep their prey around for the rest of the duration of the human's life as a thrall of sorts, because the further into delirium the person strays, the stronger the emotions these demons can feed from

• The human's worsening psychosis provides such a substantial amount of emotions that only one person is needed to feed, a 'mate-for-life' type of relationship. However, between their aggressive feeding habits, tendency to push the human mind too far, as well as the intensity and obsessive frequency at which they feed, the person's life is often cut extremely short. Then the cycle begins again.

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[read-write-thrive]

JATP x DBDA crossover where the Phantoms are free but Willie still isn’t and Caleb is playing dirty now that the boys have bested him (possessing Nick but also cmon he definitely has more magic up his sleeve) so they start trying to figure out Magic on their own, which is really just Julie and Flynn googling things and trying out various types of magic/spells/scam artists in the area, only for someone to come across something to do with the DBDA who are happy to take the case 👀

I have too many WIPs for this but just some ideas floating around my head:

- Crystal at first butts heads with Julie and Flynn (residual mean girl tendencies/differing senses of humor) but end up bonding over being surrounded by (dumb) dead teenage boys

- None of the Phantoms are good at proper spells but their music 100% has magical properties that is utilised in whatever final battle type event happens

- Edwin has come to terms with Charles’s eccentricities but the Phantoms are a whole other type of teenage boy and I think he would be just so catty about it all. Like why are they cute and so stupid this is ridiculous why the Hell did we even take this case can they please take this seriously

- Charles and Reggie vibe. I don’t make the rules

- Flynn can’t see the boys either which naturally leads to hijinks

- Monty attends a concert (he deserves to have fun) and while I considered him being the link between the two groups I think it would be funnier if he decided to go to a concert and runs into them coincidentally

- Based on a precursory AO3 search I’ve seen some fics where Monty gets in trouble with Caleb which makes sense with the whole magic familiar angle but I’m not copying here so I won’t get into that

- I think Willie interacting with DBDA would be wild. Like. Dead pretty boy with a sense of humour and tragic backstory? They’re all swooning fr

- Niko (shhh) gets along with Julie and Flynn IMMEDIATELY like they are talking about shows and DIYing things together and it’s great

- Crystal gets along better/faster with Julie and Flynn with Niko present fs

- There’s at least one dance number with everyone involved

- possessed!Nick is still trying to woo Julie and not only do we get the Phantoms side eyeing him but now we get the DBDA just openly judging him (Crystal roasts the shit out of that fedora and she’s RIGHT)

- Crystal would decimate any of Carrie’s attempts at being bitchy so I think we have to redeem Carrie for that reason alone

- DBDA goes to a JATP concert and the boys are actually awful at vibing there. Like Crystal is relatively normal (idk if it’s her scene but she’s been to concerts before) but Edwin does not know what to do at a modern concert and Charles is used to a much different style of dancing/concerts (I don’t know enough abt aka punk to elaborate unfortunately but ykwim)

- girls night includes style swapping bc the DBDA girlies deserve some butterfly clips and the JATP girlies deserve some eyeliner

- in the nature of JATP I don’t think Caleb gets sent to hell in the end but I do think his ending needs to be ridiculous. Like have him get the Night Nurse treatment and get eaten by that fish so he can be redeemed by Kashi

- not to bring up Monty again but I think he sticks around and keeps up with the JATP crew more than the DBDA (he is not interested in any more of that Hell/monster energy and that’s so valid of him)

- montage of Edwin and Charles teaching the Phantoms ghost abilities (I can’t remember if/how they vary between shows but if so shhh or explain it away yk)

- Unseen Emily reprise and it’s all the boys mourning loved ones. Just for the feels.

- Actually just more backstories for everyone please

- Love ballad/slow song that Willex and/or Payneland dance to 🥰

- Palasaki being openly in love (which inspires whatever the Flynn x Carrie ship is bc I love them)

[hotdaemondtargaryen]

TOM GLYNN-CARNEY INTERVIEWED FOR DEADLINE MAGAZINE.

IS THAT YOU LYING IN BED IN EPISODE 5, GETTING THE BURNT VALYRIAN STEEL PEELED OFF OF YOUR BODY?

"It certainly is me."

I THOUGHT YOU WERE DEAD. SO YOU'RE NOT DEAD YET?

"I say a word … unless dead people can speak."

SO YOU ARE SURE AS YOU'RE SITTING HERE, YOU ARE NOT DEAD.

"I’m not dead yet."

LET'S BACK UP TO THE DAY WHEN YOU SHOT THAT EPIC DRAGON FIGHT.

"Well, that day was, in fact, probably about three weeks work, trying to get all these certain angles and these set pieces together."

"It takes a while to coordinate something like that."

"And it was great fun."

"It was a little different."

"The stuff I had to do previously with the big dialogue, the heavy council scenes and the moments in the pub … that felt more theatrical."

"And by theatrical, I don’t mean hammy and stuff, I mean being in theater and doing a play."

"But this [dragon fight] felt very filmic, being strapped into this crane and having this big camera on a long hydraulic arm thrown in your face."

"There were lots of green screens and gray screens and tennis balls on sticks and wind machines."

"It was great."

"It was a big learning curve for me as well, because I’ve never done anything quite as elaborate as that before in terms of CGI work."

DO YOU THINK CRISTON SAW WHAT AEMOND DID TO AEGON'S DRAGON IN THAT FIGHT? THAG AEMOND IS TO BLAME?

"Criston definitely sees Aegon on the ground and Aemond near him with his sword drawn."

"So he can make his own mind up about Aemond’s intentions, which is still unclear even to me."

"I’m not sure the story was there."

"There could be various outcomes."

WHAT HAS IT BEEN LIKE TO PLAY SOMEBODY WHO'S SO BLOODY UNLIKABLE?

"So you’re not team Aegon, then?"

"Who wants to be liked?"

"Where’s the fun in that?"

"I think it’s great playing someone like Aegon because he’s so unpredictable."

"He’s so volatile."

"He’s not just someone who people don’t like."

"He’s a tragic case."

"He’s a complete and utter tragedy of a person, and I feel deeply, deeply sorry for him."

"And I guess that’s kind of why I’ve wanted to investigate his vulnerabilities, his fragilities and his boyishness, all the things that he lacks in his life that kind of inform his decisions, that have given him a certain reputation."

"There’s a lot to unpack in him."

"He’s way more layered and complex than just an unlikable character."

IT'S BEEN AN INTERESTING JOURNEY WATCHING AEGON AND AEMOND BECAUSE THEY'RE OBVIOUSLY BAD KIDS, WHICH DOESN'T MAKE SENSE BECAUSE IT'S NOT LIKE THEIR DAD WAS AN AWFUL GUY. SO WHERE DOES THAT BADNESS COME FROM?

"I dunno."

"I mean, they’ve got Targaryen blood running through them, so there’s going to be an element of madness somewhere."

"I think if they had a different upbringing and a different experience of childhood, things may have been different."

"If they had the treatment that Rhaenyra got, for example, their lives could be different."

"She was very much the golden child."

"She came first."

"She was the one whose picture was on the fridge."

"So yeah, I think that in many ways they’re a product of their history and their upbringing."

"But then again, they’re spoiled as well."

"They’ve never had to work for anything and that can have its effects."

"That’s probably a question for a psychologist, not for me."

WHY DOES HE DISLIKE HIS BROTHER SO MUCH?

"I don’t think he does."

BUT HE WAS SUCH A SHIT TO HIM IN THAT BROTHEL SCENE.

"That’s brothers."

"Aegon was pissed off that for weeks that Aemond has been in the small council and he’d been conniving and plotting with Criston behind his back."

"That kind of clique-ness and keeping Aegon out of the situation for Aemond’s own self-gain, knowing that Aegon would take over the position of King should he get the opportunity, Aegon needed to bring him down a peg."

"I don’t think it come from a place of disliking him."

It comes from a place of being like, ‘you are my little brother, know your place.’

"It’s dismissiveness and also, I’m from Manchester."

"From where I’m from, there are so many sibling relationships that are completely flawed and fractured."

"It’s very normal for me."

"I’m lucky I have a great relationship with my sibling, but it’s very normal and not out of the ordinary at all for you to see two siblings who actively want to hurt each other."

"It doesn’t come from hatred."

"That’s just the way people behave."

[ot3]

i am SURE you have answered this before so please feel free to ignore if so, but i'm curious as to your thoughts on athena as a character? also, i really enjoy your posts -- have a good night!!

thank you 🙏 my thoughts on athena are... she kind of never really had a chance and it's a shame. she's cute! she's fine! but her character arc hitting involves buying into the overarching narrative of dual destinies more than i am capable of. she also feels really gimmicky as a protagonist compared to phoenix and apollo, who are much more of the Everyman than she is.

i do like that she gets to have a tragic backstory that provides her with motivation for being a lawyer - i feel like not getting to know why apollo became a lawyer was a missed opportunity for his character - but there's just too much going on with her in general. at least two Big Ideas from her character needed to be nixed. playing into either the psychology angle or the robotics angle of her upbringing would have been interesting but both at once is pretty incoherent and unnecessary.

i wanted to like her really really bad but by trying to make her interesting i feel like yamazaki spent so much time trying to figure out how to make her Interesting that he completely overlooked trying to make her feel Grounded, which is i would argue something an ace attorney protagonist needs to be in order to adequately play off the fucking freaks they interact with on a day to day basis.

[kiraridertime03]

We need to free the Weasel

A brief discussion about the way that Creature Commandos uses politics in its narratives.

Spoilers for it and everything else James Gun DC up to this point though, below the cut.

Also, it is a busy post, content warnings for discussions of white supremacists and cops, as it is necessary.

With the release of the trailer of James Gunn's Superman film, hype for his grand DC Universe has kicked into high gear, and for good reason. That trailer, no matter the quality of the final film, is a goddamn work of art. A piece of film that understands Superman better over the course of 2 minutes and 20 seconds than Zack Snyder did over the course of 3 overlong movies. That mixed with his solid back catalogue of Superhero films. However, slightly more obscurely, this universe has already started with the animated series Creature Commandos, and especially with the fourth episode, which released hours before Superman's trailer, shows the kind of skill and thought Gunn and co. are putting into this new universe.

At its front, Creature Commandos feels very... blunt, in a lot of ways. It's like The Suicide Squad but with Creatures! It's big and raunchy, being an animated series with blood and swearing and sex and whatnot. And, when it comes with its politics, some of the early villain's mooks are a bunch of weird incels, and one of the main characters constantly advocates for killing Nazis. It is a work that immediately shows its hand, making the type who would decry the wokeness of modern movies and games or whatever. However, with these early examples, it can feel like a bit too much, maybe. I love it, don't get me wrong, I'm the type to really enjoy blunt earnestness. Though, given the more comedic approach that many of these elements take in the early episodes, it can feel a bit like it's only there for the bit.

Where the series really starts to excel, though, is when it starts integrating its flashback segments. As a whole, even outside the point of this post, the flashbacks feel like a wonderful decision. A way of fleshing out our characters while giving each episode a distinct feel, justifying the series as, well, a series rather than just one long movie. However, here, I want to discuss some of its political ideas, and how they integrate. Because, for these, they integrate more thematically, being an undertone to each character's own story.

For the bride, her story is centered around this idea of the objectification of women. I mean, it makes sense. She was literally made to simply be the bride of Frankenstein, an object of his affection. However, as she gained her own independence, the masculine figure who feels he is owed her hand in marriage breaks out into a rage, harming her and the person she actually loves. This story is what gives her the cynical edge she gains in the series proper, giving her an interesting, sympathetic story while using the elements of said story to say something about how many men perceive woman. A strong enough parable that acts as an undercurrent for her character.

Then, we get to G.I. Robot's episode, a real tear-jerker of a thing about a silly robot character, the exact thing to set my brain off in all sorts of ways. Much of this story is designed to set up his tragic past, so that we can feel catharsis once he gets his big moment, then feel the tragedy when he gets brutally murdered. However, it again is saying a lot of complex things. Many have discussed the PTSD angle for GI, which I do see, however, in GI's story specifically, I see the way that the American state treats veterans. Like, think about it. This being who was forged and created for the purpose of making war, goes to war, then once the war is over, they are, best, used for spectacle on live TV (Where they are unable to properly adjust to the tone of peacetime, accusing the audience of being Nazis themselves), studied not to help them, but to make the next generation of soldiers even more efficient at their goal of warcraft, then thrown to the side when they are no longer useful. The man selling GI to the collector literally says he slipped through the cracks. It, again, is a wonderful metaphor that takes advantage of what GI is, and uses it to emphasize these issues in a more literal way. It is a lot easier to show a robot who was programmed in a specific way weird the room out than the rocky adjustments a veteran may have to go through. It then, also, shows the kinds of people who really benefit from this warcraft, those it appeals to. The collector who buys GI turns out to be a part of a White Supremacist group in America, a group of people who gladly use Nazi iconography, identify with it, and gladly push it. Those also happen to be the types who want to buy old war memorabilia. Obviously, not all war collectors are Nazis. But these are people who see this kind of might makes right ideology that America so often employs with its military, and latch onto it. GI, rightfully, finds this appaling, and kills them on sight. It is this wonderful moment from this delightfully twisted series.

However, even that could be seen as a tad blunt. Again, GI is very clear with his words, he doesn't hide much. So, where I see this series going from good to great is with Weasel's flashback segments. This begins when a lawyer, a member of a nonprofit, demands she see Weasel, as she is putting on a case for him. In essence, she states that, at least to her and her organization, he was unjustly prosecuted. To both Rick Flag and us, this seems absurd, as we have a lot of predisposed biases towards Weasel. You see, he is one of the few pre-existing characters in this cast. Weasel was previously seen in James Gunn's The Suicide Squad, though only briefly. There, as a member of the Decoy Team, he makes weird, gross noises, they make a joke about him having killed 27 kids, then have him promptly drown before the mission even starts (Though, in the post credit, it turns out he survived, because that's even funnier). Even if you hadn't seen that film (Which you should if you haven't), they reestablish all that in this series in the first few episodes, portraying him as a stupid, vulgar, violent creature who isn't worthy of rights. However, expertly, this is all a front.

In the flashbacks, we learn that Weasel only interacted with about 8 kids, a bunch of students left at an after school program. Contrary to what we had been told, he really just played around with the kids, chasing around a ball. They eventually get inside the school and, while messing with stuff they shouldn't have, start a small fire. However, some antics are afoot. While he is playing around, an old senile man sees this and, rather than asking about what's going on, decides to run back to his home, call the cops about what is a clear, if odd, misunderstanding, then grab his gun to try to take things into his own hands. And, as he does, shakily trying to shoot Weasel, he makes the problem of the small fire worse, shooting a gas canister behind them, turning the small fire into a school-destroying explosion and fire. Then, the cops show up. Many of the kids are already dead, seemingly, but one survived. So, as he pulls her out of the wreckage, what do the cops do? They start shooting. Throughout this whole sequence, the cops do nothing but shoot and get in the way of things. It all culminates in the final shots, where Weasel has dropped the kid after being shot. And, instead of either of them going to get the kid, they both pin Weasel down, try to pull him out. This leaves the young girl to be crushed.

This is a massive tragedy, a game of tragic misudnerstandings that gets kids killed. However, again, it does this by hiding its politics into a genuinely moving character based story to make them more effective. It is a story, in part, about our predisposed biases. I mean, the narrative literally sets this up. Characters around Weasel say things about him without him being able to have a say. Because he's a Weasel. Then, our characters make judgments based on what they believe and what they've heard from secondhand sources over what they actually see. Even when Weasel is his most violent (taking down Circe in episode 3), he does it to protect his teammates, and he doesn't actually kill her. In his backstory, characters make rash decisions based on their misinformed judgments in hopes of "protecting the kids," when all they are actually doing is harming them. They get 8 kids killed all because Weasel is a little freaky.

Then there's the cops themselves. It so masterfully uses showing rather than telling. The most it tells us is of the trail at the start, and again, this is moreso used as setup, playing into our dispositions. However, when it is time to actually depict the injustices, it shuts the fuck up. It doesn't just say that cops are bad with a couple of clear shitheads and moves on. It shows how cops are bad. Their only answer to this situation is violence. They don't actually serve their community, in this instance the children stuck in the fire, their only answer is to start shooting things. Because they have no other answer than state sanctioned violence. And they did this all with an episode about FUCKING WEASEL!

Now, imagine what they can do with Superman. It doesn't even have to be political, like these previous examples. However, to me, this shows that he can do what, to me, some of the best storytellers do. They weave every element of their story together with deliberate choices that strengthen each other. If anything, more than any well edited trailer, it is that that excites me about everything James is working on. Of course, he is doing this with a team, but James is the type to surround himself with smart people who understand these things inside and out. That one David Corenswet quote about the shorts proves that to me in shades. That's what gives me hope about these works. That they will be movies and shows that mean things. Which seems like a low bar, but hey, so many fail at it that it's kind of impressive.

[graysoncritic]

He Walks: Dick Grayson, the Survivor

This is a meta written for the ten year celebration of Grayson. For @grayson10yearslater.

From it’s prologue in Nightwing #30, Grayson by Tom King and Tim Seeley, boldly poses its readers with the question of how to describe one of DC’s oldest and most iconic characters when he is stripped of his familiar superhero identities. Who is Dick Grayson when he can’t hide behind Robin? Nightwing? Batman?

[King, Tom; Seeley, Tim; Tynion IV, James, writers. Janin, Mikel; Hetrick, Meghan; Garron, Javier; Lucas Jorge, illustrators. Setting Son. Nightwing. 30, e-book ed. DC Comics, 2014. Page 30]

Divided into twenty issues and three annuals, the story explores the theme of identity from all angles, pushing Dick away from his comforts to dissect the different layers of his character. A hero, the end of the last issue seems to say, is the true answer to this difficult question.

[King, Tom; Seeley, Tim, writers. Antonio, Roge, illustrator. Spiral’s End. Grayson. 20, e-book ed. DC Comics, 2016. Page 23]

And while that is undoubtedly true, each of the preceding nineteen issues elaborate on what traits can folded into a hero.

Dick is a storytelling, the first annual says;

[King, Tom; Seeley, Tim, writers. Mooney, Stephen, illustrator. A Story of Giants Big and Small. Grayson. Annual 01, e-book ed. DC Comics, 2014. Page 11]

Dick is compassionate, the finale of Act I with the Paragon Brain proves;

[King, Tom; Seeley, Tim, writers. Mooney, Stephen, illustrator. Sin by Silence. Grayson. 07, e-book ed. DC Comics, 2014. Page 19]

Dick is a partner.

[King, Tom; Seeley, Tim, writers. Janin, Mikel, illustrator. Nemesis Part Two. Grayson. 10, e-book ed. DC Comics, 2014. Pages 23 to 24]

I want to focus a little bit on that last one. Dick, after all, was created to be the perfect partner. In 1940, he was the sensational character find that became Batman’s other half, the missing element to his mythos. Move further along his history, and a diverse number of writers were compelled to team Dick with other characters — he’s the Titans’ leader, the missing third piece of the World’s Finest, Batgirl’s love interest.

Grayson, too, is interested in exploring this aspect of Dick Grayson. In its first act, it pairs him up with Helena Bertinelli, whose more experience, tragic background, and darker personality is meant to mirror Batman.

Tom King: For me, it seems to make so much sense because basically she almost has that Batman female origin. She shares that origin that Batman and Dick have of having gone through this violent period when she was young and coming out of that a hero. We wanted to play with that. We wanted to play with the dichotomy of what Barbara is in Dick's life versus what Helena is in Dick's life. Helena's much closer to what Batman is and much closer to the father figure Dick was related to, so I think that creates immediate tension and fun stuff we can play with.

[Katzman, Gregg. "Interview: Tom King & Tim Seeley Talk GRAYSON." Yahoo! News, 4 Jan. 2015. Accessed 8 Dec. 2024.]

In act two, he is paired up with Tiger King of Kandahar. In fact, there is a theme of duality and partnerships throughout Grayson, showing that this is a critical aspect of who is Dick Grayson.

The exception to this is Grayson #05.

A self-contained story, Grayson #05 isolates Dick to get to the core of who he is. By contrasting Dick with Helena and Midnighter, placing him in the unforgiving vastness of an infernal desert, and calling forth the tale of Robin Dies at Dawn, Grayson #05 presents us with a man who does not give up and does not give in. Dick walks, even if he must walk, at times, alone. When laid bare, without the trappings of a superhero identity or of a partner, Dick Grayson, Grayson #05 says, is, at the core of his being, a survivor.

In this meta, I want to see just exactly how Grayson #05 does that through a close reading of the issue.

Now, without any further delay, let’s get started.

Let’s start with the cover.

[King, Tom; Seeley, Tim, writers. Janin, Mikel, illustrator. We All Die at Dawn. Grayson. 05, e-book ed. DC Comics, 2014]

Everything about this cover radiates heat. The sun is beaming down mercilessly, the spirals mimicking the sun rays, the color palette a strong orange that is highly saturated but not bright. The reader can feel how hot it is in this desert, and all around there's nothing but sand. Sand, sand everywhere the eyes can see, and in the center of the image, a lone black figure braving this infernal bare landscape.

This cover tells us not just the location of where the issue will be set, but it also shows that Dick will be alone out there. It tells us this will not be an action-filled story, but it will be one of survival. Man vs Nature, and nature does not discriminates with her ruthlessness. Dick stands alone facing the elements, but he stands. He is walking, he is not giving up. It would be so easy for this cover to have a close up of Dick's, Helena's, and Midnighter's exhausted expression as they each try to survive, but instead we just see Dick by himself, alone, walking. He does not give up, he does not give in. He survives.

The issue then opens in medias res, immediately presenting the readers with that main conflict: survival. It does not waste any time with unneeded exposition — after all, though Dick would hate this fact, we as readers do not need to know the name of the mother who is dying; we do not need to know the details of Minos’ mission before it all went wrong; we don’t even need to know how Midnighter managed to track Dick and Helena. All we need to know is that Dick and Helena, and Midnighter are all after the Paragon Heart, which belongs to the, as of this page, unborn baby; that ARGUS somehow tracked Midnighter who was fighting Dick for the Heart; and that mid-fight the mother went into labor.

There's an elegance in the way everything is conveyed so well and so quickly in this one page. It's brilliant storytelling from both a writing and a visual stand point.

[King, Tom; Seeley, Tim, writers. Janin, Mikel, illustrator. We All Die at Dawn. Grayson. 05, e-book ed. DC Comics, 2014. Page 01]

As they crash into the desert, the mother passes away. ARGUS is gone, but our trio and the newborn baby girl are faced with a mightier enemy: The desert. The nearest town is days away, they do not have a lot of supplies, they do not have how to call for help. Here, we’re faced with this issue’s main question: Can they survive this? The answer seems to be resounding “no.”

Let’s take a look at how each of the characters approach this situation.

Helena is pragmatic. She is thinking of the mission, but her expression is troubled. She doesn't see a way out of this. She knows they have to survive long enough for Spyral to eventually find them, but the odds are against them. Given the fact she’s injured, it’s unlikely she’ll ever make it out of this desert. Still, that does not mean she’ll fall into despair. She'll do what needs to be done, but she knows this is not something they can easily get out of. If she goes down, she'll go down fighting. Like I said, she’s pragmatic.

Midnighter, on the other hand, is a pessimist. He is jaded. Why bother trying? Midnighter is a nihilist. “We’re dead,” he says not once, but twice.

Then we have Dick. Beautiful Dick, he holds the baby in his arm like she's the most precious thing in the world. And in this moment, she is. His reply to Midnighter is telling. They aren’t dead. They can't be, because if they are dead, then so is she, so death is not an option. It's not a question of what is practical, of what the mission is, of what the odds are. It's not about being an optimist, either. It's simply about her. She is all that matters and she is entirely dependent on them, so they can't be dead. They cannot let her die, this little innocent child who is not even an hour old. So what will they do instead? They’ll walk. They’ll survive.

[King, Tom; Seeley, Tim, writers. Janin, Mikel, illustrator. We All Die at Dawn. Grayson. 05, e-book ed. DC Comics, 2014 Page 02-03]

The next page displays what will become the brilliant standard for this issue — open skies, sand, and small figures walking. Everything about it conveys this vastness that is so oppressive in its openness. It's the majesty of Mother Nature.

Note how tiny the figures are. Note how Dick leads the other two, not by a little, but by a lot. In his arms Dick holds the baby, nurses her with the formula from the mother’s bag. In the pages we see Helena struggling, Midnighter drinking water and shedding away his clothes, but Dick remains stoic. He leads, separated — isolated, distant — from the rest, determined, disappearing into the far orange of the page.

In this, we see Dick’s silent determination. It’s notable that he is not trying to make light of the situation through humor. Instead, he is silent. And he walks.

[King, Tom; Seeley, Tim, writers. Janin, Mikel, illustrator. We All Die at Dawn. Grayson. 05, e-book ed. DC Comics, 2014. Pages 04-05]

As the story continues, Midnighter’s pessimism deepens. It is notable that this issue is the first time Dick and Midnighter have seen each other since Grayson #01. And what does Midnighter do? He lashes out at Dick by revealing he knows who Dick is. This calls back to Forever Evil, where Dick’s identity was revealed to the world. Midnighter is weaponizing Dick’s trauma against him, trying to draw a reaction out of Dick. Not only that, he says that they only way to survive is to kill the baby and use the Paragon Heart. Otherwise, the odds are not in their favor, and he deems this "just walk" strategy is pointless. This is how Midnighter copes with the hopelessness of their situation — he dwells on the negative and lashes out.

Helena reacts to Midnighter by subduing the threat, but she doesn’t comment on his defeatist attitude. Nor on his plan. She is, again, practical. She won’t say they’ll make it, but she won’t allow Midnighter to pose a threat to the mission.

Dick, though… Not once does Dick acknowledge Midnighter’s taunting. Not once, not even to defend the baby. A weaker writer would have tried to get Dick to empathize with Midnighter, to tell him again that they're not dead yet, that they just need to keep trying. Instead, Dick’s refusal to even look at Midnighter shows how he won't even acknowledge the possibility of not surviving. His focus, instead, is all on her. That is what is driving him so that is what has his entire attention. Midnighter's temper tantrum is not even worth his time. Not when her survival is at stake.

I also want to take a moment to take in the environment. In this scene, the first panel shows how tiny the three of them are in the vast desert, the beautiful sky expanding above them. Mother Nature, the issue seems to say, is beautiful, worthy of awe. It is big, bigger than any human. More powerful, too. It is a challenge unlike any Dick has ever or will ever face. It cannot be charmed by him, it cannot be fought against, it cannot be conquered. It is not cruel or evil, either. It simply is, bare and uncomplicated, honest at all times. To survive her, Dick must also be the barest, least complicated version of his self.

While writing this, I often felt myself hesitating when writing about the conflict between Dick and desert. Phrases like “go against the desert,” often came to my tongue, and I had to swallow them back due to how wrong they felt. To “go against” someone (or something) is to have an antagonistic, adversarial relationship, and I’m not sure that is incredibly accurate to this scenario. The desert is indifferent towards Dick and the others. Midnighter speaks of fighting, of winning, of conquering this challenge, but Dick, by contrast, is quiet. He is not trying to “win” against the desert. That is not the right frame of mind. Rather, he is simply trying to survive.

[King, Tom; Seeley, Tim, writers. Janin, Mikel, illustrator. We All Die at Dawn. Grayson. 05, e-book ed. DC Comics, 2014. Pages 06 - 07]

As time passes, Midnighter continues to talk. To taunt. His negative attitude doesn’t light up, and he is still trying to get a reaction out of Dick. Here we see that Midnighter is perhaps not fully comfortable with his enhancements, like he doesn't see himself as fully human because of them. He resents them even as he trusts his enhancements more than he trusts his own abilities. He says he sees all outcomes and there are none where they survive this. Not as humans. Not without the Heart.

Note how Midnighter presents their situation as not about being tough, but about how much energy you have. This framing seems to reject the idea of survival — of “toughing it out” — and instead looks at their situation as one of victory and defeat — you have to have enough energy to make it out of the desert, and in doing so, you’ll be victorious.

Yet, Midnighter predicts himself to outlast Dick, but in reality, he falls before Dick does. This begs the question: Was Midnighter right? Must you defeat the desert and win against it in order to win?

Personally, I believe the story is saying “no.” This is not about victory and defeat, but about survival. And to survive, one must lay themselves bare of foolish things such as pride and ego. To survive, you must dig deeper within yourself, and find something that will allow you to not go against mother nature, but to continue walking along side her.

Dick has found his something deep within himself. That something is his compassion. Helena collapses, and Dick leaves with her his shirt, laying himself bare. Yet, despite his fallen partner, his priority is still the baby girl. He will survive for her, and in this action we see the depths of Dick’s compassion for others. He continues to walk. He continues to survive.

[King, Tom; Seeley, Tim, writers. Janin, Mikel, illustrator. We All Die at Dawn. Grayson. 05, e-book ed. DC Comics, 2014. Pages 08-10]

Finally, after days, Midnighter is confronted with the true force that is Dick Grayson. He was so certain he was going to outlast Dick. “I have… My… Enhancements. I have powers,” he struggles to say. But what does Dick have? How can a simple man continue to go against these conditions?

This page shows how deeply Midnighter underestimated Dick’s humanity and his compassion. Dick is not a superpowered individual, no, but Dick’s determination is unlike at other. This is who he is… Someone who walks.

Dick is a survivor. When Dick was a small boy, he lost his entire world in a traumatic act of violence. From the moment those ropes snapped and the Flying Graysons plunged to their deaths, Dick became a survivor — someone who had to figure out how to walk forward when everything seemed lost. And Dick did it.

If I can go on a bit of a tangent here, I’ll say that I really dislike whenever child heroes are characterized as child soldiers, be it by fans or by canon writers. This reading is, in my opinion, incredibly lazy and displays a lack of understanding of what superhero identities are meant to stand for. We can discuss the traumas that come along with being a child hero, but to dismiss it as a universally bad thing and equating to the real world horror of child soldiers ignores the fact that this is a fictional world in which the fantastical concepts act as metaphors for larger ideas.

Robin is not a child soldier. Robin, much like Batman, is a response to trauma. Specifically, Dick’s Robin is a response to the trauma of being a survivor of violent crime, and Robin demonstrates how a victim can regain agency and transform their tragedy into an empowering narrative. As Steve Braxi points out in his On Superman, Shootings, and the Reality of Superheroes essay, Batman “transform[s] trauma into will power,” and Dick, whose story is meant to mirror that of Bruce’s, does the exact same through Robin. Through Robin, Dick is able to not only find justice for his parents, but he is also to help other survivors like him. And that is what allows him to keep on walking.

This is what Grayson #05 demonstrates. It strips away the metaphor of the hero identities and the distraction of partnerships, laying Dick out bare and showing that as long as he can help someone, as long as he has his compassion, Dick Grayson can survive anything.

[King, Tom; Seeley, Tim, writers. Janin, Mikel, illustrator. We All Die at Dawn. Grayson. 05, e-book ed. DC Comics, 2014. Pages 12 - 13]

In the following page, the vastness of the desert is contrasted with close up shots of the baby. We see Dick, so impossibly small standing against a large desert that disappears into the horizon, and ocean of sand and oranges, and we see the whole reason why Dick is still alive. The environment that may kill him is contrasted with the reason why he will survive.

“I’m here. I’m here,” Dick tells the baby girl as she ceases her cries. “I’m still here.”

He gets up… And he walks. The repetitiveness of the action throughout the issue emphasizes the slog of the immediate aftermath of a traumatic event, those moments when you realize time is progressing forward as it always had, but your mind and heart are still stuck in that one moment that changed your life forever. All Dick can do is walk, walk, walk, yet he is still lost in this vast desert, the trauma is still overwhelming him, there’s no end in sight… But he does have his reason for not giving up — his compassion allows him to continue onward.

[King, Tom; Seeley, Tim, writers. Janin, Mikel, illustrator. We All Die at Dawn. Grayson. 05, e-book ed. DC Comics, 2014. Pages 14 - 15]

Robin Dies at Dawn is the title of Batman #156. In this two part story Batman finds himself in an alien planet filled with threats. Robin saves him from sentient, walking plants, and after escaping, they find a giant stone idol that comes to life and begins chasing them. They manage to leap over a deep fissure and realize that if the stone idol were to do the same, the unstable down would crumble and the stone idol would fall, securing their safety. As they wait for the idol, they see that it, too, realized the ground was unstable and it tries to figure out a safer passage to the other side. That’s when Robin provokes the stone idol, who, in fury, grabs a boulder to throw at Robin. Before it can do it, the floor crumbles and it falls, but boulder still hits Robin and kills him. Later, it is revealed that this was a hallucination induced by an experiment Batman subjected himself to meant to study the effects of loneliness in astronauts. Through the following days, Bruce has occasional hallucinations of alien creatures putting Dick in danger. It isn’t until Dick’s life is threatened by the Gorilla Gang that Bruce is able to “overcome” the lingering effects of the experiment, the threat to Dick’s life being enough to “shock” him back to normal.

[Finger, Bill; Boltinoff, Henry; Schiff, Jack, writers. Moldoff, Sheldon; Boltinoff, Henry, illustrators. Robin Dies at Dawn. Batman. 156, e-book ed. DC Comics, 1963. Page]

To the baby girl, Dick recounts this Golden Age story as if it were a dream, focusing on the part where the stone idol kills him with the boulder. In this tale, we go back to Robin, Dick’s first survival mechanism, and to the first person who first showed him compassion and to whom his survival was paramount — Batman.

Though so far Dick has rejected the idea of victory vs defeat, he presents the baby with a scenario where he is faced with such a conflict. Yet, in this case, to “go up against” the enemy is to call them forward so they will fall. Dick’s taunting leads the stone idol to it’s defeat, and this is the point which Dick says he wants the baby girl to focus on. You must welcome danger, he seems to say, and face it head on. You must walk forward instead of running away.

Yet, it is notable that the enemy is not the only one who is defeated in this story. After all, Dick “dies” at dawn. This is what Dick doesn’t want the baby to focus on, but I think it’s important in understanding this idea of survival. In the story, Dick sacrifices himself so Batman can escape. He goes up against an enemy, he achieves victory, but he does not survive. But, crucially important, Batman does.

This paints a picture where Dick's survival and his victory are not one and the same. Not the way Midnighter seemed to have believed. While Dick’s compassion is intrinsically tied to his status as a survivor of violence, this story seems to indicate that Dick will readily relinquish his own survival for the sake of someone else. In the framing of victories and defeats, other people’s safety -- other people's survival -- is Dick’s “win” condition.

This, I believe, demonstrates how Dick's compassion allows him to pass own his survivor status to others, even at the cost of his own life. By shielding them and giving them the opportunity to move past a trauma, Dick creates other survivors. He becomes their protector, their patron saint.

[King, Tom; Seeley, Tim, writers. Janin, Mikel, illustrator. We All Die at Dawn. Grayson. 05, e-book ed. DC Comics, 2014. Pages 16 - 18]

Dick Grayson is a lot of things, and he has numerous qualities. He is a partner, a hero, and a friend; he’s good, he’s funny, and he’s brave. While all of those are important aspects of his character, they can also distract from one characteristic that is crucial to Dick’s genesis.

Before he was Agent 37, before he was Nightwing, before he was Robin, Dick was a survivor. Having survived violence, Dick used his compassion to transform his trauma into power. Grayson #05 isolates Dick from the world, putting him in a dangerous and revealing desert to expose his ability to survive through his compassion. This, the story says, is who Dick at the core of his being, when stripped away from the distractions of partnerships and superhero metaphors. This is who Dick Grayson is: He is a man who walks.

Bibliography:

Braxi, Steve, “On Superman, Shootings, and the Reality of Superheroes” Comics Bookcase, September 2021

Finger, Bill; Boltinoff, Henry; Schiff, Jack, writers. Moldoff, Sheldon; Boltinoff, Henry, illustrators. Robin Dies at Dawn. Batman. 156, e-book ed. DC Comics, 1963

Katzman, Gregg. "Interview: Tom King & Tim Seeley Talk GRAYSON." Yahoo! News, 4 Jan. 2015. Accessed 8 Dec. 2024

King, Tom; Seeley, Tim, writers. Janin, Mikel, illustrator. We All Die at Dawn. Grayson. 05, e-book ed. DC Comics, 2014

King, Tom; Seeley, Tim, writers. Mooney, Stephen, illustrator. A Story of Giants Big and Small. Grayson. Annual 01, e-book ed. DC Comics, 2014

King, Tom; Seeley, Tim, writers. Mooney, Stephen, illustrator. Sin by Silence. Grayson. 07, e-book ed. DC Comics, 2014

King, Tom; Seeley, Tim, writers. Janin, Mikel, illustrator. Nemesis Part Two. Grayson. 10, e-book ed. DC Comics, 2014

King, Tom; Seeley, Tim, writers. Antonio, Roge, illustrator. Spiral’s End. Grayson. 20, e-book ed. DC Comics, 2016

King, Tom; Seeley, Tim; Tynion IV, James, writers. Janin, Mikel; Hetrick, Meghan; Garron, Javier; Lucas Jorge, illustrators. Setting Son. Nightwing. 30, e-book ed. DC Comics, 2014