#meta-blogging

[thegeminisage]

i'm just going to go ahead and make this its own post. when kirk teases spock he is SO GENTLE. "why mister spock are you feeling emotion?" and he lets spock do the vulcan equivalent of giggling and kicking his feet and going "haha nooo silly i'm a VULCAN i don't do that!!" and kirk's like "oh my apologies mister spock of COURSE not" and then they make consensual loving eyecontact with one another while smiling. when BONES senses blood in the water (spock having an emotion) he will grab spock by the scruff of his fucking neck and shake until dead. like a dog with a squirrel.

[telumendils]

i honestly think the ghoul believes lucy is just full of shit until she gives him those vials. like he does not believe she is genuinely that good of a person because no one is that good of a person anymore, and because she is the product of vault-tec middle-management. he is constantly expecting her to show her "true colors" (hence "there you are, you little killer" after she bites off his finger) until that moment when she chooses to help him despite the fact that he's done nothing to deserve her kindness. COMPELS ME!!!!

[knowmypower]

please understand my vision of meta knight and bayonetta (brawl and wiiu champs) being doubles partners now

original

[necrotic-nephilim]

as much as I love the common "Tim worships/stalks Jason" trope in TimJay fanfiction because it's Good and making Tim a weird little freak is Fun, I think the underutilized dynamic is where Jason is the one weirdly obsessed with Tim and makes it Tim's problem.

Like, the moment Jason is confronted with the information that a third Robin exists, the first thing he does is cover his wall with pictures of Tim so he can just obsess and torture himself over it. That is the behavior of a man who is Unwell over Tim's existence and I love it.

red hood: lost days #4

And as much as a shitshow as The Titans Tower Incident™ is characterization-wise (though I think it has far more merit in depicting Jason's character than people give it credit for but I digress-) there's something very fun about the fact that even after kicking his ass, Jason respects Tim and is impressed by him.

teen titans (2003) #29

And on top of that, Jason can't seem to stop trying to ask Jason to Tim to work with him in some capacity.

robin (1993) #177

batman: battle for the cowl #2

While Battle for the Cowl is an exceptionally bad comic, especially for its characterization of Jason and the "be my Robin" bit is taken deeply out of context, I do think it's interesting how obsessed Jason is with believing that Tim is extremely competent, only held back by being "brainwashed by Bruce". (hence him leaving Tim for dead later on in the comic.) Jason seeing a darker side of Tim and wanting to bring that out of Tim, wanting to see what Tim could be if he let go of his loyalty to Bruce is so fun to me, tbh.

And in Robin #177, Jason seems genuinely upset Tim doesn't want to work with him. Jason sees such a raw potential in Tim and is obsessed with it, constantly wanting Tim to work for him and see Tim be the type of person Jason is. And despite Tim rejecting him, Jason doesn't shoot to kill Tim. I just cannot get over the fanfic potential of Jason obsessing over Tim, tracking him and seeing what he's capable of and what he could be capable of. Wanting to make Tim see things the way he does. To Tim it's corruption, to Jason it's freedom. Tim trying to 'save' Jason is fun and all, but Jason trying to corrupt Tim? That's even more fun to me. Watching that power struggle between them, Tim unable to get Jason off his heels as Jason gets more and more possessive and bold with each attempt.

And when Jason sees Tim successfully get Gotham back under control after a gang war, he's impressed. He praises Tim, even. And then Tim just. Breaks him out of prison.

robin (1993) #182

The way they're constantly trying to see something in the other that isn't there, hoping the other will come around? That is the most fucked up hate/love dynamic ever. Jason keeps coming back to Tim, keeps trying to find ways to get Tim onto his side. They're always chasing each other. And I think Jason would be the one to confess love first, the one to do anything to make Tim his. And when you consider after all of this, Tim has his Red Robin arc and is at his lowest, getting the closest he ever gets to considering murder? I think it'd be so fun to see Jason take advantage of that and worm his way back into Tim's life and finally push Tim over the edge.

[picaroroboto]

Shadowbringers is a ghost story, it's a love story, it's a post-apocalyptic horror story, it's a high fantasy that turns the genre's notions of light and dark and hero and villain inside-out and upside-down. Fitting with the whole light and dark schema it's FF14's writing at it's darkest and edgiest, and most optimistic and hopeful at the same time. It's about the struggle of finding and protecting whatever hope you can in the most painful of situations, about how even the strongest of us have to rely on one another, and it's an allegory about healing from grief and trauma on a grand scale. It's about choosing an imperfect present, a broken world, over a false promise of a utopian past.

Most importantly it's a story about the universal human experience of trying to kill evil angels while being lied to by wizards who are weirdly obsessed with you.

[anghraine]

It's always been intriguing to me that, even when Elizabeth hates Darcy and thinks he's genuinely a monstrous, predatory human being, she does not ever perceive him as sexually predatory. In fact, literally no one in the novel suggests or believes he is sexually dangerous at any point. There's not the slightest hint of that as a factor in the rumors surrounding him, even though eighteenth-century fiction writers very often linked masculine villainy to a possibility of sexual predation in the subtext or just text*. Austen herself does this over and over when it comes to the true villains of her novels.

Even as a supposed villain, though, Darcy is broadly understood to be predatory and callous towards men who are weaker than him in status, power, and personality—with no real hint of sexual threat about it at all (certainly none towards women). Darcy's "villainy" is overwhelmingly about abusing his socioeconomic power over other men, like Wickham and Bingley. This can have secondhand effects on women's lives, but as collateral damage. Nobody thinks he's targeting women.

In addition, Elizabeth's interpretations of Darcy in the first half of the book tend to involve associating him with relatively prestigious women by contrast to the men in his life (he's seen as extremely dissimilar from his male friends and, as a villain, from his father). So Elizabeth understands Darcy-as-villain not in terms of the popular, often very sexualized images of masculine villainy at the time, but in terms of rich women she personally despises like Caroline Bingley and Lady Catherine de Bourgh (and even Georgiana Darcy; Elizabeth assumes a lot about Georgiana in service of her hatred of Darcy before ever meeting her).

The only people in Elizabeth's own community who side with Darcy at this time are, interestingly, both women, and likely the highest-status unmarried women in her community: Charlotte Lucas and Jane Bennet. Both have some temperamental affinities with Darcy, and while it's not clear if he recognizes this, he quietly approves of them without even knowing they've been sticking up for him behind the scenes.

This concept of Darcy-as-villain is not just Elizabeth's, either. Darcy is never seen by anyone as a sexual threat no matter how "bad" he's supposed to be. No one is concerned about any danger he might pose to their daughters or sisters. Kitty is afraid of him, but because she's easily intimidated rather than any sense of actual peril. Even another man, Mr Bennet, seems genuinely surprised to discover late in the novel that Darcy experiences attraction to anything other than his own ego.

I was thinking about this because of how often the concept of Darcy as an anti-hero before Elizabeth "fixes him" seems caught up in a hypermasculine, sexually dangerous, bad boy image of him that even people who actively hate him in the novel never subscribe to or remotely imply. Wickham doesn't suggest anything of the kind, Elizabeth doesn't, the various gossips of Meryton don't, Mr Bennet and the Gardiners don't, nobody does. If anything, he's perceived as cold and sexless.

Wickham in particular defines Darcy's villainy in opposition to the patriarchal ideal his father represented. Wickham's version of their history works to link Darcy to Lady Anne, Lady Catherine (primarily), and Georgiana rather than any kind of masculine sexuality. This version of Darcy is a villain who colludes with unsympathetic high-status women to harm men of less power than themselves, but villain!Darcy poses no direct threat to women of any kind.

It's always seemed to me that there's a very strong tendency among fans and academics to frame Darcy as this ultra-gendered figure with some kind of sexual menace going on, textually or subtextually. He's so often understood entirely in terms of masculinity and sexual desire, with his flaws closely tied to both (whether those flaws are his real ones, exaggerated, or entirely manufactured). Yet that doesn't seem to be his vibe to other characters in the story. There's a level at which he does not register to other characters as highly masculine in his affiliations, highly sexual, or in general as at all unsafe** to be around, even when they think he's a monster. And I kind of feel like this makes the revelations of his actual decency all along and his full-on heroism later easier to accept in the end.

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

*The incompetently awful villain(?) in Sanditon, for instance, imagines himself another Lovelace (a reference to the famous rapist-villain of Samuel Richardson's Clarissa). Evelina's sheltered education and lack of protectors makes her vulnerable to sexual exploitation in Frances Burney's Evelina, though she ultimately manages to avoid it. There's frequently an element of sexual predation in Gothic novels even of very different kinds (e.g. Ann Radcliffe's The Mysteries of Udolpho and Matthew Lewis's The Monk both lean into this, in their wildly dissimilar styles). William Godwin's novel Caleb Williams, a book mostly about the destructive evils of class hierarchies and landowning classes specifically, depicts the mutual obsession of the genteel villain Falkland and working class hero Caleb in notoriously homoerotic terms (Godwin himself added a preface in 1832 saying, "Falkland was my Bluebeard, who had perpetrated atrocious crimes ... Caleb Williams was the wife"). This list could go on for a very long time.

**Darcy is also not usually perceived by other characters as a particularly sexual, highly masculine person in a safe way, either, even once his true character is known. Elizabeth emphasizes the resilience of Darcy's love for her more than the passionate intensity they both evidently feel; in the later book, she does sometimes makes assumptions about his true feelings or intentions based on his gender, but these assumptions are pretty much invariably shown to be wrong. In general the cast is completely oblivious to the attraction he does feel; even Charlotte, who wonders about something in that quarter, ends up doubting her own suspicions and wonders if he's just very absent-minded.

The novel emphasizes that he is physically attractive, but it goes to pains to distinguish this from Wickham's sex appeal or the charisma of a Bingley or Fitzwilliam. Mr Bennet (as mentioned above) seems to have assumed Darcy is functionally asexual, insofar as he has a concept of that. Most of the fandom-beloved moments in which Darcy is framed as highly sexual, or where he himself is sexualized for the audience, are very significantly changed in adaptation or just invented altogether for the adaptations they appear in. Darcy watching Elizabeth after his bath in the 1995 is invented for that version, him snapping at Elizabeth in their debates out of UST is a persistent change from his smiling banter with her in the book, the fencing to purge his feelings is invented, the pond swim/wet shirt is invented. In the 2005 P&P, the instant reaction to Elizabeth is invented, the hand flex of repressed passion is invented, the Netherfield Ball dance as anything but an exercise in mutual frustration is invented, the near-kiss after the proposal in invented, etc. And in those as well, he's never presented as sexually predatory, not even as a "villain."

[tea-cat-arts]

Sometimes I wonder what Jiang Cheng could've become if his parents didn't instill a mix of "crippling fear of failure" and "impossibly high standards" in him. Cuz like, his dad was holding him to the vague standard of being as good as wwx, his mom yelling at him whenever he goofed around like wwx, and then both of them expressed disappointment when he's less successful than wwx. The thing both of them seem to ignore though is that wwx got where he is entirely because he had the freedom to fuck around and find out- he trained tirelessly because he made training fun for himself, he was innovative as a cultivators because he experimented and persisted through failures, and he was able to act in line with the Jiang clan moto because his actions had less political pull than members of the main family. Jiang Cheng on the other hand- if he fucked around he got told to "stop stooping to the level of servants." If his achievements were lesser than wwx's, he got either dismissed by his dad or yelled at by his mom to try harder. And if he picked fights with the Wens, they'd have an excuse to destroy his clan. Like ya- no shit that'd create an adult who's terrified of failure.

The kite game serves as such a good metaphor/embodiment of this set back- with Jiang Cheng never being able to shoot as far as Wei Wuxian because he pulls back and shoots closer the second he misses.

And its sad too because he's shown to be pretty brilliant when he's in "fuck it, we ball" mode. Like, when he's not freezing up, he manages to pull off things like rebuilding his entire clan from the ground up, leading armies and taking back territories from the Wens, and I'm fairly sure he's the only character we see counter the Lan music cultivation techniques (feel free to correct me if I'm wrong on that last one. Also feel free to add any of the other cool shit he did that I'm blanking on at the moment, cuz I know I'm forgetting something).

That being said- even with his anxiety, he's still one of the top cultivators. Imagine what a force of nature he'd be if he could sustain "fuck it we ball" mode

[afreakingmilkshake]

good day to draw meta knight gijinka

[calwasntfound]

my friend has been trying to get me to watch rvb for almost ten years. you'll never guess who finally caved

[francesderwent]

[muchmorethanmoney]

I think Rosie is a key factor to understanding Alastor's outlook on friendships.

The show all but spells out that Alastor sees attachments as a weakness, from the "Great Alastor, altruist, died from his friends" line to the hints about his failed friendship with Vox and to the way the narrative immediately punishes him when he admits to Niffty that "One could get accustomed". However something sets Rosie aside from all of this. With her, Alastor is open about scheming, he allows her to touch him and even seems to bleat like a fawn when she grabs him. Their friendship seems oddly healthy for a guy who seems to think that letting people even peek through the twenty meter wall he's built around himself is a fate worse than death. So what makes Rosie different? I think what sets her aside from other attachments that Alastor might view as dangerous (such as Vox, maybe?) is that no matter how close they might be, she still has her own world and he has his. There's a safety in knowing your life won't have to change and that you're free to take any risk, ruin any bond because you're not directly putting this person in danger. Rosie is Alastor's friend, not his responsibility. That's why she's not as affected by Alastor's disappearance and welcomes him back as if he had been gone for a week. Their lives are completely separated, but they choose to meet at the borders.

I think that someone like Vox doesn't do that. Vox lives with Velvette and Valentino, they share everything, success, plans, even a living space. Heck, Velvette can go to the Overlord meeting representing the other two because that trio can speak as one. When Vox asked Alastor to "join his team", he was basically asking Alastor to remodel his life to make space for him as well. If one of the Vees fucks up, all of them fuck up ("Our model is perfection"). Alastor has his own plans, his own messes and cannot by any means be tied down to someone else. Even if he did care for Vox, in order to really be on a team with him or anyone else, he would have to drop his creepy persona which keeps him safe, he couldn't just kill people and betray others however he wished, let alone make sketchy deals with much more powerful entities. His actions would impact the ones he kept close. Vox and Alastor couldn't join forces because they have fundamentally different goals and outlooks on attachment. Vox wants codependency, Alastor has conjured up indestructible walls just to survive.

So, tl;dr: Rosie and Alastor work as friends because they seemingly agree to keep their lives separate. Vox wanted to carve a niche for himself in Alastor's life just like he had done for him, but that's just not what Alastor wants nor is able to give.

[knowmypower]

when your dad is the coolest guy in the tournament but also the biggest DORK

[vivitalks]

i don't have coherent thoughts about it much less words but god just. kristen applebees realizes she's being attacked from within by kalina, and what does she do? her girlfriend just disappeared, she and riz are on their own, they haven't found the last ingredient they need to make the tincture to heal the shadow cat plague, and said plague is now manifesting enough to kill kristen from the inside, and kristen...doesn't save herself. she casts her one greater restoration on riz. she trusts her friend. kristen "crisis of faith" applebees, who spends the entire first half of high school with no idea what she believes in, finds herself dying from an unseen assailant and chooses, without a second's hesitation, to put her faith - and her life - in the hands of her friends. because sure, kristen may be a devout young woman, but she knows better than most that gods are just people with tremendous power. and you know what? her friends are people with tremendous power, too. and they care about her without exception, without doubt. so when the chips are down, kristen believes in her friends. not knowing how they'll come through, but always knowing that they will.

[hoshinokaabi-secretsanta]

From: @das-a-kirby-blog

To: @humming-fly

[that-nerd-who-writes-fanfiction]

Sometimes I think Merlin and Arthur started the sacrificing each other to save each other shit too soon into the series.

Then I remember this scene exists.

(Screenshot from S1E2 - Valiant of Merlin bringing the snake head from the enchanted shield to Arthur to warn him that he’s in danger.)

They moved quickly, but they have a damn good reason for it. I honestly can’t say I blame them.

Merlin learned two things about his destiny with Arthur from this episode:

The first is that Arthur will listen when it matters, but his father’s influence runs deep. Arthur cares more about people’s opinion of him than anything else because he’s been groomed his entire life to become the future king, and Uther is tyrannical in his power so he believes that his is the only way to rule. Arthur picked up bad habits, so while he’s still young and learning what kind of man and leader he wants to be, he could still go either way and Merlin can’t yet trust him to always make the best decisions. (Proved in S1E3 when he enlists Morgana to talk to Arthur about the Afank)

The second thing is that Arthur believes in the systems that Merlin knows to be broken, so he learns it’s better to come to Arthur with results rather than warnings, because Arthur believes the systems in place can help, even in situations where they’d be more of a liability.

Both points are then enforced through season 1 and reinforced by Merlin himself in season 2 onwards.

Arthur learned that Merlin is loyal and honest to a fault, but because of the lifelong grooming as royalty and someone who’s supposed to be “above all others” - as proven when Uther says “his life isn’t worthless, it’s worth less than yours” to Arthur in S1E4 when he denies Arthur a group of men to take to save Merlin - it takes a while for it to really sink in that someone can be loyal and genuinely like him without ulterior motive, and when he finally does recognise that Merlin’s devotion is genuinely sincere, he pushes Merlin away (S2E1) in an attempt to keep himself from getting too close and then hurt by what his father would call his own naivety, rather than just admitting that sometimes people are just bad people who do bad things.

He then subconsciously or not learns that Merlin not being by his side is bad so he keeps him around but at a distance with walls built to protect himself. I can go more into that another time. Uther scapegoats Arthur for a lot, and even acknowledges that he’s a bad parent a few times but never does anything to change the behaviour so his apologies aren’t worth shit. Add that to the genocidal tyranny, and you’ve got a fascinating character who somehow isn’t the main villain of the story. I hate him, he should go play hop scotch on quick sand, but damn is he interesting from a writing/analytical standpoint.

So, yeah, they moved from “if anyone wants to kill him, they can go right ahead. I’ll give them a hand” (-Merlin S1E1) to “…Certain death. Few who have crossed the mountains in search of the Mortaeus Flower have made it back alive” “Sounds like fun” (-Gaius and Arthur S1E4) pretty quickly, but it makes sense when you think about why they moved that quickly with context of how they interact and their (assumed) past experiences.

[picaroroboto]

Point #1: The first thing we learn about Emet-Selch, even before we learn that Solus zos Galvus is Emet-Selch, is that Solus loved theatre.

Point #2: Emet-Selch plays the villain with mannerisms so over-the-top you'd think he's about to burst into a disney villain-style song and dance number at almost any moment.

Point #3: He's self-aware enough to recognize that he is a villain in your story but a hero to his own people, and that whoever wins the battle will write history to declare the loser the villain.

Point #4: The Tempest, the zone where Amaurot is located, is named for the Shakespeare play of the same name, with other landmarks named after characters from the play. The BGM "Full Fathom Five" is also named for an iconic line.

Point #5: Amaurot feels so empty because it is, in essence, a set for a stage play. After the play is preformed it has no purpose.

Back to Point #1: Emet-Selch really loved theatre.