#not enough people know about this comic and that is a TRAGEDY

[allysdelta]

Oh hey, if anyone needs a lighthearted and fun adventure series with a diverse cast of characters and a cool magic system, might I direct you to Kate Ashwin's webcomic Widdershins?

Seriously, if you followed me for my fan comics, I think you'll really like this one. It's nearly complete too and the final chapter is in progress. Take a break from the world and immerse yourself in an alternate-universe pre-Victorian England where emotion can be a weapon and the Seven Deadly Sins aren't called that for poetic license.

(Heinrich Wolfe, by the way, has my whole heart and I wish he were my friend.)

[thankskenpenders]

At long last, the trailer for Sonic movie 3 is here, giving us our first look at Shadow! It looks like a fun time, though my excitement is probably more tempered than a lot of peoples' due to a few things I have mixed feelings on. Here are my off-the-cuff thoughts about it.

Shadow

Yes, it does seem like they've really nailed Shadow here. Fowler's attachment to the character clearly shows. The action looks cool and really sells Shadow as a serious threat. He's got his bike, he's doing Chaos Control all over the place, it's great. Keanu is very much just doing his regular voice, but it fits well enough. The backstory from SA2 seems to mostly be there, though I'm sure some details will be adjusted. Mostly I'm still just amazed that we're getting a major tentpole blockbuster movie this Christmas starring Shadow the fucking Hedgehog that treats him as a serious character worthy of respect. We've come such a long way...

I mean, just... what an image to see on the big screen.

I also really like the way they're setting Shadow up as a foil for movie Sonic, kind of his dark mirror image as a Mobian hedgehog whose family life on Earth ended in tragedy and turned him into a vengeful antagonist. It's pretty straightforward, but it works well.

Robotnik(s)

Welp. They put Jim Carrey in a fat suit. I suppose we knew this day would come eventually.

I guess a small part of me is glad that movie Eggman finally actually looks like Eggman in every way that matter, but they're completely playing it as a joke at his expense here. And, yeah, the Sonic franchise isn't immune to fat jokes, the early years of the franchise (particularly Western adaptations) gave Sonic tons and tons and tons of jabs about Eggman's weight. But I thought we'd moved past that. But here we are with a depressed movie Robotnik binge eating and gaining a lot of weight like Fat Thor and the other characters think he's so GROSS and look his clothes don't even fit him anymore, haha! There's so much of this crammed into the trailer. I can only pray they don't do this in every fucking scene he's in in the movie.

I do like the plot of Sonic reluctantly teaming up with Robotnik to try and stop Shadow, though. It's very different from SA2, but we knew it would be, and I think that gives the movie some potential for Sonic to have kind of a dark turn of his own that mirror's Shadow's. I have a feeling that Sonic will try to get back at Shadow for something he does - maybe hurting Tom or something like that - and in the end Sonic sympathizes with Shadow and decides they have to stop their cycle of revenge, teaming up to stop some final threat.

Oh, and, of course... Jim Carrey is also playing Professor Gerald. Who might still be alive? Or maybe it's a hallucination on Ivo's part? I don't know, but either way, I'm here for it. Everyone joked about them doing it and then they went and did it. Yes, it risks playing him as a joke character, but the shot of him and Shadow mourning Maria while surrounded by GUN soldiers makes me believe he won't be a total joke. I wouldn't be surprised if he was the true final antagonist of the film, which would diverge a lot from the games but would work as its own version of the story.

And again, WHAT an image to see on the big screen lmao

Everyone else

The human cast is VERY downplayed in this trailer, but let's not forget that they're still going to get a lot of screentime one way or another. The Sonic 2 trailer barely showed anything from Hawaii. Where oh where is my best friend Wade?

Speaking of the Wade show, Knuckles... frankly still seems to be mostly a comic relief character heavily influenced by MCU Thor here, getting some jokes in the trailer but immediately getting Worfed by Shadow when it comes time to fight. Tails seems to be flying the gang around in a real-ass helicopter, and his big pilot's helmet is funny, but otherwise he doesn't really do anything here aside from getting stomped by Shadow. I really hope they don't get sidelined too hard, but frankly I fully expect them to, Tails especially.

And, of course... I can't help but think about who isn't here. Namely: the girls. Yes, three movies and one streaming miniseries into this film franchise, exactly zero of the female (animal) characters from the games have made the jump to live action. Please allow me to bitch about this.

Despite her being both 1) a main character in the game this movie is loosely adapting and 2) my fave, I suppose I can understand why Rouge isn't here. Paramount took one look at that bat cleavage and went "nope," cowards that they are. There was some speculation that Kristen Ritter could be playing Rouge, but we now know she's just playing someone at GUN. But, again, I at least get why they'd be hesitant to include her.

But Amy... Amy is such a glaring omission at this point. There's no excuse. She's the female lead of the franchise. She's one of Sonic's closest friends. (Honestly, these days it's more accurate to say Team Sonic is Sonic, Tails, and Amy, not Knuckles, especially in the comics.) And she's also a key player in Shadow's arc in the game. Shadow has his change of heart because Amy reminds him of Maria! And yet, she's nowhere to be seen. It sucks.

(I know some fans are still holding out hope for Amy, but the toys for the movie already leaked and she didn't get anything, so I have to assume she's not in it.)

It's not like I really expected either of them to be in this movie, but that doesn't make it less disappointing that they set up the film franchise in a way that makes it logistically difficult to include 90% of the characters and conveniently managed to leave all of the girls in the "low priority" pile. Yes, I know everyone points to how much Tails was downplayed in the third act of Sonic 2 as evidence that it's just so impossible to introduce more than one new Mobian character in each movie and give them the focus they deserve. Yes, I know having to come up with a story excuse to bring more characters over to Earth is an obstacle, especially when they're gonna have to devote time to Shadow's backstory. But these are excuses. It's a writer's job to figure out solutions to problems like this. They could make it work if they really wanted to. I'd take Amy having a suboptimal amount of screentime over her not being in it at all. It's just not a priority for them. That's what disappoints me. You can justify these absences from a logical perspective, but I just care way more about Amy and Rouge as characters than I do about Shadow, so there's no way for this to not sting.

But, at the end of the day, for what the movie is actually trying to do, it seems to be pulling it off well. Aside from the fat jokes. I don't like the fat jokes. But the Shadow stuff is good. As always, this live action version of the franchise is never going to be my ideal version of Sonic, but it's turned out far better than it had any right to, and I'll probably have fun when I go see this in theaters and hear Live and Learn.

[livelaughpeg]

I'm writing this from a throwaway account, because you know...Scientology.

I want to preface this post by saying I am not one of those "I knew it all along!" people. I can't stand that attitude. I was pretty ambivelant towards Neil Gaiman. Prior to the allegations, I didn't hate him but I wasn't that interested in him as a person either. I don't think you can always tell when someone is a bad or good person simply by the topics they write about. If that was the case we'd be arresting every horror writer on earth.

But one thing that did always rub me up the wrong way was the way he talked about getting work.

I borrowed and read "Make Good Art" (a small book based on a speech he gave to graduates at the University of the Arts) at a time in my life that I was really struggling to get by (I still am to some extent, but in a different way). I expected to see some practical advice. Instead it was a bunch of glib shit like:

I got out into the world, I wrote, and I became a better writer the more I wrote, and I wrote some more, and nobody ever seemed to mind that I was making it up as I went along, they just read what I wrote and they paid for it, or they didn’t, and often they commissioned me to write something else for them. Looking back, I’ve had a remarkable ride. I’m not sure I can call it a career, because a career implies that I had some kind of career plan, and I never did. The nearest thing I had was a list I made when I was 15 of everything I wanted to do: to write an adult novel, a children’s book, a comic, a movie, record an audiobook, write an episode of Doctor Who… and so on. I didn’t have a career. I just did the next thing on the list.

Life is sometimes hard. Things go wrong, in life and in love and in business and in friendship and in health and in all the other ways that life can go wrong. And when things get tough, this is what you should do. Make good art. I’m serious. Husband runs off with a politician? Make good art. Leg crushed and then eaten by mutated boa constrictor? Make good art. IRS on your trail? Make good art. Cat exploded? Make good art. Somebody on the Internet thinks what you do is stupid or evil or it’s all been done before? Make good art. Probably things will work out somehow, and eventually time will take the sting away, but that doesn’t matter. Do what only you do best. Make good art.

Yeah, well, no shit. If you're a writer or artist you probably do anyway. Whether you get paid for it or not, whether you draw fan art or original art. But the point of Gaiman's speech was to give advice to people who wanted to be paid for their art. To make a career of it. Making art every day isn't always enough. You have to pay the damn rent, you have to eat, you have to network and do social media and promote yourself, and you have to do it while thousands of other people are doing the same thing in a massive crowd of people who want the same thing. Practical advice is much more valuable than platitudes and theory.

I am not a writer, I'm an illustrator, and let me tell you that for most people, 'getting your foot in the door' isn't a one time thing. Quite often you have to work at getting your foot in the door again and again until you become established, and it's very easy to be forgotten. I still feel like I'm in that stage now.

I watched my peers, and my friends, and the ones who were older than me and watch how miserable some of them were: I’d listen to them telling me that they couldn’t envisage a world where they did what they had always wanted to do any more, because now they had to earn a certain amount every month just to keep where they were. They couldn’t go and do the things that mattered, and that they had really wanted to do; and that seemed as a big a tragedy as any problem of failure.

The implication was that he was successful because he wrote every day and his friends weren't because they didn't, because you know, working a second job is tiring. He called this a tragedy, but there was something very glib about the way he narrated this.

I think someone had more financial cushion that he was letting on.

And yes, sometimes it does work that way, (some people are very lucky and make all the right connections) but Gaiman was getting Big Jobs right off the bat and something about that never smelt right to me after the way he talked about it.

And then I saw Jeff's tweets. Oh, that's why...

I suspect the truth is he was living off his family's money and connections, and while I don't think there's anything inherently wrong with that if you're a struggling artist, his family are Scientologists, and I don't think he ever struggled.

I suspect it's all a lie.

[pluckyredhead]

“I have larger thoughts about how DC has kind of written themselves into a hole with Jason and now he's stuck in this limbo that's unsatisfying to everyone which is why so many Jason fans are mad all the time, but that's for another ask.”

🤓 Do tell…

Okay, let's see if I can do this in less than a thousand words!

So Jason, at his core, represents a challenge to Bruce's ideology, right? Bruce's #1 rule is No Killing, and Jason's basic idea is: "That doesn't work. Some villains are bad enough that they have to be killed for the greater good." (There's something very funny about Jason, famously undead, thinking killing stops ANYONE in the DCU, but we'll leave that aside for now.) This is a really interesting ethical quandary to throw Bruce's way, and by having it voiced by his beloved son, his greatest failure, his second most profound tragedy, it becomes a deeply thorny emotional problem as well as an ethical problem. That's all great.

The problem is, DC can't allow Jason to be right, for two reasons:

Batman must always be right and must always win.

...I mean, come on. They can't actually publish a story advocating for a traumatized 19-year-old with assault weapons to be the arbiter of who lives and who dies, that's nonsense. I love Jason but really.

The problem with that is, Jason is a major recurring character.

UTRH works great in a vacuum. But if Jason is showing up in a comic every month, or even just a few times a year, this central conflict has to be addressed, and the options for doing that are limited:

Bruce and Jason fight and Jason wins. DC will never let this happen. (And what would "Jason wins" even look like, honestly? He's not going to kill Bruce.)

Bruce and Jason fight and Bruce wins. They've done this a bunch (sometimes with Dick in place of Bruce), but Jason fans don't want to see him repeatedly getting his ass kicked while being lectured, and frankly it doesn't make Bruce look great either.

Bruce allows Jason to kill people. This can't happen either; it would be wildly out of character for Bruce, not to mention literally everyone in the Batfamily. They are all canonically pretty opposed to murder.

Jason continues to operate however he wants, but outside of Bruce's reach/jurisdiction. As wretched as RHATO was, I actually think it was a smart decision to keep most of the action outside of Gotham, because then we can pretend Bruce doesn't know what Jason's up to, just like we pretend Clark couldn't super-hear everything in Gotham and save Bruce's ass every single night without breaking a sweat. The problem here is that it means Jason is unavailable for the kinds of casual team-ups and crossovers that fans of all stripes crave - plus, every time he comes back to Gotham, he and Bruce have to relitigate their entire relationship AGAIN.

Jason compromises and agrees to follow Bruce's rules in order to have a relationship with the Batfamily. This is basically where DC has landed, and I understand why they did, because it's the option that allows them to publish the most comics with Jason in them, which they want to do because he is an immensely popular character who makes them money. However, it leaves him in this awkward position where instead of being a tragic villain/badass antihero, he's just...the sassiest member of the family, while simultaneously always being available to be treated like shit because he's Bad. He gets punished without even the fun of doing the crime anymore.

So what's the solution? I don't know. Theoretically, DC could try to do what Marvel does with the Punisher. People always get mad when I say Jason is DC's Punisher, but he kills pretty much indiscriminately in UTRH and RHATO, for pretty much the same reasons. ("Dudebros think it looks cool.") And Marvel heroes inexplicably let Frank just kill however many people he wants unless they're appearing in a Punisher comic, at which point they go "Frank, you naughty boy, I shall stop you!" and then Frank kicks their ass and makes them look like an idiot. DC is never going to let Jason do that to Bruce, plus it would put a real damper on the Wayne family Thanksgiving dinner.

Alternately, they could make him a Nightwing villain. Dick has spent 40 years fighting inconclusively with Deathstroke; he's much better suited to go endless rounds with Jason without either of them Always Triumphantly Winning than Bruce is. I don't personally want this option because I just don't care that much about Dick, but it could be really interesting, though it would limit Jason to fewer appearances and primarily in Dick's book. (Jason would have made a superb Red Robin villain 15 years ago for similar reasons.)

My vote, I think, would be for a really good (god, if only), really thoughtful Jason series where he has reason to seriously reevaluate his philosophy towards crime - something that reshapes him into a character who can still challenge Bruce's entrenched ideas without being so diametrically opposed to them as to make him a villain. He needs to be close enough to Bruce's rules to appear in crossovers, but far enough and specific enough that he's not just Meaner Nightwing. Jason is a passionate character; DC needs to find a new way to let his passion work for him, because right now he doesn't have anything driving him, and it's satisfying no one.

(900 words, BOOM!)

[theperfectquestion]

TWENTY YEARS TO MIDNIGHT

The Venture Brothers starts out as a show that makes fun of the past, but lasted long enough to be one that truly understands it.

So I rewatched The Venture Brothers in one big splurge over the course of two weeks, from Turtle Bay to Baboon Heart.

One of the most charming things about the show is a product of its lengthy creation process and the fact that it was written almost entirely by just two people. The story nearly has a tight continuity, so if you take it at its word then all the events of the story take place over a period of two and a half years, while the actual show was made over a period of twenty years.

The outcome of this curious time dilation is that we follow the Venture Brothers, Hank and Dean, through those difficult years between 16 and 18, but we also follow the writers, Jackson Publick and Doc Hammer, through the difficult years between their twenties and their forties. The show begins irreverent, contrarian and cruel and changes, cell by cell, into something wiser and more profound.

The treatment of Rusty Venture, former boy adventurer and long-suffering heir to the poisonous Venture legacy, is a fascinating thread to follow. In the very first episode he steals his son's kidneys like a ghoul, and his various addictions and neuroses are firmly treated as quirky objects of pity. I don't know much about the personal lives of the writers, but I imagine a certain amount of tragedy would have found them over the course of twenty years. A certain empathy for Rusty's position kicks in around the second season and develops strongly throughout the years. By the time the writers have reached the age that Rusty is when he is introduced, there are delicate attempts to reach out to the poor man, to understand and maybe counteract some of his own personal tragedy, though careful not to smother the comedy that such a character brings to the table.

But the thread I enjoyed following the most was that trailing behind Action Johnny. If you have ever heard of The Venture Brothers, you already know that the show began as a parody and deconstruction of the 1960s Hanna Barbara cartoon Jonny Quest, which was itself an attempted relaunch of the Edisonade craze of the 1910s, riding on the coattails of the far more successful and popular Tintin and Uncle Scrooge comics.

Jonny Quest was the son of a world famous scientist and adventurer, Doctor Quest, who led an extraordinary jet setting life where he accompanied his father to exotic places to experience exciting, often racist, science-themed thrills instead of going to school. He was watched over by his lantern-jawed bodyguard, Race Bannon, and joined with his adopted brother, Hadji.

The Venture Brothers stole this set-up entirely, and Rusty's backstory is a carbon copy of Jonny's. We are first told that this is something more than a swipe early on in the first season of The Venture Brothers when Race Bannon appears, as himself, as a secret agent belonging to the same organisation as the Venture family bodyguard, Brock Samson. It's a clever shorthand for saying that boy adventurers are not singular in this world, they are a type, one which occupies a distinct social strata along with their bodyguards, enemies and other supporting cast members.

The way that we are told this fact, in the seventh episode of the first season, is peak 2004 adult swim: beloved cartoon character Rave Bannon drops out of the sky, lands in front of one of our characters, dies, then shits himself. This was vaguely subversive at the time, but twenty years of Robot Chicken and the like have rendered it a tired, hoary gag. Venture Brothers itself has proved that this moment is at least a wasted opportunity. There was undoubtedly more comedy and interest to be mined from having Race Bannon around as an older counterpart to Brock Samson. But there was fun to be had with squandering opportunities and biting the hand that feeds for writers in their twenties in 2004.

When Jonny Quest himself appears in 2006's season two episode, Twenty Years to Midnight, things aren't much different. Jonny is found haunting the bathyscaphe from the cartoon, injecting heroin, waving an antique pistol and ranting about his father. He has a teardrop tattoo and missing teeth. He is discovered by Rusty's brother, the overachieving but naïve Jonas Junior. It's a much better gag in execution than the Race Bannon one, despite being essentially the same beat, but there is some pathos thanks to Brendan Small's delivery. Jonny is left alive, unlike Race, but the capper to this scene is somehow more humilating and tragic than when Race's corpse shat himself: Jonny is brought on side by Jonas Junior who, pressed for time and not as accustomed to being threatened and menaced as Rusty is, is unable to apply superscience to this situation and simply offers Jonny a supply of heroin.

The entertainment industry's relationship to its back catalogue of intellectual property has changed a lot in the last two decades. Characters like Jonny and Race were embarrassing curios in Ted Turner's garage in 2006. Why not dust them off and kill them in a cartoon to make college kids giggle? Why not give them a crippling drug habit and have them collapse to their knees, bellowing, "I'm in real pain!" But within ten years the media behemoths realised they could spin their old straw into gold, and instead of selling sheink rays at a yard sale, so to speak, they were putting the Flintstones in ads for Halifax bank.

So the Venture Brothers show renamed their tragic, adult Jonny Quest to 'Action Johnny' and in doing so was forced to consider him as a character rather than a skit. And the colossal strength at the heart of the Venture Brothers is in taking ridiculous things like boy adventurers seriously. Jonny Quest was allowed to become a valuable (?) piece of IP, forever a child, forever innocent and marketable, while Action Johnny could live his life unfettered by the parent company's fears.

Action Johnny appears two years later in Season 3, sober but shaky, doing a favour to Rusty by running a seminar for his ill-fated summer camp. He undercuts the spirit of the event by warning the children of the long term effects of adventures on the psyche and unravels into rants about his father. It's a solid bit by itself, especially when contrasted with a neighbouring table from the Pirate Captain (who, despite being an important recurring character, the show refuses to give a name) about the joys of being part of the 'rubber mask set.' Though the world of the Venture Brothers is nominally organised through a bureaucracy of licenced 'protagonists' and 'antagonists,' the biggest tension on screen is between the characters who chose the life, like the Pirate Captain, and those who had the life forced upon them, like Action Johnny. It just so happens that the former tend to end up as tortured, resentful good guys and the latter wind up as joyful, carefree villains.

Bringing that point home in the same episode is the appearance of Doctor Z as the summer camp's headliner. Doctor Z is the final borrowed character Jonny Quest, and one who the writers clearly take the brightest shine to, probably because he has the funniest voice to imitate. Doctor Z also represents the goals of show's resplendent second half - having deconstructed the boy adventurer genre in the early seasons, the Venture Bros very carefully puts the pieces back together into something wholly new.

And so Doctor Zin, the generic yellow peril villain of Jonny Quest, becomes Doctor Z, the retired and contented former archfiend of the Venture Bros. Doctor Z is treated by the other characters as something like a national treasure, a beloved old star who made the game his own. The joke of Doctor Z is that he seems genuinely bemused that his lifetime of villainy seems to have had a lasting negative effect on people. When he appears at Rusty's summer camp, all theatre and terror, he is delighted to meet his old foe Action Johnny, while Johnny is thrown into a whirlwind of trauma at the sight of Z, one that will drag him down into further troubles.

Doctor Z will become more of a feature than Action Johnny over the following years as the show becomes more interested in its older cast members - the ones whose personalities shaped the world, and who have sunny memories of the days that were so painful to Rusty and Johnny. He is part of a larger rehabilitation arc on the meta level, where characters with reprehensible aspects to them are held up for the audience to inspect so that they may find some empathy with them. Sargent Hatred is the poster child of this era, who is a repentant paedophile who joins the main cast as the Venture Brothers' new bodyguard. He's a whole other topic, but Doctor Z has the same function as Hatred, but on a metatextual level. His ancestor, Doctor Zin, is a hideous racial stereotype of the sort that makes modern revivals of the adventure genre so unpalatable. In its first deconstructionist half, the Venture Brothers show would simply wave Doctor Z around as shock tactic - 'look how racist Jonny Quest was, and by extension the company that made it and, logically, its audience!' and then maybe give him a violent and undignified death to wash their hands of the whole matter. But the reconstructivist Venture Brothers show embraces Doctor Z, and takes him beyond his tawdry origins to become an integral part of its story.

In 2009, Action Johnny helps Rusty to articulate this in the episode 'Self-Medication' from Season 4. Johnny and Rusty are in the same therapy group for former boy adventurers, a premise that would later be stolen wholesale by the She-Hulk show. A trail of tenuous clues leads the group to Doctor Z's house in the middle of the night. Johnny forces a confrontation with Z, accusing him of murdering their therapist to perpetuate the spiral he has been in since he saw Z take the stage back at Rusty's day camp. Doctor Z immediately groks the situation and invites the former boy adventurers into his home for tea with his beloved wife, who proudly proclaims herself to be his beard. Doctor Z is proud of what he has done in life, and so has the ability to put the past behind him. Sat between Z and Johhny, who is unable to move on, Rusty realises that he has more in common with the antagonist in the room than the protagonist. Rusty has many such insights throughout the length of the show and they lead him to an interesting end point where he seizes the nettle and becomes a parental figure to the whole weird superscience community.

The final encounter between Action Johnny and Doctor Z takes place nine years (!) later in our timeline - 2018's 'The Terminus Mandate.' Doctor Z is retiring from active villany and, according to the ceremony-obsessed fraternity of organised supervillans, that means he must menace his archenemy one last time. Action Johnny's father is long gone, so Johnny inherits that dubious honour.

It's the first time that we see Doctor Z not being fully committed to the bit. Johnny is resident at a posh rehab clinic and Doctor Z is conflicted between genuinely wanting to see Johnny again but unsure of how to interact with him in a way that doesn't cause actual, lasting harm. Doctor Z even brings a prop from a Jonny Quest cartoon as a gift, in a sequence lovingly reanimated to translate Jonny Quest's vocabulary into the Venture Brothers' language. The sequence chosen is virulently racist, almost too racist to be believed: a mask of the god Anubis lands on top of Johnny's dog, and Doctor Z's Egyptian henchmen suddenly believe that the mask is a vengeful god come to punish them and so abandon the young Doctor, giving the advantage to Johnny's team. In the lobby of the rehab centre, in the late to evening, Doctor Z struggles to articulate why the Anubis mask means so much to him and Johnny cringes at the memory while enjoying the act of reminiscing. He offers to go and run and hide, so that Z can find him, and they both discover they are delighted by the idea.

It's a touching, uncomfortable and deeply weird scene that, to me, is the pinnacle of The Venture Brothers as a creative endeavour. Behind it is a group of people who have been mulling over the implications of Jonny Quest as a short-lived but impactful cultural phenomenon for most of their adult lives. They have been mining the absurdity, the legacy, the implications, the pathos and the bathos of those 26 half-hours of cartoon and found incredible treasures. It starts with finding a silly old thing in the attic that you want to ridicule and it ends, twenty years later, with you acknowledging the attachment one has formed to that silly old thing, and how it has informed your life, for better or worse, in ways you can't deny.

[ayakashiz]

Reposting this from my twitter thread because it hasn't left my head (and adding a tiny bit more).

Seen so many questionable takes lately about the ivantill kiss, and I know everyone is allowed to have different opinions and interpretations but.

No, Ivan didn’t just pretend to kiss Till for the show. And no, he wasn't trying to make Till hate him either or trying to trigger him over his implied SA to snap him into action.

I think the whole point of the scene (confirmed by the creators) is Ivan finally breaking his mask of perfection and control and giving in to his messy, all consuming feelings, being selfish for once.

Yes, by the end before the strangling starts, he appears more clear headed and now focused on the objective of manipulating the score. But he doesn't really look at it until AFTER he starts strangling Till.

The kiss itself wasn't part of the strategy, or at least not entirely something calculated. Ivan could have skipped the kiss and strangled Till right away and gotten the same result.

The fact that he kissed him AGAIN after he started strangling him, more softly and 'personal', almost like a goodbye or an apology (whether for his selfishness or for their past), tells me he wanted it.

I think a last selfish act doesn't diminish the love he had for Till, it just shows the tragedy of ALNST. Ivan is only human after all. And no matter what kind of mask he built for himself and what illusion of control he had over his life, when faced with the real, imminent possibility of losing Till, he crumbled and did something unexpected.

I have more to say about the Ivan and Sua parallels and how he finally understands her in the Confession comic etc etc but I think I've yapped enough.

I just don't like it when people try to mold the narrative because they're uncomfortable with an unconsensual kiss. It's meant to be painful and heartwrenching, a reflection on Ivan's one sided-feelings and his desperation at the moment —to be seen for the first (and last) time, to not be left behind, to convey his emotions in the only way he could when being seconds away from death.

After all the team confirmed that Ivan is clumsy with emotions and only knows to convey them in 'childish' ways (the nuzzling against his face, the picking fights with Till and teasing him).

I think some people like to think of the kiss as something purely calculated and selfless because it makes it more 'palatable', but in my opinion this take washes out Ivan's character and the flaws that make him just as human, vulnerable and complex as the rest of the cast. He was willing to throw away his life and his perfect image because he wanted something that badly.

[darlingatlas]

You know what's a better way for DC writers to paint Jason's Robin era as something other than calling him brash and reckless?

Having it be that he burned with a fire for justice hot enough that it was used to burn himself.

He cared about people, but saying that he treated Robin like it was a game and that's why he died is both inaccurate and gross victim blaming. He literally got tricked by his bio mom, who he knew was being blackmailed by the Joker. He wanted to trust and help her because she was his birth mom, and that ultimately ended badly for him. Plus, so many people brush over the fact that he was a fifteen-year-old with trauma relating to parental figures. His dad died in prison, his mom died when he was young, and his relationship with Bruce was rocky. Of course he's going to try and see the good in someone who he could have a parental relationship with.

So many writers love to ignore/retcon that part of the story because they want to paint Jason as the black sheep of the family. He was the one who died and it was his fault; it's easier to paint him that way rather than explore the nuance of his relationship with authority figures and trust. Plus, writers use it as a way to prop up Bruce's tragedy narrative, even though it was Jason that died.

People forget or don't know that Jason's characterization was butchered by inconsistent writing. One issue had him beating criminals hard enough to be benched and then another had him literally wanting to stay in to do extra credit homework.

Towards the end of his Robin era, he definitely exhibited more emotional issues that stemmed from unresolved issues. But blaming a fifteen-year-old for his own death is wrong. He was just doing what he was taught, which was to help those in need and Sheila Haywood was that someone. She took advantage of that.

Was he emotional? Sure, but what teenager isn't? Hell, calling him the angry Robin ignores the fact that Dick literally created the role to enact justice against his own parent's murders.

But more than that, he was a kid that was still good at the end of the day. He stole only because he was desperate and wanted to survive; he enacted rules that protected kids from being preyed upon by drug pushers during his Red Hood debut; he killed because he knew first-hand how damaging it was for his perpetrator to still be around to do more harm. Is he right in that? That's another issue of debate entirely, especially with comic world logic.

But calling him brash and reckless and that's why he died is inaccurate and a disservice to his character. Because at the end of the day, he was a child who burned with the desire to provide justice to those who needed it, and that was used against him.

[imaybe5tupid]

Falin and Faren (father)

As much as we the audience love her, to strangers, (and especially close-minded, superstitious townies like the people in her village), Falin probably came off as a creepy and unsettling horror movie villainous child (for traditional “reasons” like dogs attacking her or being quiet but also terrible bigoted reasons, again…like in actual horror movies…)

Also, in the comic extras, it’s only stated that the dogs didn’t respect her, but I think her story hits harder if they were actually afraid of/unsettled by her because they could sense her magic/affinity with ghosts (like how dogs in horror movies can detect “evil”/ghosts/supernatural etc.) . Their dad was careful and attentive enough to go get professional advice from the city about her magic, I highly doubt he would have just ignored how the dogs treated her, especially since hunting with dogs (and probably training dogs) was his like One Hobby that sticks so much in Laios’ mind. Just one of the eventually numerous indisputable signs that her place is not there in the village. It’s always interesting that Laios is the one who hated his hometown so much, but even being bullied, there was a place for him there if he was willing to play that part. For Falin, who still wants to go visit home after everything, there wasn’t even that.

more rambling and hcs under the cut

I also hc her as trans, and that Touden papa was actually good about this (as much as he has the tools to be), but for a variety of reasons he ultimately wasn’t able (like literally not socially capable and also politically its a difficult situation) to rein in the townsfolk about their bigoted treatment of her, just like with how they viewed her magic 😔 And I think he would have had to be a completely different person to even be remotely capable of doing that effectively, it was just never in the cards for them to all have lived happily there. Him paying for Laios and Falin to go study away from home was ultimately the best solution, and a huge indulgence in regards to Laios bc he really didn’t “need” to go like Falin did. I really like there being this element of tragedy/dramatic irony in how Laios thinks of him, when in reality he was trying in his own way, imperfectly of course, but naturally the outcome still wasn’t good. Just like real life parents 😔 Laios was the kid he Needed (son and heir) in the town, but Falin (beloved daughter who he sees as his only kindred spirit in the town) was the one he Wanted with him. Since I think of them as having very similar unreadable, quiet personalities that come off as creepy/intimidating to strangers or people who don’t know them (eg. how Laios or Marcille struggle to understand Falin sometimes, I think Laios and Touden mama were never able to feel connected to him). Falin understood him and he understood her 😔😔😔

[cartoonistcoop]

ShortBox Comics Member Interview: Jona Li

Throughout the month of October, the Cartoonist Cooperative will be sharing interviews with members of the Co-op who have a new comic available at the ShortBox Comics Fair 2024! 

NOTE: The Cartoonist Cooperative is not affiliated, associated, authorized, endorsed by, or in any way formally connected with ShortBox.  

Today’s spotlight is Jona Li and their new comic for ShortBox, Rewired

We’d love it if you could introduce yourself and tell us about your background in comics.

Jona Li: Hello! I’m Jona and I’m a comics artist based in Tkaronto. I’m an animation school grad so I was originally working in the animation industry before I decided to do comics full-time, which was possible largely thanks to an arts grant I got from the Canadian government. I’ve always drawn short comic strips and one-pagers in my free time, and comics have always been my go-to medium for storytelling. My first real foray into comics was exhibited at ShortBox Comics Fair 2022, and since then I’ve done a couple of other short comics for anthologies and zines organized by friends. Even though my professional background is largely in animation, the comics medium is still something that has stayed a passion of mine, both with consuming and making them. I’m excited to continue to possibly make comics full-time.

Tell us more about your new comic?

JL: My new comic Rewired is a speculative short using surface-level sci-fi elements to tell an interpersonal story about someone who’s willing to change anything about themselves for someone they love. I guess it’s an inherent tragedy where you know it won’t go great either way–you can’t really change who you are without consequences and you can’t fully understand another person enough to fully cater yourself to them. The MC thinks interpersonal relationships and romance can be solved like a math equation, but the worst and best thing about people and relationships is that it’s unpredictable and indefinite. In many ways, it’s also an allegory for neurodivergence–wouldn’t it be great to simply program yourself to behave a certain way so others will like you more? That’s kind of what I was trying to do with this comic.

Tell us about your creative process; how did you develop this comic and what are the steps you took to bring it to the final stage?

JL: I had a lot of trouble at first coming up with a short and concise idea for something that’s ideally just twenty-ish pages long. At first I tried out a more lighthearted, comedic short about two friends reconnecting and having a blossoming romance while trying to give a burial to a dead cat they found. I guess I never grasped the characters enough for that one, so I looked around for other inspiration. 

I really like the concept of mundanity mixed in with the fantastical, something like Yokohama Kaidashi Kikou, where an android girl runs a café in a post-apocalyptic setting. That was kind of the blueprint for the comic I have now. From there, I wrote out the general beats for how I want the story to go, and then I wrote the script and did my thumbnails. 

This was actually the first time I ever had a proper thumbnail stage while doing a comic, the last few comics I did were purely just me making it up as I go…in the end I still changed a lot from my thumbs to the final sketch. Then I decided on the general look of the comic, which is what you see now! 

Read the rest of the interview HERE! And dont forget to check out the Shortbox Comics Fair to support these lovely creators!!

[lostcauses-noregrets]

Bad Boy

A few meta-type thoughts about Bad Boy, now the dust has started to settle.  There could hardly have been more hype in the run up to the release of Shingeki FLY, but Bad Boy certainly delivered.  It’s classic Isayama; for such a short chapter it really packs an emotional punch, blending real pathos and tragedy with shockingly graphic violence and body horror.  It doesn't really add anything to the over all plot, which is to be expected, but it does provide insight into Levi’s character and answers one question that fans have been speculating about for years.

The story of why Levi holds his tea cup in such a peculiar way isn’t new. Isayama mentioned this in a magazine interview (I think?) way back in 2014

Q: …why he has such way of holding cup? Isayama: About that, I was thinking of drawing this one day. When he was a kid, Levi was living in slums and poverty. He was yearning for a life in clean & neat environment (not rich life). When he finally obtained the tea and tea set those he has been desperately wanted, he was rejoicing that finally he can drink it. But when he started to grip on the handle and lift up the cup, the handle came off and his cup was shattered. He was so traumatised by this experience and that’s why he changed his way of holding cups to not using the handle.

However we now know that the cup belonged to his mother and the extraordinary lengths Levi went to recover it. What is new is that we finally have confirmation of when Levi’s Ackerpowers were awakened.  Fans have been arguing about this for years; some thought it was when he killed the man with the knife immediately before Kenny left, others suggested it was when Farlan and Isabel were killed. Now we finally have an answer.  It’s not exactly clear how much time has lapsed between Kenny taking Levi in, his powers awakening, and Kenny leaving, however the fact that Kuchel’s tea set hadn’t yet made its way to the surface suggests that not much time had passed at all. 

Levi’s description of his powers awakening is fascinating;  

“Strangely enough I didn’t doubt what was happening to me at that moment. The pain had vanished, my head was calm, as if it had been immersed in water. Clear instructions on what to do came to my mind. I simply followed them one by one.”

This is the most information we’ve ever had about the famous Ackerpowers and goes some way to explaining Levi and Mikasa’s preternatural calm and focus when they're fighting.   They really only succumb to panic and despair when their loved ones are threatened.  Think of Mikasa in Shiganshina and at Fort Salta, and Levi when Farlan and Isabel die and when he allows Zeke to escape after Erwin rode out to his death. 

The panel illustrating Levi’s powers awakening is also interesting as it looks very like a Titan transformation. This suggests there is more than a grain of truth in what the Yeagers said about Ackermans being a by-product of Titan science, who were able to access the power of the Titans without becoming Titans themselves.   

It’s not difficult to draw a direct line between the abuse and persecution Levi suffered as a child, with his determination to use his power to protect those in need.  Initially he used his strength to protect the vulnerable people of the Underground, such as Isabel, however once he met Erwin he was able to exert his power to serve an even higher goal - saving humanity. Isayama discussed this in the Answers Guidebook way back in 2006 and I think his comments are worth repeating here. 

Isayama With the heroes of American comics, conflicts dealing with the situation “with great power, comes great responsibility” have been depicted. In Levi’s case, if he had no power, he would probably have been an ordinary person with no responsibilities but, as a consequence of having power, that he became a person excessively burdened with responsibility. Kenny talked about “everyone… was a slave to something…”, when he put the question to Levi “what is yours!?”, Levi himself too perceived it. That he himself too was a slave in regard to his own strength. The sense of duty that “I must become a hero”. …the same thing can be said of Mikasa too but…, for the Ackerman family, in the service of their master, there are many people who are able to manifest their power to its maximum.

[Translation by @tsuki-no-ura]

I think it's also very in keeping with Levi's character that he remained devoted to saving humanity after the Rumbling; providing succour to the children in the refugee camp, and working to renew the environment destroyed by Eren's genocide, despite his injuries and regardless of whether he retained his Ackerpowers.

The title of the chapter, Bad Boy, is also interesting. No one actually calls Levi a “bad boy” in the chapter (though he is called worse) which suggests that this is how Levi sees himself.  It makes me wonder how much he internalised the thug’s insinuation that his mother would have been disappointed in him, and it also recalls Levi’s speech to Historia and the 104th, where he says he’s fine playing the role of the violent lunatic.  Poor baby.

Another point the chapter clarifies is the origin of Levi’s belief that Kenny was his father.  To be honest, it’s hardly surprising that Levi assumed this considering Kenny clearly had some kind of relationship with his mother and took him in without question. Still, knowing that the seed of that belief was planted by a thug who was willing to torture and kill a child, or sell him into sexual slavery, really twists the knife. 

[Translation by krtk.]

I am a little sad that we didn’t see more of Kenny in the chapter, but his presence certainly looms large.

I had expected to see more of Kuchel but at the same time I’m almost glad we didn’t.  Her life was brutal beyond measure and we’ve already seen her tragic death. Several fans have suggested that the reason we only see Kuchel in partial profile is because Levi’s memories of her are so hazy, all he really recalls is her grace 😢

It’s remarkable that Kuchel was able to retain such poise and grace despite living in such desperate squalor.  @momtaku has made the point that Kuchel appears to have been born into at least modest comfort, judging from Grandpa Ackermans’ home, which would explain where her elegance and also her fancy china came from.  It’s heartbreaking that both she and Levi clung on to this small memento of a better life. 

Levi’s devotion to his mother, his desire to emulate her grace and cling on to her belongings is devastating, is very much in keeping with everything we know about his character.  Levi has boundless compassion, is deeply loyal, and never forgets those he loves, whether it’s Farlan and Isabel, Erwin, or his squad.  He’s also very sentimental; saving his mother’s tea set, and drinking tea evokes a direct connection to Kuchel and the only good thing he remembers from the squalor and cruelty of his childhood. This makes Erwin’s willingness to indulge his sentimentality and bend the rules to procure a steady supply of high quality tea for Levi all the more poignant. 

There's been some debate about Gabi's reaction to Levi's story in the final panel...

Some people have interpreted her expression as holding back tears, while others have suggested she's trying not to laugh. I'm definitely in the stifled laughter camp. It just seems so very typical of Gabi and her relationship with Levi...

Gabi: - winds Levi up - Levi: - trauma dumps - Gabi: - stifled laughter / more wind up - Falco: - actually upset - "Would you guys stop??" Onyankopon: - shade -

It's also very typical of Isayama to poke fun at his characters like this, and it stops the story from tipping over into bathos.

There is one burning question that Bad Boy doesn’t answer and it’s this - what tf was kid Levi doing in Mr Smith’s classroom?? 

Despite hoping against hope, I never really expected Isayama to answer this, because he does love to troll his readers.  Is it too much to hope that sometime down the line he’ll reappear with another chapter called School Boy?? 

[beartitled]

Did you play the pristine cut of STP? What do you think of Dragon, Cage and HappilyEverAfter if so?

Spoilers for STP pristine cut under read more (+ a lot of text warning)

Hehe I see STP ppl are excited and want more silly comics

Well there’s a lot of things to say tbh 👀

Overall really enjoyed new content so far

It kinda feels like a fanservice for the people who already played the game

Which is not a bad thing, don’t get me wrong ☝️

I just view the original game as a perfect instalment, which doesn’t really need a continuation

New scenarios is just a pleasant bonus

(I’m one shot/short story fan okay 👉👈)

I already saw Dragon and Happily After routes

Yet to see all the variations the Cage route has to offer (heard ppl said it’s the most diverse one)

The Princess and The Dragon

HEY REMEMBER HOW I SAID I DON’T LIKE THE IDEA OF CHANGING THE GENDERS OF THE CHARACTERS BC THAT WAY THE DYNAMIC WOULD BE UNSETTLING?

YEA SO THIS ROUTE EXPLORED THAT DYNAMIC GUYS

I enjoyed this route, bc again

It’s scary, uncomfortable, makes you feel unsafe and uneasy 👁️👁️

Awesome depiction of how scary this type of situation would be

And of course bonus points, we got to see the bird bois 🎉

(Opportunist go brush yo teeth, u spooky lookin ass)

Happily ever after

Ok

Noooow we’re talking

I love that route, it’s my favourite so far

The pain, the suffering, the absolutely devastated British crowman

Brilliant, chills

This one actually feels like a missing part of the og game to me

I wanted to go into details about my opinions on that route in the future post

But now I want to talk 😈

👏Smitten👏my boy👏how are you in your edgy villain era already omg

Can we just admit for a second how badass Smitten is for escaping protagonist’s body?

Like-💥

This was the first route I saw and was like “Ooooh that’s probably the new gimmick, every voice is doing to escape and shenanigans happen” AND NO Smitten is just that guy™️ absolute chad

Minus points for “we will give her something she doesn’t know she wants yet”

*hits Smitten with newspaper*

Bad voice 💥🗞️bad 💥🗞️ we listen to what 💥🗞️our queen 💥🗞️wants 🗞️💥🗞️💥💥

But it works okay

The atmosphere is immaculate, I was legit concerned for a moment

Ok now give me a moment to be a nerd ☝️🤓

I love how this route gives Smitten flaws

I think finally we saw that every voice has them, because voices are an isolated part of a person, a pure feeling if you will

And Smitten represents that naïve love idealisation/love obsession

The guy loves the princess, she is pure perfection to him

This feeling is blinding and honestly pretty toxic irl

During the whole og game Smitten was never conflicting?

He pretty much the comedic relief of the whole game (and least it felt like that to me)

I think he was kinda a missed potential

Yes, love is sweet

Crushes are can be funny, silly and overall just positive

But it can be so destructive, so painful and so so exhausting when it gets to the point of obsession

And that route gives you a direct illustration of it

Which is amazing

I honestly think we don’t have enough media just showcasing this feeling of obsessive love and how dangerous it is

(yandere trope doesn’t count 👿 this trope just kinda glorified the issue)

And the tragedy is SMITTEN IS TOO DELUSIONAL TO EVEN UNDERSTAND WHAT HE’S DOING WRONG

My poor poor birb boy

He’s too focused on doing everything perfectly, to make princess satisfied, to make us satisfied, why isn’t it working? He does everything he can, why doesn’t it work? How doesn’t it work?

HE’S TOO LOVESTRUCK TO TAKE A STEP BACK AND REFLECT

AAAAAAAAA

God I’m insane about Happily ever after

As a person who struggles with this exact feeling of idolising and obsessing over ppl, I just really feel that route

Goth Smitten incoming *coughs*

Thanks for your question ❤️ hope you enjoyed reading my mess of thoughts💥

Share your thoughts in comments/reblogs if you want ppl

[lacrimosathedark]

THAT'S IT! This is a Janet Drake Defense Post

As may be obvious, I spend a lot of time reading fanfic. And there's this trend that drives me nuts, and it's villainizing Janet Drake.

I'm not gonna say she's an A+ mother. She's not. She chose her career and adventures over spending time with her child much of the time. But fandom portrays her as some rich pompous ice queen, which is never shown.

Janet Drake mostly appears in the story Tim's introduced, and in the story she dies.

So, let's start from the top: Haly's Circus.

This event is the only time we see her really interacting with Tim before her death, but it shows that at least when he was young, she was an active part of his life. She was worried about bringing Tim because it might scare him. And then rightfully scolds her husband for being sexist because Jack Drake actually IS a jerk.

...I don't like the art in this comic. Or that the writer doesn't know how kids speak.

But Janet is being supportive of Tim's clear interest in Dick's performance.

And then tragedy strikes and she acts like, y'know, a mother.

Her priority is getting her son and herself out of there.

Also worth noting that the Drakes sent a copy of that final photo of the Graysons TO Dick, which is how he has it at all. If both of them were stuck up pricks, would they even bother sending a photo to a grieving child performer they hardly know? I can't imagine Jack really bothering, but I don't see why Janet wouldn't.

And then, by the time she's dying, we know that Tim's parents have been away for a very long time, he never knows where they are, but they've communicated enough that he knows that they've been fighting.

They're passive aggressive to say the least. This marriage is clearly not working anymore.

EDIT CUZ I REMEMBERED A THING:

It's worth noting that this is a time before smartphones. This comic was released in 1990, which was when pre-paid mobile phones had just started existing. Coverage isn't universal NOW, so back then it was even less, and Jack and Janet are archeologists (or archeologist adjacent?) so they're going to be in less developed and populated areas most of the time. It's unlikely they'd have consistent access to a functional phone that could call the states to talk to Tim regularly.

This isn't to defend their absence, because fuck that, but it's to give it some context. I don't think they were trying to ignore or abandon Tim. Communication was just not readily available and Janet seems to get wrapped up in work...and Jack's an asshole.

Also for note, Janet is probably the one sending Tim postcards in the first place. It being signed "Mom and Dad" is what makes me think that. Jack would have put himself first if he wrote it, it woulda said "Dad and Mom". That's admittedly pure speculation, BUT IT FITS SOOOOOO

My thought is if this were made modern, Janet would be sending extremely scattered texts and Tim would get next to nothing from Jack unless Janet prompted him.

END EDIT

(Fair warning, this story is a few levels of Yikes, but I'm gonna stay on topic)

Bad guy Obeah Man does...something? to the pilot, and they crash, and he has a group of people kidnap the Drakes and their assistant Jeremy.

Danger really puts some things in perspective, for Janet, at least. And that continues for her. Jack is a bit delusional and in denial, thinking he has any control of the situation.

They are tied up and filmed for ransom, their assistant killed right in front of them.

Jack just keeps raging, but Janet is having regrets. Notice how she doesn't cry until Tim is brought up. Could be nothing, could be something.

And then she dies.

Her only other major appearance is when Tim is having a fever dream from the Clench and everything is kind of okay for a minute.

Tim very clearly loves his mom. And we may not get a lot of characterization for her, but she's not cold or callous like people write her constantly.

And now, we finally have a little more about her as of Batman 134.

I haven't really been keeping up since the Gotham War stuff because What The Fuck Was That My Guy, but I recently saw this specific comic.

The multiverse is fucked up again, some way some how, and Bruce is lost (again) and Tim has to get him back (again). This time, Tim is going in after him. But he doesn't end up going straight to Bruce.

He goes to see an alt of his mom.

Tim missed her so much that he ended up going to her before Bruce.

And her immediate reaction is to run up and hug him. Does that look like a mother who doesn't love her son?

"Do you have anyone to take care of you?"

"I don't know how this happened, this miracle...but I just know, in my heart of hearts, it was to show me...that every version of my son is a good one."

Tell me again that this woman is heartless and didn't want her son, I fucking dare you.

And we get more meaning to the name "Robin" and a little crumb about Tim's grandmother. As a treat.

This is all to say, please stop writing Janet Drake as a cold, heartless bitch.

Small final note though: Jack Drake is, in fact, a shitty person and a shitty father. He does still love Tim and Tim loves him AND THAT IS NOT UP FOR DEBATE, but the relationship is a mess. If either parent is actively abusive, it's 1000% Jack "smashed a TV because my son wasn't listening to me and threatened Bruce Wayne at gunpoint" Drake. Probably part of why the marriage was falling apart.

Anyway, yeah, let's retire the "Jack and Janet Drake are Bad Parents" tag and replace it with "Jack Drake is a Bad Parent" and "Janet Drake's C+ Parenting" or something.

[alltimefail]

This song, "For Forever" was on George's Edwin playlist (he said so in a Cameo) and holy fuck it's perfect for Edwin and Charles.

Knowing the current fate of our beloved show it stings a little extra hard to talk about, but not in a bad way and I want to talk about why that is. Warning that I'm going to wax poetic here, maybe definitely cry a little along the way, but please stick with me. 🖤

These boys have a bond that is special; it defies hell, rejects heaven, scoffs at the classic tragedies with a molotov cocktail in hand, rewrites the expected "bury your gays" trope (surprise, the gays came back as ghosts!), and says fuck a soulmate - I willed this, I chose this, I chose you, fate may have brought us together but I stayed with you and I'd do it again. No one can change that they are together for forever, two friends having a perfect day every day because the other one is there. They'll always have each other in every universe, they'll be together until the end of time and not even death herself can (or would) split them up. For Charles and Edwin it's just sky for forever, inside jokes, silly dance sessions, late night games of cluedo, reminiscing and confiding, puzzling cases, paperwork, infinite backpacks to organize, spells to master, books to read aloud (Edwin doing the reading of course while Charles enjoys), and long walks to wherever, whenever, because they've got nothing but time.

These two silly ghost boys will have the promise of endless possibility, content with the life they've made in their death, just letting the world pass them by for forever and it's everything, better than a life either of them could have ever imagined. Charles and Edwin have known so much tragedy and injustice in their respective lifetimes, they know loss intimately and are constatly fighting tooth and nail against the many forces that try to separate them along the way, but they still choose to do good, to help others, and they are happy because the reward is enough: the ability to bask in the light they've found in eachother is more than enough. Regardless of how you interpret that love, it is truly eternal and pure... so much so that it honestly makes some of the greatest love stories and epics pale in comparison.

All that to say, every time we talk about these two and tell their stories (through another television adaptation, through rewatching season 1 and analyzing every little detail, through fanart, through the comics, through their appearance in doom patrol, and so on) we only add to that cosmic universe that they'll exist in forever. Their story doesn't end with the Netflix adaptation, just like it didn't really start there either.

"You say 'There's nowhere else I'd rather be, and I say me too... we just talk and take in the view."

That line ⬆️ is the essence of the boys whole dynamic, and you know what? That is really fucking beautiful. The whole drive in this song - its steady, epic build and sensational crescendos that convey excitement, awe, a little bit of uncertainty, and an abundance of unbriddled emotion - is exactly how Charles and Edwin's dynamic feels and it's a goddamn treasure, a fucking whirlwind, a blessing to witness. Frankly the love they share is worth celebrating, it's worth honoring and creating for because it's breathtaking, pure joy, warmth, and unyielding devotion. It's a one of a kind story with two boys who will always come to each other's rescue, who will do everything in their power to make sure the other is okay, who will accept each other and pick each other up every time and love each other enough in death to make up for all the people who dared to not see the brilliant light they shined in life.

Netflix may not want to tell their story any more, but we can. We can keep making art, writing fics, supporting Jayden and George who brought our boys to life - and Kassius and Yuyu who gave us their sensational living counterparts as well. I know I love these dead boys and their alive girl companions and that their story will always mean the world to me. I love their love, the found family they've created, and all the residual joy and inspiration it causes; but most of all I love that they've brought us all together in our own little found family. No one can take that from us, nor can they take that from the writers, cast, and crew who put everything into starting this legacy.

So let's do what we do best and get back to our work...for forever, yeah? Maybe another streaming service saves our show (and that would he fucking mint, aces, BRILLS!!!!) but at the end of the day, fandom can immortalize this story.

There's still cases to solve, rights to wrong, jobs to job! No reason to stop just because Netflix mucked this up royally. 🔎💀

[mrslittletall]

I am not done talking about Dawntrail and it comes from a Youtube comment this time. I was listening to the Living Memory theme and someone pointed out "This expansion was full of complicated parental relationships". And holy shit! They are right! It seems to put the whole of Dawntrail in a completely new perspective. It starts with Gulool Ja Ja and his three children. He has one biological child and two adopted children. Wuk Lamat and Koana both love their dad loads and see themselves as siblings despite not being blood related and obviously not being the same race (outside of both of them being cats). But Zoraal Ja... he feels like he has to live up to a legacy. A legacy that nobody ever wanted from him. He got so obsessed with being the "Resilient Son" that he shut his heart out and didn't allow his siblings or his father to get through to him. Maybe we have to blame Gulool Ja Ja here for neglecting his biological son... we don't know much about their relationship because the story is told mostly through Wuk Lamat's eyes, but Zoraal Ja is the tragedy of a child that wanted to live up to the legacy of his dad and... failed. And this Zoraal Ja is having a child of himself. Gulool Ja. A child that he completely ignored and neglected. Probably because he feared that he would give him the same complex that he had. But he still loved his son. Shown by Gulool Ja getting all the authorities of the King after he died... (still want to know who the Mom is. At first I thought Gulool Ja is a clone of Zoraal Ja.) Then we have Bakool Ja Ja. He starts out as a comically evil villain and I still think his redemption arc was too sudden but here we have a case where a child was forced by his parents to be something they didn't want to be. Everryone worshipped Bakool Ja Ja as the blessed siblings while he was carrying around the guilt of the one who lived among hundreds of stillborn siblings. And that brings me to the last and probably messiest relationship. Erenville and Cahcuia. I don't think Cahcuia is not liking Erenville. In fact, I think she loves him very much. But she isn't a good mom to him. And I think part of her knows that. We don't know why she had her son, if he was wanted or an accident, but it was clear that she was not ready to have a child. And she did neglect Erenville because she wanted to live her own adventure. She even send him away. Maybe it was so that he got a new perspective and learned about the world, maybe she was really thinking something, but ultimately, Cahcuia feels pretty childish. It goes so far that Erenville has to learn his mom has died already and she acts like it is all not a big deal while being an endless, a memory of the person she once was. We see Erenville having a TERRIBLE time coping with all of this. And it feels like Cahcuia is not helping. Erenville needs to grief her and she acts like her second death is not a big deal. In the end they had some words for each other. But was it enough? Was it really enough? This relationship is so messy and I guess for some people it really hit close to home, so much that they hate Cahcuia. Because she is the mom who loves her child dearly, but... she has troubles caring for them in a way that the child needs. It just, agh, it makes me feel things. All of these relationships. There are probably more I missed. Feel free to elaborate in comments or reblogs.

[barrenclan]

i actually love this ending, and not just bc there are survivors. it just works, thematically and by subverting everyone's (characters and audiences) expectations

like. i can already see comments on dA when (if) you post in on there. people getting vocally annoyed over it being 'weak' ending and 'not enough death for Defiance' and all. but this isnt about blood and gut showers for shock value, just to fill up the quota about it being about death. it really shows that Deepdark is more than that, even with how he flaunts himself in that.

even the characters expected a bloodbath. BarrenClan to die (physically) and Defiance to kill. Ranger is most vocal about it. and they all fail to really see how Deepdark views it, and for him, it seems like blood must be shed tastefully. it needs reason and design, not just spill it like some brute (like Longest-Claws in his eyes). it really shows that most animals joining Defiance expects mindless bloodspill and no consequences for it. Deepdark remind them, probably not the only time, that that's not how he does and not what he expects of them (as shown with Ranger's punishment).

and really, that does defy the expectations. the defiance of expectations (i know you dont like the 'the' before Defiance, but i hope its okay in this context). we and they expect guts ripped out of the cats and flood their camp with viscera. Deepdark sees more art in showing them mercy, sick twisted mercy as they know next time he wont show it. and they dont know when will be the 'next time'. it could be next week, or next month, or maybe in few hours he will change his mind.

that's the kicker. that's the fear, that is more powerful than just killing them all. because if they are dead, they cant be afraid anymore of what Deepdark will do next. the killing has reason and no reason, but so does mercy. adrenaline from killing and fighting will fade overtime, but the fear of your life after being spared by such force will last forever.

Thank you! And have no fear, PATFW will never be going up on DeviantArt, at least not any more than an announcement post that it exists. As I said a year ago, I've been a bit nervous for the end of this arc because it's such a subversion from what everyone expected, and always hoped it wouldn't come off like an anticlimax, because it's what I've always had in mind for the end of the comic.

(Ha, "relatively soon"? It's like I never learn.)

But I did try and establish Deepdark's personality and motivations as someone entirely unpredictable, but not automatically homicidal. He said in Issue 38 that he would spare BarrenClan if Pinepaw gave an answer he liked - and he did! That was always an option, but the tension came from how impossible it is to predict what Deepdark would do, which is exactly what Pinepaw was experiencing in the issue.

And besides... if I'm being honest, I never wanted to write a comic that ends with everyone dead and everything horrible forever. There's nothing wrong with stories like that - I enjoy quite a few - but it's not personally something I'd write. There can be horror, tragedy, fear, even dourness and gloom constantly haunting the narrative, but it's never the whole of it.

[nightwings-robin]

Some of y'all act like Tim hated Jason when Tim was Robin and Jason was still dead but I disagree.

Not a lot of people do this but I've seen it enough times that it's gotten to bother me a little bit.

Let's take a look at some early Tim opinions on Jason.

Detective Comics (1937) #618

"Just a boy like me... One day I'll be as good as Jason."

This issue came out in 1990, so it's rather soon after Jason died and Tim was introduced (which happened in 1988 and 1989 respectfully). This is what Tim thinks about Jason very early one. This doesn't read as even remotely like hatred to me.

But wait, there's more!

The very next issue shows Tim having sympathy for Jason.

Detective Comics (1937) #619

Tim is noting the similarities between Dick, Jason, and himself. This issue is in the same arc when Tim's parents get kidnapped and his mom is killed. He has sympathy for Dick AND Jason, who both lost their parents. Tim is faced with the same pain and it shows his compassion for Jason.

Now this isn't to say that Tim was unaware of some of Jason's problems and maybe did blame him for his own death a bit, as shown with this panel:

Batman (1940) #455

Tim knew that Jason had times of anger and says he won't let that happen to himself. I don't think Tim is being quite fair here in claiming that he won't let his anger get the better of him like Jason's did, but Tim is hardly the only character to think this way about Jason and, again, this doesn't read as hatred to me. If anything, to me this reads as a character with preconceived notions about how another person died and not wanting to make the same preconceived mistakes as that person.

Is he being a bit harsh and 'holier-than-thou' here? Yes. Do I think this is hatred or some other malicious view of Jason? No.

There is also that time Tim hallucinated Dick and Jason, and they gave a sort of "pep-talk" to him about being Robin.

Batman (1940) #456

These are Tim's own thoughts manifesting through Dick and Jason. I do dislike that he imagines Jason blaming himself for his own death but think about why Tim would think this about Jason. Tim never met Jason. Wasn't there when he died. He only knows what he read and what he was told about Jason from other people. People like Bruce, Dick, and Alfred. And while those three loved and cared for Jason, they also unfortunately reinforced the belief that Jason was responsible for the Joker murdering him. It's not great but it does stand to reason that Tim would think this about Jason.

But it's not all bad stuff. Tim imagines Jason cheering him on alongside Dick:

Batman (1940) #456

Tim imagines not just Dick but also Jason telling him he can do it. That he can figure it out and be a good Robin. I feel like if Tim really did hate Jason, he wouldn't imagine Jason rooting for him.

Tim goes on to imagine Dick and Jason later helping him out with a fight:

Batman (1940) #457

Again, Tim imagines both Dick AND Jason encouraging him during a battle. He imagines that they both want him to succeed as a hero. Why would Tim want Jason's approval if he dislikes Jason? Because he doesn't dislike Jason. Tim respects him enough as Robin to think that he wants Jason's encouragement.

and then at the end when he officially becomes Robin:

Batman (1940) #457

"Dick made it a symbol... Jason gave his life for it. Failing them... what they fought so hard to build... worries me."

Tim sees being Robin as not just carrying on Dick's legacy, but also Jason's. He wants to live up to Jason just as much as he wants to live up to Dick. He wants to be a Robin that both of them can be proud of.

Like none of this says to me that Tim hated Jason. Did he look up to and idolize Jason the way he did with Dick? No, but that also doesn't mean that Tim hated him.

I get the feeling that Tim viewed Jason's death as a tragedy but since they never met, he didn't have any personal feelings about him, only wanting to live up to the Robin name that Jason left behind.

Now I DO think that Tim did eventually end up hating Jason after Jason came back and tried to kill Tim and others multiple times but this post is specifically referring to the time before Jason returned from the grave.

And I guess I should make it clear that I've not read every single comic issue of Tim Drake ever so maybe there are moments that refute my claim that I just don't know about. I'm simply going off of issues that I have read and I've only read Tim's very early days as Robin.

Feel free to disagree and add on if you want.