#sorry for not doing it directly

[alena-draws]

"Come on Spikey, you know smiling suits you better"

[egophiliac]

don't think I'm not still obsessing over 7-12

[t00thpasteface]

"i've just been working on a... celebrity impression. it's for a sting operation of sorts i've been putting together. yes as a matter of fact it WILL keep me busy tonight—"

[eveningdawn222]

people who act like batman isn't "judge jury and executioner" because he doesn't kill people are like. genuinely so funny to me because. they're very obviously thinking of "executioner" as like. the stereotypical guy with axe who chops people heads off, and not, yknow, the literal definition of the idiom itself, which is about someone who has the ability to judge and then subsequently punish someone unilaterally. which is quite literally what batman does.

he has the ability to decide what is a "crime" to him, he is the one who decides whether people are guilty of those crimes, and he is the one who executes their punishment. the severity of the punishment doesn't matter - he is unaccountable to anyone else, and indeed is allowed to commit as many crimes as needed to reach his arbitrary ideal of "justice."

the ideal of batman is this: a man who is so fundamentally changed by an act of senseless violence that he takes it upon himself to fight back against the rot and corruption in the world. he does this not through political activism, not through ridding himself of his wealth in favor of a greater good, not through community outreach, but through an individualistic fantasy of being a hero.

and you'll say: charlie, but he does do that !!! he donates his money all the time, he funds social programs, hospitals, orphanages, gets people jobs -

and i will say this: so why don't things get better?

because here's the base of it. gotham, at its core, can't get better. no matter what bruce wayne does, there will always be more crime, more villains, more death, more people for batman to beat up in back alleys. because that's what sells.

reoffending rates don't matter in gotham, prison reform doesn't matter in gotham, what actually causes crime doesn't matter in gotham because that doesn't sell books.

and so here it is; dc has unintentionally created a world where batman can't win, but can't be wrong, and where thousands of nameless, faceless, only-created-to-die civilians must be pushed into the meat grinder that is gotham, to fuel bruce wayne's angst and vindicate his constant, tireless, noble fight against the forces of evil.

and then: a new robin, who is poor and who's parents are dead or gone because of this cycle; who is happy go-lucky and hated by editors and fans for being robin, for not being dick grayson, for being poor.

and this robin is written, unintentionally or not, to be angry at the ways in which batman's (the narrative's) idea of justice is detached from its victims. bruce seems perfectly fine to allow countless unnamed women to be at risk from garzonas in his home country, yet robin is the one who is portrayed as irrational and violent.

this robin is not detached from gotham in the way bruce wayne is: this robin is a product of gotham.

(and here's the thing. you can't punch aids. you can't fight a disease with colorful fights and nifty gadgets. and how would robin dying from aids add to batman's story; it would call into question the systemic changes that haven't been made in gotham. how does a child get aids, in batman's city?)

so robin dies, and then bruce (the narrative) spends the next couple of decades blaming it on him. it is jason's fault; he was reckless, he just ran in, he thought it was all a game. if only bruce had seen what was coming, if only he could have known that jason wasn't rich enough or smart enough or liked enough to be robin.

batman gets a little more violent, a little more self destructive. he hurts people more and almost (!!) kills a couple guys. this is bad because it's self destructive and "not who he is." it is not bad because batman should not be able to just beat people up when he's angry.

and then he gets a shiny new robin - who is all the things jason "wasn't": rich and smart and rational and he doesn't put who batman is into question. batman and robin are partners, and jason is a grave and a cautionary tale, and (crucially here) never right.

the joker kills thousands and it doesn't matter because they were written to be killed.

batman beats up thousands and it doesn't matter because they were written to be criminals.

and then jason comes back, and nothing has changed. there is a batman and a (shiny! rich!) robin and the joker kills thousands. (because it sells)

and jason is angry - he has been left unavenged - his death has meant nothing, just as willis' had, just as catherine's had, just as gloria's had, just as -

thousands. ten of thousands. hundreds of thousands. written to be killed.

but one of them gets to come back.

and he is angry - not only at the joker, but at bruce (the narrative) - because why is the joker still alive (when thousands-)

here is the thing - jason todd is right. not because the death penalty is good, not because criminals deserve to die, not because of everything he says -

but because of what he calls into question. why is the joker alive?

because he sells books.

and dc has written a masterful character, through no fault of their own, because jason knows what is wrong, and he knows who is at fault - batman. (the narrative)

so the argument that bruce can't kill because he's not judge jury and executioner; the argument that jason is a cop or that jason is insane or that jason is in the wrong here; they hold no weight.

batman can't kill the joker because the joker sells comic books.

and jason can't kill the joker because the joker sells comic books.

so he will beg and plead and grovel - he will betray everything that is himself, he will forsake his family and his city and kill himself - just so that bruce (the narrative) will let the joker die.

he was condemned to death by an audience, and after he came back he has spent his whole life looking us in the eyes and screaming, asking, pleading; why is the joker still alive?

why are thousands, tens of thousands, hundreds of thousands (the number doesn't matter, see, because they're just a number. not people. not real.) why are we expendable for his story? why did i have to die just for nothing to change?

and the answer is money. and the answer is the batman can never be wrong. and the answer is shitty writing. and the answer is -

nothing jason can ever change.

which is the worst of it all. he is a victim with no power, and no one else in the world can see it. he is raging and crying and screaming at his father and his writers and you - and it doesn't matter. jason doesn't matter. and he knows it.

[mamawasatesttube]

the whole "jason rules crime alley and none of the other bats are allowed there!!1!" thing is so funny like. tim LITERALLY lives in the theater where bruce's parents died,

[lucabyte]

I don't know how everyone isn't also always constantly thinking about how burial rites seem to be potentially one of the few things Siffrin instinctively remembers about their culture. But rest assured. I am in fact always thinking about it.

Textless version where they're just hanging out. It's fine!

[heliomanteia]

I'm honestly so glad they introduced a new protagonist. Not just because Rook is a darling, but also because Inquisitor would have been a horrible choice for the story they wrote.

[blueskittlesart]

in the nicest and most non-confrontational way possible. i feel like some of you think that anything that isn't directly openly spelled out for you within a story is "missed potential" or "unexplored." like. sometimes there are implied narratives. sometimes the point is that you as the reader are supposed to think and draw your own conclusions and participate in the story. the writers not directly spelling every little detail out for you doesn't mean that the story is poorly written or missed its own plot details somehow. PLEASE.

[knockknockwhosthereartistism]

Ever wonder how Fiddleford got so much shorter than Ford?

Based on This vvv

[trixxedheart]

It is amazing how the "people that love and uplift transwomen" website will instantly fucking maul a transwoman if she even remotely insinuate that using radfem rhetoric harms trans people

[lokh]

laishuroweek day 7 - roleswap

in this AU laios is still the main character. so which roles did they swap exactly? here they switch the backstories heir that ran from home -> heir that stayed back (and possibly unhappy about it)

extraordinarily long notes under the cut

shuro

overwhelmed by the pressure on him to succeed his father, shuro ran away when he was younger. he intended to come back, but various things happened (stowed away on a ship, ended up far away……) and he has to tough it out for a while. maybe he gets discovered on the ship and he's put to work. but maybe after a while he begins to appreciate this freedom that hes never had before, and like that he grows up outside his family's influence doing odd jobs and physical labor. he thinks 'just a little longer, just a little longer…' and before he knows it, years have passed. ends up at the dungeon working with various parties until laios shows up.

laios

laios ended up staying back, maybe at the last moment feeling guilt for leaving falin behind. a little more withdrawn than in canon, particularly when falin leaves to go to school. is trying to put off marrying his fiance and succeeding - finally convinces his father that before he becomes responsible for the village that he should try travelling and becoming more worldly, perhaps promising that he will bring back something that will be 'worth it'. rekindling his interest in monsters, he sails to kahka brud and then to the dungeon with falin (who he still visited and she either insisted on coming or simply stowed away lmao).

differences

this is fun because i think laios will still be interested in shuro, but in this setting would be more restrained and come off colder. he would come off as more 'leader-like', more like his father (though he would not like to be told this At All). in some ways this is good (keeping boundaries from eg party members trying to marry him), but in others maybe not so (less personable, less straightforward). but in an environment where he's finally away from his father, maybe his weirder side breaks through……. this is ultimately what catches shuro's attention, because who would have guessed that one of those uppity political types (first impression of laios) would have such a fervent and sincere interest in monsters……. (that's probably the other problem. in passing laios' interest in monsters may come off more sinister, a la kabru's thoughts on his alignment with monsters)

comparatively shuro would have had to adopt more of the north's mannerisms and culture (eg clothing). hes always going to be more reserved, that's his natural personality, but he might be more open and curious, but also more straightforward, as growing up around people outside the archipelago might have him adapt to their style of communication. shrewd and plays it close to the chest. would still get along with kabru, but i wonder if there might be some friction (position as odd one out growing up, now they're a bit too similar and his status isn't as clear cut). one valuable skill he brings to parties (besides his strength) is his ability to tell apart treasure insects from real treasure. i think also while hes still pretty powerful, his technique would be less polished as a result of leaving home so early, and his style would be more of a hodgepodge of things he picked up while travelling.

from the start of the narrative

after the total party wipe that gets falin eaten, they end up on the surface and to their surprise find shuro's retainers waiting for him. because of course they were able to track him down, that's their whole deal. shuro is totally shaken despite his inward assurances that he would go back eventually. they insist that he return with them and ultimately he goes. meanwhile, laios decides to head back into the dungeon for falin. things proceed more or less as in canon.

the fight

shuro eventually agreed to return to wa, on the condition that the retainers help him find falin. so when he shows up and finds laios' party, he's still hungry and tired. i don't think he blows up initially when laios tells him what they did to falin - his countenance is more grim, and he doesn't enthusiastically go on about the monsters they ate (though he wishes to). shuro is still unhappy about it (here, his focus is less on the trouble they could get with the authorities and more that the dungeon itself is mysterious and dangerous, and who knows what meddling with it with ancient magic would do) but he doesn't threaten laios with a sword lol. they discover chimera falin and they DO get in a fight, but the reasons change

in canon, shuro berates laios for his apparent thoughtlessness after he announces his plan of going after the mad sorcerer, and laios hits him first. in this scenario, laios brings up the possibility of going after the mad sorcerer, but ultimately capitulates to the idea of returning to the surface and informing the authorities instead of pursuing falin. shuro hits him first. he berates laios for his callousness, and then his indecisiveness and cowardice - how could he make the decision to use ancient magic, and then when faced with the consequences give up so easily and try to conform to his half-hearted belief in what they 'should' do? laios fights back, pissed that he thinks it was an easy decision to make. everything they've done down to eating and sleeping was decided because it was in their best interest to do, unlike shuro who apparently made his way back on impulse and without planning.

shuro then airs his true grievances about laios' character: he's sick of laios' mixed signals. laios is just as interested in shuro as in canon, but instead of pestering him constantly with questions, he just. stares. and it's really hard to tell whether he's angry with him or not when he's just glaring silently, but then he'll do something thoughtful like offer the spot closest to the fire when he notices shuro is cold, or takes over his watch for him because he knows he has trouble staying up and going back to sleep after second watch, etc. or once in a while he'll actually ask something, and then only reply with a terse nod. what the hell? and he's like that all the time, and shuro better observes it when he acts that way with other people. why won't he just make himself clear? laios gets mad because he'd been doing that out of consideration - he knows if he'd been too much that it would have put him off, and that he maintains a distance because that's what he's supposed to do. he was just excited to make his first friend and didn't want to screw it up.

they tire themselves out and shuro comes clean about liking falin and his feelings about what's happened. laios says that shuro was right about his indecisiveness, abandoning the idea of what he's supposed to do and deciding that they would go after the mad sorcerer after all, because above all else he has a responsibility to his sister. he says that falin deserves to hear shuro's feelings straight from him - but then adds, awkwardly, that he'll put in a good word for him. shuro says, 'that's what i envy about you' (his commitment to doing what he thinks is right even when it's tough or he doesn't want to). shuro decides that he'll return to wa, if only to clear the air and come to a decision on whether he'll pursue his father's position (if that's even a possibility still), and he gives laios the bell. his return is hindered when the elves show up, and you know the rest =p

the ship

i think laios would sometimes blurt out information he thinks shuro would find interesting, or randomly hand him things, and because of the way he acts normally shuro wouldn't know why he was doing it. falin or marcille would have to tell him later because falin had done the same thing. even in this universe shuro would be unbelievably frustrated and endeared by him.

in this position, shuro liking falin is actually more dangerous because there are less obstacles between them getting together LMAO, but i think because he's less sheltered in this setting, he's not as deeply enamoured. with laios, he sees a bit of how he could have ended up, but is charmed by those weird parts that break through despite it all

laios would also see shuro and think of how he could have ended up himself, if he'd really left all those years ago - sailing for distant lands and becoming something other than what he is, a mixture of cultures. in the end, those differences are still what initially draws laios to him................

i'm not sure where they go from here to be honest. does shuro decide to stay in wa? does he choose to keep travelling? does he stay with laios???!!! maybe he makes the decision to stay in melini, and he and laios dance around each other for eternity. but well that's what i got hope you liked it <3

[chalkrub]

more assorted stuff. giving funney animal people versions to my human ocs because i'm normal

[no-brain-just-good-omens]

what do you mean this is full volume the song needs to be louder. I want my ears to bleed

[kagoutiss]

hapaxanth

[anghraine]

It's wild to me that I had heard of the prime Kirk/Spock content in various TOS episodes long before I saw them, but had never heard of what IMO is the shippiest moment of all thus far, in an interestingly O_o goddamn I do not want whatever you two have but you do you?? holy shit though what a moment way.

I'm of course referring to the otherwise rather mid episode "Requiem for Methuselah," in which Kirk has an underwritten love affair with a clueless woman whose various secrets have to be discovered before her inevitable death.

At one point in this relationship, her.......uh, guardian??? sort of???????? had Spock play the piano while she and Kirk waltzed, which (in-story) Spock did perfectly while somehow managing to silently exude even more intensity than usual. After the plot (and her life) were over, we end not with the usual cheerful bit of snark on the bridge that ends most episodes, but with a weary Kirk falling asleep with his head on his arms and Spock hovering not for away. McCoy exposits the last bit of detail and then goes on an unprompted and honestly pretty viciously racist speech about how Spock, unlike Kirk, will never suffer from the joys and travails of love because of his inherent lack of feeling as a Vulcan. The speech is longer than usual and just really mean-spirited as McCoy waxes rhapsodic about all the aspects of passionate true love that Spock will not and cannot experience as a Vulcan before he just leaves.

Spock then turns to look at Kirk, and now just bleeding intensity, takes a few slow, deliberate steps towards the sleeping Kirk, lays his hand against Kirk's cheek and neck, and then very obviously mind melds with the sleeping Kirk while murmuring, "Forget."

Is this healthy respectful behavior that honors Kirk's autonomy? No, obviously. Is it god-tier repressed homoerotic passion between two people who should probably just work their issues out and stop inflicting themselves on anyone else? Yes.

[causalityparadoxes]

Just saw someone credit Chibnall for making the Doctor nonbinary and uhm,,, respectfully I think some of ya'll skipped 12.

Unless I'm forgetting some earlier classic who/rtd mention of nonbinary-ism, 12 is the first TV Doctor to explicitly talk about timelords not having human gender.

And thats not even getting into earlier non TV stuff like the Eighth doctor saying the line 'i don't think I've ever even been a man' in response to someone asking him if he'd ever been a woman.

Like yes casting 13 as a woman was an awesome move and a win for nonbinary Doctor fans everywhere. But please don't forget the work Capaldi & Moffat put into making Twelve a nonbinary icon