#telling a guy who is comically bad at being a good person to do better

[nonsensechemicals]

Sometimes facing the truth and reflecting on our actions is better for us in the long run than thinking it's everyone else who's wrong. Please know I'm telling you this out of care as a friend and I have no malicious intentions.

*scratches head* right so im gonna be very frank i don't know what post you're referring to but if you're someone from the "group of people i ditched" i specifically ditched TO work on myself + for another Very Specific reason that nobody knows about (also if you're the person i think you are that means you've been checking my blog on at LEAST more than one occasion. i think i've made it at least a little clear that i do not want to interact with you. also i'm sure you have better things to do, no offense?? like nothing against you i'm not trying to twist onto you for doing that, i'm just like. huh. why.) like . i'm assuming you got the impression that i thought everyone else was Being Bad from how i worded it. i don't think that. i just like being angry for no reason. i am VERY much aware that i'm in the wrong. if this wasn't about that post/was about the "why do i have to do everything right the first time" post that was entirely about like. art. and writing. if you're not someone i know personally and if this was about another post that i'm not sure of then like i am a bit puzzled at this but uh sure yeah thanks i'll??? note that down ???

[soodoonimin]

Logan Howlett and animal instincts (or in other words my long winded analysis of a comic book character)

So before I start, just know that I have read a lot of comics but I don't know everything. I can take notes all day long but I have a bad memory and comics are confusing so please be nice and enjoy, this took a lot of effort to put together, it’s mostly my thoughts on the character as I read the the comic books. The movie character is a lot different and I will also probably do something like this for movie Logan as well (though it will be significantly shorter).

Also there are some pictures that have blood and body horror so beware.

What does it mean to be human? Well that's a question we as humans have been trying to answer since we could think to ask it and ever since then we've never been able to give a fully conclusive answer. Why? you may ask, well because think about it like this, the traits we most often associate with humanity (higher thinking, creativity, empathy, and love) may not and some times do not always exists solely within us when applied to fiction, we write whole stories about how robots can be human too, how aliens can be human etc etc as long as they have these traits (more or less) AND LOOK I'm not going to get into a whole philosophical discussion about the nature of humanity on Tumblr.com but I do want to take a second to talk about how those traits are applied to Logan and how he has to fight to prove his humanity.

So mutants are an oppressed people but being a mutant isn't always the same for everyone. You can be a mutant like Rouge who can kill people with a single touch or mutant like Storm who can bend the weather to your will (the most obvious example). You can be a mutant like Jean with no obvious physical signs of your mutation or you can be a mutant like Kurt, where 9/10 people think you’re a demon of some kind.

But what happens when you're a mutant like Logan Howlett? I mean you look human enough, sure you're a little more hairy than most people, you have fangs, you smell, and oh yeah the claws but those are retractable so overall....you're just a normal person right? Nothing you can’t hide, right? Yeah, for the most part, yeah. But there are a couple of other things about you that someone might not know from looking at you, you have an extraordinary healing factor, you have almost animal like senses and when you are pushed to your absolute brink you go into a monstrous like a rage and kill everything in sight.

For every gift Logan was born with theres a very real curse attached to each one.

Healing Factor: Logan still feels pain, the healing factor isn’t just limited to his body but it also messes with his memories, and more importantly he’s lived a very long life. In The End comic and Old Man Logan comic etc, when he’s out lived most of the world, he’s miserable.

Keen senses: Seems great, until they’re exploited, imagine what being able to smell and see and hear that well all the time without relief must be like. Imagine not being able to tell when someone is going to die? Or when they’re lying or when they haven’t showered etc. sure you might get used to it like you might get used to pain but that doesn’t make it pleasant.

Claws: Need to really touch on this one? Aside from the obvious please remember that Logan’s claws aren’t in his knuckles but in his fucking forearms so when using them he needs to make an effort to direct them or….

Berserker rage: great to get you out of a pinch but you can’t control it. (We’ll talk more about this later)

Most people don’t see these very real downsides of Logan’s mutation, they just see a small, angry guy, who’s good at fighting and can take a hit better than almost anyone.

Here’s what worse, a lot of people (X-men included) don't see, they don't all the ways Logan hates himself (and those who do don’t see the depths of that hate he has for himself). They don't see the scared little boy whose father was killed in front of him. They don't see that little boy who killed his father's murderer and was abandoned by all but one person for one person (Rose). They don't see the young man who accidentally killed his first love while trying to protect her from his brother. They don't see the man who lived a relatively miserable life being plucked up by a group of people who only saw him as something to be experimented on. They don’t see the man who believes that if he loves someone he's destine to hurt them in one way or another because he has multiple times over (even if it wasn’t always his fault). They don’t see that for all the times that they call Logan an animal, he already believes them and he’s called himself worse many times over.

(Deep down he truly believes he deserves be to alone, especially in death. That would be his “deserved” hell. Eternal loneliness.)

Which is funny because I think Logan goes back and forth in deciding on whether or not he has any humanity in him in the first place. See in the Black, White and Blood comic, the FIRST story told in this series, is an account of Logan’s time at Weapon X and we get this…interaction:

Pourquoi tu me fais ça?///Why are you doing this to me? This "monster" asks him this on the cusp of death....

(Moments during the Weapon X program, be they real memories or not, when Logan’s humanity shone through)

And THIS almost immediately snaps him out of mind control he's under going. I don't know if he understood the words per say but I think even if he didn't, he still understood the plea on a human level. Because it wasn’t Weapon X who responded, it wasn’t the berserker, or Wolverine. It was Logan Howlett. It was a moment of humanity that broke the conditioning he’d been put through that answered that plea and stopped him. Because if you think about it, if these two memories actually are real, that means that Logan recognized this plea as the same one gave to the scientists. Now determining what did or didn't happen during the Weapon X program is difficult to parse out because they implanted false memories. BUT regardless of that there was always a part of him that held onto his humanity. But I think that just adds to the horror of it all. Imagine not being able to know what memories are yours and which ones are not? So let me ask, even if those memories are “false” does that make them any less real? Does that mean that Logan suffered any less under their stewardship? He was still kidnapped, he was still experimented on, still tortured. He still had the adimantium grafted onto his bones, he was still made into a living puppet and was still seen as nothing more than a weapon, an animal, a monster by the very people who were doing all of this to him and in some respects they are the reason he is seen as a monster by others.

At the end of that comic (where he was momentarily snapped out of his conditioning) he states that no his humanity wasn’t stolen from him but he still lives with that guilt of everything he can’t remember and the things he can remember are unreliable.

I know a lot of people haven’t read the comics so I’m not trying to do annoying about it BUT if you get the opportunity to PLEASE go read The Weapon X comic (by Berry Windsor-Smith) & Wolverine’s first limited series run (by Chris Claremont).

I specifically say that second one because I think the story that’s told is probably one of the more interesting told for Logan because of the relationship he has with Yukio and Mariko. I’m not going to get too deep into it because I really think you should read it for yourself but the basic outline of it is that where Mariko loves the man, Yukio loves the “monster”. And when he’s initially trying to court Mariko it’s his attempts to in a sense to court humanity but he fails and when he turns to Yukio. And for her part it’s not just as simple as her loving the “monster” but more than she goads it out of him, for thematic reasons and plot reasons. But needless to say, they both love Logan but they both love an incomplete version of him. (It’s a really good story and it’s literally what sold me on the idea of reading through any of the older comics.)

Anyway, (in the comics and movies especially) some people solely see him as a man with an uncontrollable side that they’d run from at the first sign of aggression and others only want that animalistic side and don’t love the man that Logan is. The thing is, he is both of those things. Think about it like this. As humans we like to think ourselves above the food chain, we like to think of ourselves as *more* than animals. And sure we’re definitely one of the most successful species of animals on Earth and we definitely don’t act on instincts in the same way most animals do, we’ve created society and rules and we do things a lot different than other animals but we are still animals.

So Logan isn’t both a man and an animal anymore than you or me. But he is a man that is more in touch with those animal instincts than the rest of us (bc of his mutation). Which I think is why when he does act on those instincts, people see him as less, because we (yes even comic book characters for this argument) only seem associate those traits with animals, with something lesser than ourselves.

The thing is, being “an animal” doesn’t need to be an insult or a condemnation of any kind. Humans are still animals but humans are still kind, and caring, humans have still created beautiful art and music and food and architecture and have got to the stars will probably go beyond the stars all while still being an “animal”.

So I think where most people get hung up on word “animal” is because it has such a negative connotation when applied to humans. And thus that negative connotation basically perpetuates itself so the only time we call other humans animals is when we mean to attack their humanity.

So back to Logan. Imo, there is no better example of this than the way people, Logan included, treat his (and subsequently him) berserker rage. Logan describes it as a monster that shares his soul, something else inside him, the real thing that makes him a monster, something that he doesn’t like, something he’s scared of, something he can’t always control but that he does everything in his power to keep away from the people he loves. Because Logan doesn’t like to kill, he doesn’t like hurting people. He might be good at it, he might be known for it but that doesn’t mean he likes it. Even when he thinks death is a deserved punishment, he isn't ever happy about having to kill. And he even says as much at one point in the comics.

And as a real quick aside, but this is almost exactly what sets him apart from Victor Creed. They're both men whose mutation gives them heightened animal like traits. The only difference is that Logan is ashamed of those parts of himself especially when they pertain to violence where Victor likes it, enjoys it; he goes out of his way for violence.

(If there is more to Victor Creed than meets the eye please tell me bc I gotta say I don’t actually know too much about him except that any time I see him in any Wolverine media I immediately laugh bc I know the two around to brawl. And I’m almost never wrong lmao)

And mind you there are times when Logan is also a hammer in the sense that he tends to punch his way through most of his problems. But he doesn't go out of his way for it in the same way Victor does despite having every reason to.

Logan has killed people but unlike Victor he isn't a killer. Even if that's what he's "the best at".

So when he goes into this specific rage that labels him a monster (an animal) it’s almost always in front of someone he loves and it’s almost always in a moment when he’s trying to prove his humanity (when it’s being used thematically and not for plot convenience). Like if you go read the comics 9 times out 10 when Logan is being called a monster or animal by some scientist or an enemy looking to humiliate him. But it’s almost always in the mitts of a life or death situation. A situation that anyone would fight light hell to get out of even with an amazing healing factor like Logan’s.

Because he still feels pain.

He still wants to survive.

He still feels.

And at the end of it all, he feels ashamed and horrified with himself and he'll always have to live with that guilt and shame. There's a point in one of the comics when he describes his heart as being slower to heal than the rest of his body and I think its interesting because although that story he's talking more from a "heart broken" sense. I also think that can apply just as equally to idea that it also harder for him to heal from not just heart break but also from shame and guilt. In certain situations, it takes longer for him to forgive himself emotionally because he suffers physically in the short term. He’ll never have a physical scar of his wrong doing and so he carries the emotional weight of it with him.

But also because he isn't just dealing with himself. In those moments when he comes out of that rage, the people he loves are in shock and are scared because they saw the “monster” and some people do reject it and in so they reject him and although rejection is something Logan thinks he deserves, it doesn’t make that pain hurt any less. it doesn't make it any easier to heal just because you agree with them, and in a way I think that's what slows down that healing process. Logan's inability to forgive himself.

Because that's the thing, Logan, would rather be scared of himself than forgive himself, be it because of his past trauma or because of the Weapon X program (which in the Weapon X comic it’s implied if not outright stated that the scientist at Weapon X are the reason he feels the fear he does about himself). Logan is scared of no one on Earth more than the man he sees in the mirror. And that’s because in his lowest moments when he looks in the mirror he doesn't see a man, instead he sees an animal, a monster. He doesn’t need the rest of the world to tell him what he already thinks of himself, it just doesn’t help that he has a choir of voices that are sometimes louder than his own telling him his worst fear is real. He is the monster that hides under his own bed but the problem is, while the monster is 'real' is a physical sense, it does not share a soul with him anymore than the boogeyman does. He wrestles with himself. Somedays he believes he's a man like anyone else and other days he can't drown out the voices telling him he's nothing more than a monster.

And as my last touch on the beserker rage, I want to posit my own theory about it. Personally believe to some extent that it isn’t part of his natural mutation and that instead it’s something that was “given” to him by the Weapon X program. The reason I say this is because I think it would make a lot of sense that like the adimantium claws and false memories it would make sense to give you “weapon” this uncontrollable rage (that mostly comes out in times of great duress). Not just because it would be one more thing Weapon X has taken from him (control over his own emotions/body) but also because wouldn’t that just make sense on the side of the people who ran the project? That your living puppet have a fail safe of sorts in case it ran into something bigger than itself? During the Weapon X comic, the scientist are constantly surprised by how resilient he is and even though some of this surprise happens in a false memory, they really do believe they can kill him at one points so if they thought they could kill him, why not something else? Why not give their investment insurance? And what better insurance for an animal than monstrous rage. 

But of course none of this is even to talk about the kind of person Logan really is. The thing that I think most people (in the comics) tend to ignore about Logan, in favor of focusing on his rough exterior (and some of his more questionable characteristics) is that he really does have a heart of gold. Now do not get me wrong, he can do some pretty fucked up shit (I will not talk about the Jean and Scott love triangle bc it gives me a migraine) but he does regularly do things that show how much empathy he has. That show that despite what he (or the rest of the world) might think, he isn’t a monster. The best examples of this are his relationships and more specifically the relationships where he’s a father/mentor. Like his relationship with Kitty Pryde and Jubilee, two kids that he basically adopts/takes under his wing and constantly goes out of his way for. Some of you might remember this post and the reason Logan does eventually fuck Wade’s shit up is because Wade literally punches the ever living shit out of Kitty in front of Logan. In another comic issue (after this), Logan beats the shit out of Wade again for punching Kitty, it’s funny but it also just goes to show that he does take protection of his family seriously. And mind you he doesn’t hunt Deadpool down, he find him by sheer plot coincidence when he’s getting a book signed for Kitty and the author just so happened to be Deadpool’s mark.

And mind you, Logan does have love for his own kids (Laura and Daken) despite the troubled nature of both this relationships but again those are a little more complicated. That’s partially for plot reasons but also because they play into just how much Logan hates himself that he struggles active show the same love for his adopted family to his “blood” family (again with Daken it’s a lot more complicated) but I also think that not only are his relationships with them fraught because of how much he hates himself but because both Laura and Daken were experimented on just and manipulated like he was (and in Daken’s case by a major player of Weapon X) so while he does love them past his own self hatred, they are also a reminder of his deepest traumas. It’s not their fault and it’s not necessarily Logan’s fault either, it’s just the cards their characters were dealt. (I haven’t read any comics with them yet so once I do I will most likely write my thoughts on his relationship with them each individually)

Regardless, Logan, depsite what he’d like you to think, is a deeply loving, empathetic and loyal person and this doesn’t just extend to people who considers family:

(Logan says this a man who not only a few issues ago was trying to kill him and his partner/friends. He saved Roughouse (the character he went berserk on a few pictures ago) because he was being experimented on in a way not too dissimilar to the way he had been by Weapon X. And if I remember correctly this is before he even knows how he got the adimantium in his bones)

He is James 'Logan' Howlett. He is a man whose life was stolen from him so many times over. He is a man who believes that the worse parts of him are all that matter and fails (or refuses) to see the good he has done in the lives of the people he cares about and believes that only death will truly bring him peace. He is someone who despite his flaws can’t help but to be kind. He is someone who fights like hell for what he believes is right. And even if he believes he’s a monster, even if the world believes he’s a monster, he will try to do the right thing because although he knows his soul is damned that doesn’t mean that exempts him from doing what good he can. He is someone who gives and good as he gets and then some. He’s the best at what he does but for him, that isn’t alway what he thinks it is.

And I think that’s the beauty of Logan as a character. Someone whose life is so wrought with tragedy and yet he is someone who can’t help but to be kind, someone who can’t help but love and care and find the humanity in the world despite the world seeming to be hellbent on taking his humanity away. Even though he (and many people in universe) might disagree with me, he is not only a one of the best humanity has to offer but he is also a shining example of the tenacity of the human spirit.

[zuzuzuko]

Thoughts on The Boy Wonder #3:

Under the cut because it got LONG

I really really am enjoying this comic still. This is part of my favorite page from this issue:

Someone posted the Talia panel earlier but I think that panel with the context of the rest of the page makes it even better. It’s kind of a subtle nod to the fact that Talia and Ra’s do NOT fuck with these kinds of people and in fact think they’re a blight on the world. So I really really liked that.

LOVED Tim being all smarmy at the Gala. And I thought it was fun that Damian just thinks that’s how he is. It shows how much Tim and Damian misunderstand each other and how neither of them think very highly of each other at this point.

Glad they showed Tim’s distrust of Damian too because that is a big part of why their dynamic is how it is. Early Damian and Tim interactions are basically built on misunderstandings and lack of trust. I also thought this dialogue was interesting because it is a great reflection of how Damian originally DID stop killing just because his dad told him to and he wanted his dad’s respect. It took some time for him to actually BELIEVE that not killing was the right thing to do. So Tim saying “I can tell you feel bad about killing that guy. But do you feel bad because you hurt someone or because you got punished for it?” Was a very good insight to include in my opinion.

I don’t really have any commentary for this next page I just think it was a really fun silly page:

This next part was so cute 😭 Damian thinks Tim decided to be a better person that makes him believe HE can be a better person too. And in the last panel I post he says “I thought… I thought I was the one who got you to…” meaning he thought he inspired Tim to be a better person. 😭😭😭😭

so it makes sense that he’s upset then when he finds out that Tim was just ACTING like a smarmy socialite and was actually helping Damian with the mission all along. Because he kind of felt like “oh I thought you made mistakes and now were redeeming yourself which meant that I would be able to redeem myself. But you were actually just good all along…”

Completely off topic but Tim breaking in the night before and stealing the Batman statue head is so funny and definitely something he would do.

“He wanted to feel better, worthier than him so badly…” yeah Damian definitely saw Tim as competition when they first met.

Also the last panel I didn’t read as if Talia and Ra’s tell Damian he’s weak but I see it more as an unreliable narrator thing. Like Damian’s own insecurities are presenting themselves as his mother and grandfather.

ANYWAYS

there were so many more panels I wanted to talk about alas the 10 picture limit.

Overall I really liked this issue I think it was a simple story for sure but it also highlighted Tim’s distrust of Damian and them misunderstanding each other. I will say Juni Ba definitely made them nicer to each other which is my only real criticism tbh.

TLDR: it was good 👍

[ranahan]

I’ve had a number of posts on my dash lately going “but did you know Jaster Mereel was a merc who killed people.” I’m more amused than annoyed, but I think this reads enough like a rant that I’m making this its own post rather than a reply to someone else’s. That being said…

Yes. I did in fact know this about one my favourite characters.

How is this any different than the faction of the fandom who simp after Darth Maul? Are they are unaware that Maul is a bad guy? Does it lessen their enjoyment of the character, or could it be that it’s an essential part of their enjoyment even?

Personally, the thing that makes this character intriguing to me is precisely the dichotomy between how he’s portrayed in the comics and also described as a honourable and pious person. There’s a pretty big gap between the reality or mercenary work and honour as we know it on Earth. So that raises all kinds of interesting questions: how would that even work? Or perhaps: what does that tell us about Mandalorian morality? And I find stories (and fanfics) that explore these questions compelling.

Similarly, the story where Jaster Mereel with his mercenary morals rules, is a more entertaining story to me than the story where Satine Kryze and her pacifism rules. Under whose rule would I rather live in real life? Kryze’s, of course. But this is not real life. Mandalore is a fictional place. Absolutely no one is hurt, if they are ruled by a bad guy.

Mandalore’s entire purpose as a fictional place is to create stories and do what stores do, whether that’s entertain, educate, engage or provoke readers. And I happen to think that stories with conflict are more entertaining. The story where Palpatine rules is a better story than the story where Bail Organa rules.

tldr: it’s not a bug, it’s a feature. Mereel is a fictional character, not a real person, so I score my enjoyment and what’s “good” by the metric of what makes a good story, not what I would like to happen in real life. Is Mereel a good person? Debatable. Is he a good character? To me, yes.

I feel like the fans who treat fictional characters like real people, are always going to be disappointed by the segment of fandom who don’t.

Not to say Mereel and Palpatine or Darth Maul are comparable (Mereel is more of a morally grey character whereas Palpatine and Maul are portrayed as simply evil). These are just exaggerated examples to illustrate my point. I’m similarly giving Kryze’s rule a generous interpretation to show my point does not depend on the relative morality of the characters.

[glitter-stained]

Another day another ask mysteriously disappearing from my inbox when i'm about to hit post on the reply

Anyway the question was basically "what do you think of the "Jason isn't able to get over his death while bruce is capable of forgiving joe chill and sitting by him as he dies" take and doesn't it sound a little like the "everybody died he ain't special " take?"

Why yes. Yes it does sound like that. My thoughts on that idea, in no particular order:

- it's almost 2025 are we still placing moral judgement on characters based on the comparison between how they're enduring their trauma what happened to the universal singularity of human suffering what happened to not comparing apples and bananas weren't we taught not to do that in elementary school

-Is this about the Three Joker comics? It sounds like it is, anyway uh that comics is not mainline (and has pretty shitty writing imo), in mainline even in his least flattering runs (ie Battle for the Cowl) Jason hasn't gone postal because of his death in a while (in BTFC it was Bruce's death and the mention of the "unresolved dark horrors of his childhood" triggering a bad parody of some sort of psychotic break) so like i guess criticizing Jason for something he isn't doing is kinda strange

-if anything Bruce is the one "not over" Jason's death considering the flashback he had right at the beginning of Failsafe arc (though of course demanding he just gets over the trauma of holding his dead son's corpse is just as absurd as demanding Jason gets over the trauma of having died)

-honestly staying by Chill's side as he died was pretty cool and heroic on Bruce's part, totally agreed, that was badass of him to not let him die alone despite his trauma. That being said can we please stop tying morality to the concept of forgiveness? Implying there's a goodness of heart to forgiving/getting over your trauma is weird, it way too puch pressure on the victim, we should stop with the "good victim/bad victim" narrative, martyrdom culture is harmful. If forgiving Chill helped Bruce, cool for him, Jason is in no obligation to forgive Joker, and also Bruce forgiving Chill =/= staying by his side as he died, those are two separate things

-if we're comparing coping we have to compare resources, what does Jason's support system at that time compared to Bruce? Should we make a tally to see who has more friends especially close ones? We both know who will win but also that it's a completely stupid and pointless arrangement, how many apples and oranges must we compare before we conceptualize that it's not the same fruit?

-in terms of personal taste, I find placing moral judgement on characters is about the least interesting analysis angle I can imagine, like, congrats, you've established Angel McPerfect is a better person than Asshole McInteresting! Now multiply me by one and subtract zero.

-kinda hilarious to criticise Jason for not getting over his death and compare that to the coping of a man who dresses as a bat to cope with something that happened thirty years ago. Like if he's so over his trauma why is he wearing pointy ears

-also, obviously, the idea that characters should just "get over their trauma" is insanely dumb. Trauma is like a wound. It can scar, if treated properly, and then the scar will always be there. Imagine telling someone they should get cosmetic surgery because "we get it, you got stabbed, you don't have to shove it in my face every time I look at you." Or telling someone whose wound got infected "why can't you be more like this guy? Look, his stab wound is all healed nice and clean by now. It's like you're not even trying !"

Anyway I hope that answers your question and you have a good day anon, I agree with you that that take is weird, I truly don't understand the reasoning beside "i don't like jason". Idk maybe these people just need to...chill.

[maxphilippa]

Nickel and Balloon's arc and why you may be wrong about it, and why you are wrong about Suitcase and Nickel as well.

Nickel didn't trust Balloon because Balloon was a dick on s1 (something that the fandom forgets so fucking much), and of course he wouldn't trust Balloon being a part of the alliance either since Baseball (Nickel's best friend) and Suitcase (Nickel's ally/Baseball's closest friend) were part of it. "But Nickel didn't care about Suitcase-" he did, Adam himself did say he did care for her, but he strongly lacks emotional intelligence to truly get her. So of course, he didn't want to risk it, even if he does believe that Balloon wants to change, he doesn't want Suitcase to get involved with the guy.

Although Nickel doesn't want Balloon near and is an asshole towards the guy, I think that all of you kind of also forget that at one point on s2, Nickel did say that he thought that Balloon wanting to change was something good, but that he still didn't want to be associated with the guy. Which is, yes, shitty on his behalf, but it makes sense character wise. It's a case of "it's great that you want to be a better person, but i don't want to be near you even so", which is something most people felt at one point of their life.

Adding to this behaviour of his, again, it wasn't just because "Nickel is a dick without excuses", protecting his loved ones (his alliance) is. Kind of his whole thing. You know. He cares about them but sucks at showing it (this includes how he treated Baseball, looking at you all), he has the thought that if he's on control of a situation, no one will get hurt. He sucks at communication. Hell, it's even said on the series, he is afraid of change and also about accountability. ACCOUNTABILITY.

So yes, the way he treated Balloon isn't justified, even Nickel says it himself, but he has his reasons as to why he acted like that. But I think that you guys also need to remember some more important stuff as well. Nickel wasn't like this because he fully wanted to, but his behaviour towards Balloon was also constantly justified by Baseball.

And so here's the main question that troubles everybody so fucking much it's stupid.

"Why did Nickel change his mind on Balloon on s3 like that? It doesn't make sense"

Listen.

The reason as to why Nickel actually gave himself a chance to know Balloon properly is because of two very important factors. So I know that some of you might not be familiar with the official II comics, but the first reason is in one of the comics actually.

Especifically on the Letters Comic.

The plot of the comic is Balloon writing letters to those who he wronged/had a bad relationship with, and this includes pretty much all of the S1 cast (excluding the ones that are still on S2). And guess what, Nickel gets a letter as well.

There isn't a canon outcome as to what Nickel did with the letter. We don't know if he threw it away or took a look at it. But to me, I think that he did took a look at it. I will explain why later on in this post.

The second reason as to why Nickel's behaviour with Balloon changed on S3 was because, Baseball wasn't there to try to justify Nickel's hatred towards Balloon. In fact, what he got instead was Box, and we know that Box is like, Nickel's best friend on s3. What Box does is basically telling Nickel to get his shit together, stop holding onto stupid grudges and do it for the team.

And he does! And mind you, that was on the first episode of season 3! He decided to put away his petty feelings so the team could work, which pretty much already tells you that meanwhile early s3 Nickel has as much snark as S2 Nickel does, he actually recognizes when it's time to play on the game and when it's time to be petty. He's more of an nuisance towards Balloon on the first ep all things considered, but it seems that unlike S2, Balloon has grown a lot of confidence as well, and isn't sad at Nickel's comments, but rather calls him out on them. And even IF Nickel didn't exactly like to side with Balloon, as the eps went by, despite Box was the main reason as to why they were hanging out, Nickel was actually experiencing Balloon's change. He didn't want to be involved on s2 because BB told him that his distaste was justified (and that ended up messing everything for the Grand Alliance), but now he's "forced" to accept and know the guy because Box told him it was the best for the team. On early s3 they tease eachother, yes, but their relationship seems to be better than before.

As well, it wasn't out of nowhere either way, since Balloon does imply that both Nickel and him hanged around just to mess with Yinyang back at the Hotel.

That's my main reason as to why I think that Nickel DID read the letter in fact, but still had very complicated feelings towards Balloon, because in his mind, to him, Balloon was the reason as to why Suitcase, someone who Nickel really got attached to (even if you can't believe it), "betrayed" him. But we know that's not true. But at the end of the day they do end up hanging around well.

"But Max, why did they end up having a fall again? Aren't they supposed to be healthy?"

First of all there is a reason, second of all, oh my god conflict won't fucking kill you. You see. Nickel SUCKS at communication. He can't let out his feelings as much as he would like to do so, because he's scared of getting hurt and such. So yes, Nickel and Balloon were good friends there, but the down fall was necessary for them in order to ACTUALLY be a healthy friendship. The problem is that Nickel doesn't get that he fucked up a lot more than he thought and that he is the problem.

He still thinks that Suitcase left his side because of Balloon and of course that hurts- but he feels so bad about the way he treated Suitcase as well, even if he's not fully aware of why he feels like that. So that's why the conflict HAD to exist. You can't just expect them to be okay like nothing without talking about S2 properly, it doesn't work like that. Yes, they both care about eachother, but they STILL had to talk about it.

Now, on the yet, most controversial scene when it comes to Nickel's arc: Clover's therapy.

Some people say that Nickel didn't have to just be talked like that and that they expected more, but dare I say, that's exactly what he needed. To talk properly about his feelings. It's like you guys didn't catch up on that. Nickel's thing is being overprotective over those he loves, and seeing the things that might harm said loved ones or himself as threats that he needs to get rid off in order to be okay, and that he is afraid of change. Nickel knew he messed things up, but he still kept on thinking that Balloon was the one that made Suitcase betray him, when that's not really true.

He needed the talk to realize that it was truly his fault. Please take note at the way he looks to the side once he realizes it. It wasn't just a recent thought, it was always there, but he was scared of it coming true. Clover's talk made him open up properly about it and Clover also says it, "but don't you want to?" and then he says "mhm, maybe", but he really does want to, which is why he changes so much on Ep 16.

So before you say that Nickel didn't regret what he did and that he only did because of Clover: how can you be so wrong about something.

And, oh.

Oh, episode 16.

It treated them so well.

What Nickel says here is that he was scared of falling in Balloon's tricks, he was scared of being manipulated. Again. It wasn't out of nowhere. The way he treated Balloon WASN'T out of nowhere.

Is it justified? No. Does II or Nickel himself ever say that it is? No. The series as a whole is telling you that it was awful of him, characters do call out Nickel on his shit behaviour (even if you think they don't, they do, calling out isn't always strong words, sometimes calling out acts as feedback. as pointing things out. of course he also gets called out in the other way on the series, but PLEASE don't say that he didn't get called out because of his actions, he quite literally died because of them), Nickel HIMSELF recognizes that he was awful to Balloon and he is okay with the possibility of Balloon not wanting to forgive him either way.

But they ended up talking things out in the end. They ended up okay, because Balloon can genuinely see that Nickel wants to change. The walls he put are gone. He can see how genuine the guy wants to be.

"But Balloon shouldn't forgive Nickel, not after all the pain he caused to him"

Listen. Both of them commited mistakes. Balloon recognizes that he wasn't a good person back then and wanted to change things. Nickel finally got that and Nickel also showed Balloon that he does mean well. People that had complicated relationships CAN work things out, crazy I know, and I'm saying this as someone who had beef with their now best friend over similar stuff. We apologized and now we're close. It happens.

Balloon really cares about Nickel. And Nickel really cares about Balloon.

And Nickel is okay with Balloon winning because that's his friend now. Nickel changed for the good. And it makes sese character wise.

Nickel regrets what he did to Suitcase and Balloon as a whole. And Balloon and him are best friends now.

So, no, Balloon and Nickel aren't a toxic relationship, much less a problematic ship given all of the circumnstances, and saying that they are is missing on the whole arc they went through. They were complicated and they both had their reasons at the end of the day. No, Nickel wasn't purposefully an asshole to Suitcase, he was seeking to protect her, but ruined everything on the process. Yes, Baseball and Nickel needed to be separated in order to grow because they weren't healthy to eachother. Yes, the Nickel and Balloon arc had to go as long as it did in order for it to end properly, and it's not even done yet, Baseball and Suitcase are still waiting. Yes, Nickel meant good with the things he did. No, it doesn't justify any of the things he did. And, finally, the Grand Alliance arc is well executed, just because it's complicated it doesn't mean it's bad.

And those are statements that can coexist.

Thank you for reading. :]

[talenlee]

Lessons Lee Mulligan

I want to be better at running tabletop games.

I’m not bad at it, by the way. I haven’t had to contend with players giving me complaints any time in the past… maybe fifteen years. The games I run generally receive praise and players show up because they want to play them. I am currently on a break from running a game though you know watch this space, but I still think of myself as a storyteller, a game runner, and it is with that in mind I have been gritting my teeth in frustration at how good Brennan Lee Mulligan is at it.

I don’t have any malice for the guy. I admit, I had a wildly incorrect read on him as a person when I first started watching him. Somewhere along the way he mentioned that he’d never had alcohol or drugs, and I immediately started to edge him towards the ‘formon or exvangelical’ basket. Then in the Starstruck Oddysey campaign he mentions his mother’s name and his godfather’s name and I realise that actually he’s basically indie comics royalty, and that was quite a thing to realise.

Quite frankly, finding out how his mum feels about him and what she did for him as a child makes me feel very distressed because it seems so impossibly nice and good in ways that disorient me. It’s like watching Bluey, I can’t understand a world where a dad is that nice to his kids.

Still, Brennan Lee Mulligan is good at being a storyteller, dungeon master, game-master, whatever term you want to use, in a way that makes me want to take notes. Some of it is unuseful and unapplicable – I don’t have a custom mini maker on hand and can’t afford one and don’t even get to play on a physical tabletop any more. Some of it is the comical pointlessness of the system that he uses – watching D&D 5th edition involves needing to know almost nothing about the game, because all that really matters is if a number rolled is high or low, and he’s used it for murder mysteries and criminal heists just fine, because whatever else the system is doing, the focus on what the story demands is all it needs to make function.  Instead I want to focus on things Brennan does that I think I can use in my own games.

I suppose just in case, I’m going to talk about some minor details from a Dimension 20 campaign, Fantasy High that talk – obliquely – about spoilers for the first and last episodes. You might not want to read this if that’s a thing for you.

He’s Very Good At Actual Improv

Shock, horror, the guy who ran an improve school and has had years of playing around in improve performance with his friends he trusts is really good at it. The ability to build on what others are doing, enabling them in how they do it, and to trust them to not fuck up what you’re telling them, or the vibes you’re putting onto your

This isn’t a radical diagnosis of his storyteller abilities. Brennan’s job involves numerous other types of web show, including appearances on Game Changers and Make Some Noise which are both shows built out of improvisational comedy.

What can I extract from that though?

An immediate thought is that Brennan is careful with word choice and is extremely unselfconscious about others. Commonly in his dialogue you can hear the phrase you see that they say, which is obviously, when extracted, gibberish – at best it’s padding. It’s also, and this is important: fucking fine. People don’t make supercuts of him saying that, they make single big cuts of the thoughtfully constructed improvised monologues, which are delivered with the high dudgeon of a preacher. I think those are like lego constructions – he knows the pieces, he knows the structure to fill them out, and fills the spaces for them piece by piece.

General knowledge and presentation is useful for this skill. Be aware of a wide variety of ways people communicate, for example. It’s not like Brennan is a master of voices – you generally can tell you’re hearing Brennan say something when he voices an NPC – but the fact he has a swathe of different ways of talking, a bunch of Different Guys to dream up and get mad at – is a useful part of the skillset.

I don’t have players (at the moment) who are avidly into this kind of thing. But recognising the players as audience to experiences, and not players antsily waiting their own turn, is useful. I think Brennan treats solo interactions with players away from the group as if those interactions are interesting and fun for other players to watch, and part of that is, I think, built out of treating engagements as performances. They aren’t things to get out of the way, they’re the material players and people are there to watch.

He Does Put In The Work Ahead Of Time

I have a theory about the conclusion of the first Dimension 20 campaign. It’s not provable and I honestly don’t care to hear Brennan’s take on it, because it doesn’t matter if it’s true or not. What matters is what it tells me about what’s possible.

For those of you unfamiliar, Fantasy High’s first campaign was centered in a magical high school for adventurers. It introduced the players to the character of Arthur Aguefort, a delightfully reckless wizard with preposterous power in the field of Chronomancy that seemingly is always one step ahead of whatever his silly actions indicate. In this same story, there’s a prophecy, keeping a dreadful villain contained, and that villain’s containment is breached at the very end of the story, and then there needs to be stuff around that prophecy. It’s a pretty good story, especially in the way that Arthur’s plan is seemingly derailed by the player characters dying in episode 2, and then he sacrifices his life to bring them back. At the end of the story, Arthur comes back to life, in a big dramatic moment that gives everyone a chance to refresh mid-fight with a boss that’s otherwise a bit beyond their abilities. Cool story, cool bit, and it all dovetailed with the prophecy, because of the specific character who died getting a miraculous natural 20 at the last moment.

Except.

I think that with the way the prophecy was worded, and with the secondary details and characters connected around them, it would be entirely possible to conclude the prophecy and defeat the baddie if any of the other characters had been the person to do it. The character who triggered this refresh didn’t have to be who it was, anyone could have done it and the explanation of the prophecy would work just fine, thanks to some homonyms. If I’m right, not only is this a cool mentalism trick that makes Brennan look psychic, but it’s also an example of the powerful advantages of being prepared ahead of time for a spreading network of possibilities.  

I don’t do as much prep work as I want to do. Or rather, more correctly, I don’t do as much prep work for my games as I want to have done when the time comes to run the game. The difference is pretty subtle, but it’s present. Part of it is, I think that prep feels both easy and boring, the deadliest mix of things for my kind of player mindset. When introducing players to locations I so rarely have lists of things like NPC names and random traits on hand for them to grab a stranger off the street to talk to, and keeping those characters distinct from one another is easier when I have those tools on hand. Having short descriptors of places, lists of street names, just the detritus that makes up a place, that would make life easier for me when trying to organise details and let me use a lot of anchoring details.

Making those lists, however, is pretty tedious!

What makes this even funnier in the context of the now is that really, ‘make me a list of descriptions of NPCs for a steampunk street in Vienna,’ is exactly the kind of thing that a large language model software system would be really good at but doing that runs the risk of generating characters that sound boring, and I’m not wild about the idea of engaging with those systems where I don’t have to.

Conclusion

If you’re like me, an older millennial who’s never succeeded at much of meaning, and you see cool people doing things around you that you think ‘oh wow I’d love to be doing that,’ you don’t have to let it fester in you and make you sad. You can take their examples and use them as guideposts for how you can do the things you want to do. Engineering someone else’s success is impossible, but you can at the very least recognise what it is about how they work that excites you.

Check it out on PRESS.exe to see it with images and links!

[thorias]

SEASON 2 WISH LIST:

-Madelyne is resurrected as a Horseman along with Gambit: I think there's a better story to tell with Madelyne being brought back (at least temporarily) than staying dead. The X-men having to fight her too would give Cyclops and Cable a more personal stake in this Apocalypse storyline, not that they really needed one, but still...

I said in another post that I wouldn't want to dilute the "Saving Gambit" story by making a bunch of other X-men Horsemen as well, but if it's just Madelyne, then I think it's okay. And I wouldn't expect Madelyne to survive this story anyway, since, aside from tying up a couple loose threads with the Summers family, her arc is basically finished now.

Plus, I just kind of like the idea of giving Deathbit a buddy in the spurned lover department; that could be fun.

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-Sabretooth returns. Logan (sans adamantium) has to fight him... and loses: I've always liked the idea that Sabretooth would probably beat Wolverine in a fair fight, (dude is like 3x Logan's size after all) but it's never been a fair fight since the adamantium basically made Logan unstoppable. But take the adamantium away and suddenly Wolverine is the underdog for a change, which makes the match-up a lot more interesting. And what's even the point of doing the bone claws story if it's not to see how Logan deals with being in a weakened state like this?

Granted, I want to see this for selfish reasons since Sabretooth is one of my favorite villains, but come on! Victor is long overdue for a W against Wolverine, and if he can't get it now, then I'm calling BS lol.

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-Mystique returns, working for Apocalypse: I think Demayo shot down the Val-Cooper-is-Mystique-in-disguise theory, (correct me if I'm wrong about that) but it would be pretty ridiculous if we didn't see her in season 2 since she worked with Apocalypse in XTAS on multiple occasions.

Plus, there's a ready-made story there with her and Rogue. In the 90s cartoon, Mystique wanted to get Rogue back as her daughter so badly that she was even willing to turn Rogue into a Horseman to do it. So just imagine if Mystique had a hand in convincing Apocalypse to resurrect Remy as Deathbit, or at least helped him pull it off, because she saw this as a way to get back into Rogue's good graces. That would add some really interesting pathos to a story that's already super emotionally charged.

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-Costume changes: I get that Marvel has toys to sell, but the different suits the team got in season 1 ain't it. Sorry, they're just not. The only one who pulled it off was Storm. Everyone else got a serious glow down. I actually felt low key embarrassed for Scott and Jean trying to make those retro costumes from the 60s/80s eras work; there's a reason those designs stayed in the past, you guys.

And I even like Rogue's green & white suit in the comics, but in the show it just looked awkward with the gloves being a different shade of green than the rest of it. I'd take just about any of her other costumes over this one.

Either change the suits again or go back to the old versions because I'm not feeling these current ones at all.

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-Magneto has a reunion with his kids... and it doesn't go the way he wants: We saw in the season 1 finale that Mags' separation from his children is something that's at least been bothering him, (though not enough for him to lift a finger to save them from being killed along with everyone else on Earth if he succeeded in destroying the planet's electromagnetic field, but I guess we're blaming that on bad writing) so I want him to meet his kids in season 2... only for it to go as horribly as it possibly could.

It would be both ironic and hilarious if Magneto is hoping to patch things up with his kids, only for Pietro and Lorna to try to fight and arrest him the instant they see him (X-Factor doesn't seem to be a thing anymore, but let's say they're still government employees and have the authority to arrest criminals/terrorists) because he did after all murder millions of innocent people with that EMP AND try to murder every other living thing on the planet, including them.

I mean, let's not kid ourselves, there's no way this family reunion is going to be a happy one after what he did. SOMEBODY has to hold Magneto accountable for that, and his own children doing it is about the most fitting thing that I can think of.

-----

-A big story arc for Gambit: Romy fans got gipped in season 1, and even if you're just a Gambit fan, you still had to settle for scraps with him only playing a major role in one episode, which coincidentally was the one where he got killed off. Yes, the stage is set for Deathbit to have a really compelling story in season 2, but that's going to depend on how it's done and frankly, after I got burned so many times in the first season, I'm skeptical that the writers will give this the care and attention it deserves.

Demayo said it was "key" that Remy died thinking he didn't deserve to be a hero and that Rogue had chosen Magneto instead of him. These things have gone unaddressed in the show since then, so I'm going to assume they're being saved for the Deathbit story and THE PAYOFF FOR THIS BETTER BE DAMN GOOD.

I want to see all of Remy's low self-esteem, self-loathing and resentment over the Rogneto debacle get twisted into a dark rage that Deathbit throws back in everyone's faces. AJ himself said that Remy didn't feel valued by the X-men or Rogue when he died, so use that! Make it part of the story! Make them own up to it. Force Rogue to confront her own feelings about how she handled that situation, (so far, she's been avoiding doing this) so it can factor into how they bring him back.

I know a lot of us assume that freeing Remy from Apocalypse's influence is going to come down to Rogue finally telling him that she loves him. And, yeah, that should be a big part of it, but it shouldn't be the only part. That's fine as far as Rogue is concerned, but Remy needs an arc too, and I just want it to be worth the wait after they put us through all this.

-----

-Deathbit vs Magneto: This needs to happen. Aside from the fact that Romy fans will have been clamoring for it for a long time, frankly, both characters are going to want it too. Mags will no doubt view Deathbit as the reason why he can't get Rogue back, and Deathbit... well, we all know what his reasons are; he'll likely want to take Magneto apart just for the pure satisfaction of it.

Now since Magneto's so OP, Gambit wouldn't stand much of a chance in a straight fight under normal conditions, but we know Apocalypse evolves/enhances mutants' powers when they become Horsemen, so imagine if he unlocked Gambit's Omega potential, so Remy has his New Son powers now, or at least a heightened version of what he had before. So Magneto goes in brimming with confidence that he's going to wipe the floor with his rival for Rogue's affections, but then in a shocking twist, Deathbit breaks out his newly enhanced power set and turns the tables on him.

Do I really want to see Mags get taken down a peg and humbled by Gambit? Sure. But narratively, this makes a ton of sense to do. Since Demayo loves Magneto so much, I highly doubt it will happen, (certainly not with this outcome at least) but I think it would be super satisfying for fans.

[66sharkteeth]

Weekly thoughts!

Hooboy, the big episode! First off, I think everyone knows by now that you probably shouldn't read these if you haven't read the latest episode, but I ESPECIALLY mean that this week! Talking about some way bigger than usual spoilers.

Phew, this was a big one, both from a writing and drawing perspective. I actually spent a full day on that last panel alone, but writing it took way longer than usual too. Going back and forth between Bell's speech and Jericho's backstory played perfectly like a movie in my head, but it was really hard to portray it as a comic and it was one of the few times I was struggling with the limitations of the format. I think I pulled it off though, since everyone seemed to follow along fine! So while it was probably just a neat scene to everyone else, I'm rather proud of that haha.

As for the actual contents of the episode, I'm also glad everything hit w/ the majority of the audience for the most part. I know a handful were confused about if that was Bell or Jericho who did that, but to those people, I remind you it's been loooong established Jericho can control his extensions (Bell, Charlie, and Claude. Remember, they all took injections of Jericho's blank space?). Also on that note, Bell does not have her own scion... Only Rex and Jericho do. Bell, Charlie and Claude all took injections of Jericho's blank space, thus get to borrow some of his power. I recommend re-reading ep 80 if you need a refresher.

I do consider this ep kind of a big reveal of Jericho's true colors. I mean, you guys have known he's the main villain for ages now, but this is the ep that reveals his "better world for blanks" act is kind of a façade and what he's really seeking is a worse world for humans. The fall of humans benefitting blanks is just kind of a bonus. I'm glad a few people caught onto this with the fact that one of the worst horrors he experienced was having his autonomy taken away from him, then he proceeds to do just that to Bell.

And speaking of Jericho's horrors- Before this season launched, I dropped a bunch of hints about upcoming things. One of them was that the most disturbing scene (in my opinion) was coming up. I was actually referring to what happened to Kallie. I'm not sure if it was as disturbing to everyone else (I totally get like if Claude's leg thing fucked people up more), but being evaporated into nothingness but not dying was an existential dread that really fucks me up haha. If it fucked even a couple of other people up, then I did my job.

I don't have too much else to say about the contents of the episode. It was so hard to bite my tongue for weeks as everyone predicted pretty much every character but Desmond was gonna get it. I'm sorry I don't have too much else to say about him right now given what happened, but I definitely will in the upcoming weeks.

I guess the only other note I have is I might as well address something that bugs me slightly- It's definitely a minority but there's a handful of people who seem done with the series because "too many things go wrong." To which... I'm not sure what to tell ya. I'm fine with critique and criticism to be clear, but honestly, this is one thing I'm actually really confident I'm good at balancing. I'm not sure where people are coming from with "nothing good ever happens in this series" when this season alone has had probably the cutest and fluffiest scenes. Rex has a canon girlfriend, he had his first kiss with her, Desmond was reunited with his sister and learned to accept himself, Lyss learned to move past her trauma and accept blanks, Rex was reunited with Shnee, Rex's scion turns out to be a puppy dog w/ a crush. I'm aware a lot of these got kind of crushed with this latest ep...but that's.. kind of. the. point??? That's how you write tragedy and impactful scenes??

I dunno, maybe this is personal to me because it's ALWAYS bugged me when someone tells me they think a show is bad because it's "too dark." Like no... It's not *bad* because it's too dark, you just don't like dark themes, and that's okay. I TOTALLY get if CoB has gotten too dark for some people- it's definitely hit some hard themes and subjects, but I don't like to accept that as a critique. It just means it's not for you and that's okay. There's a ton of other great comics that are more light-hearted! I think the TLDR of this is it will always annoy me when people say something is bad just because it's not their taste.

Now. That said... everyone is completely valid in their hate of Jericho. I, however, still love him.

[thesoulspulse]

Danny Phantom Randomness (Principal Masters)

Not sure if this idea has been used in the phandom before, probably not since it’s a pretty common for the principal of a school in a cartoon to be the antagonist in some way, but I thought I’d share it anyways. So here’s what I’m thinking. Personally I think it would have made a lot more sense for Vlad to switch tactics and double down on trying to win Danny over instead of going full cookie-cutter-bad-guy-that-wants-to-rule-the-world after cloning him failed which would make him realize that his little badger really is one of a kind and what he has can’t be replicated.

Up until this point Vlad’s been making Danny’s life more difficult instead of easier which was his whole sales pitch when they first met...

Vlad: Daniel, stop. Think about the things I could show you, the doors I could open for you. You, Danny Phantom, and I, Vlad Plasmius. Together, we could rule.

Then there’s these comments Vlad made to Danny in Reign Storm...

Vlad: Sneak attack, very good, Daniel.You're getting more like me with every battle.

Danny: I AM NOTHING LIKE YOU!

Vlad: Oh, you're not? Using your powers to get back at people you don't like? Throwing the first punch? You're more like me than you know.

I’m so disappointed this didn’t develop into something more interesting where Danny starts to genuinely worry he’s becoming too much like Vlad which would have made the events of The Ultimate Enemy twice as cool because it’d be like a glimpse of that reality where he’d actually become worse than Vlad. But, back to the topic at hand! I’ve mentioned this in a few of my fanfics but I think the whole cloning thing was more of a desperate attempt to get Danny on his side since Vlad never really made any serious attempts to tempt him to join willingly and just spent the whole time bashing Jack and telling Danny he’d be a better father.

With that in mind, rather than being a petty rich bully after Danny gets Vlad’s mansion destroyed in Season 3 what if Vlad decided to put his foot down to “re-educate” him so to speak? What I mean by that is instead of running for Mayor of Amity Park, why didn’t Vlad try to replace the principal of Casper High? For one thing it would have ACTUALLY made sense because the position doesn’t require living somewhere for more than 6 months and its purely based on their education and teaching experience. And I think overshadowing the right people on a smaller scale would make it more believable than the whole Mayor thing.

Vlad could of course still be a jerk about a lot of things to get back at Danny like force the whole dress code thing, however, it would have been an interesting twist if when Danny comes to Vlad to apologize and ask for a truce he graciously accepts which totally throws Danny for a loop. Why? Because that was the plan all along! Vlad wanted Danny to learn there are consequences to his actions, realized that fighting him is counterproductive, and on top of that, to actually show how much easier he could make Danny’s life by letting him become a part of it.

Honestly, I absolutely love the idea of him unexpectedly becoming the cranky overprotective type kind of like what you see in this amazing comic strip by @lilianade-comics​: https://www.tumblr.com/lilianade-comics/703807353584320512/aw-man-dont-you-hate-it-when-your-arch-enemy?source=share

Think about it. If Vlad started to make Jack look bad without actively insulting him to make Danny finally get fed up with being hunted by his parents to the point where he’d reluctantly go there just to catch his breath once the two of them agree to a cease fire. Trouble with the high school bullies? In comes Uncle Vlad who happens to be the richest man in the world and a close personal friend of the Fenton family so Danny’s off limits. Ghost attack? Vlad helps cover up Danny disappearing to fight them or even scares them off if he has an important test that day. The list goes on on what Vlad could do to either make Danny’s life a living hell in a more personalized way by invading his school life or a lot better depending on their interactions at Casper High.

Long story short its basically using the idea that you catch more flies with honey than vinegar and all that so seeing Vlad gradually start doing nice things for Danny from time to time might help change his tune. Because deep down Danny DOES want to learn more about being half-ghost, but he refuses to accept Vlad’s offer to join him because he hasn’t really done anything to make it appealing. Vlad’s always insulting Danny and his father so if you ask me, giving him the praise he doesn’t get at home or at school could change so much between them...

Vlad’s just gotta be smarter about it.

Obviously Danny would be suspicious if Vlad started acting too nice to him right away so the changes would be gradual. And whenever he goes to Vlad for help or at the very least asks if he’ll cut him some slack Vlad will reward him for coming to him first. Especially because unlike his parents, Vlad knows exactly how much he’s dealing with and I’d love it if what started off as a plan to manipulate Danny transformed into an actual student and mentor relationship leading into a redemption arc instead of whatever Season 3 was.

And there you have it. Principal Masters AU anyone?

[olympeline]

Been thinking about why I found Arthur in the Dark so impressive and it made me realise something kinda significant. Something significant that I’m going to put under a read more because it revolves around a heavy subject. So I wouldn’t advise looking beyond the cut if you’re sensitive to that kind of thing.

Less important, but everything below is a big spoiler and, guys seriously. If you like USUK and can handle darker fiction - no pun intended - give AitD a try. Don’t spoil yourself here. Go try it first and then come back if you’re interested. Try it if you’re neutral on USUK. Or, heck, even if USUK is a ship you dislike but isn’t an outright NOTP. I’d still recommend checking out this comic. Arthur in the Dark is still worth a read in my opinion. It’s that good. But enough gushing. Read on for the meat of this post.

Ready? Here we go: Arthur in the Dark has one of the best depictions of rape I’ve ever seen in a piece of media. “Best” as in most skillfully crafted for narrative purposes. Honestly and truly. Not even kidding. Which is kind of amazing considering it’s a depiction that came from a fan comic based on a jokey, anime gag series. Why do I feel this way? A couple of reasons:

Firstly, the rape in AitD is frighteningly, tragically realistic. Something the majority of fictional rapes are not. We tend to think of rape as taking place in a dark alley in the inner city. Stereotyping up a scene of a bottom feeder, criminal man dragging a (young, attractive) woman away to violate her. They’re usually total strangers and it’s always violent. These kind of rapes do happen, but statistics tell us they’re the minority. The majority of rapes happen like the one in AitD did: between two people who know each other well. Friends, romantic couples, even family members, make up the bulk of rapists and their victims.

Most narratives prefer the less common type of rape. Usually because the creator doesn’t want to tell a story about rape. Not really. What they want is a gut-punch to add easy drama and darkness to their creation. The sliding scale of “irredeemable bad guy” roughly goes: murderer → cold blooded torturer → rapist → child rapist. Making a villain a rapist is one of the worst things he - because 99% of the time it’s a he - can be. Conversely having a character be raped gains them instant sympathy because people are moral and empathetic creatures at heart. Most creators know this and throw in a rape for the shorthand: “Look how evil our villain is!” Which often makes the rape and its aftermath feel artificial. In no small part because the rapist characters, by virtue of being written to be the worst of the worst, don’t come off as very human. They can’t be when their main purpose is to be loathed by the audience. I could go on because there’s tons more to unpack about rape in fiction, but you get the point.

The rape in AitD isn’t like that. America and England know and love each other. Their relationship is complicated (oh boy, is it ever!) but that part of it is never in doubt. They’re each other’s most treasured person and have been for centuries. They’re not a duo made up of a flat, hate bait, villain on a collision course with their victim. Who’s doomed to suffer and be pitied until the creator decides the audience has had enough of their trauma and shuts it away so the story can move on. America and England are two people living together, going through a period of immense change and stress, trying to manage as best they can, and sometimes getting it very wrong. From a narrative point of view, this makes what happens between them so much better and so much more upsetting at the same time.

Which brings me nicely to reason number two of why this particular rape works: the build up. Like everything else in AitD, America raping England is carefully planned out and set up. The chocolate bar scene, man. Brilliant, I have to say. Alarming, uncomfortable, and brilliant. The scene in the garden is not just sprung on the reader for a jarring “Oh no! Oh shit-!” moment. If your typical under written rape is a cheap jump scare, the rape in AitD is a carefully crafted slowburn dread. Early on we start to become aware we’re building to something bad. From the foreshadowing, the art, the atmosphere, etc. We just know a storm is coming. It’s done without America acting OOC too, which is very important. It’s how he can come back from what he did. Something that would be impossible if the author didn’t handle this setup well. America’s actions aren’t right, but they are understandable. That’s the crucial distinction. The psychology of the whole thing is so very well done. America was in love with England and had been for a long time. The guilt he felt tormented him because of what their relationship was in the past. Caught between his human side and his immortal one. The guilt helped keep America in check because he didn’t want England seeing the lustful way he’d begun to look at him. Then they started living together and England was suddenly vulnerable. Vulnerable in more ways than America was aware. Which is another vital detail of how the creator keeps America sympathetic, but more on that in a moment. England willingly went blind so he wouldn’t have to see when America - the man grown from the child he raised - looked at him with lust. The guilt America felt peaked, only to clash with the realisation that he could freely indulge in his fantasies. Indulge and push (again, chocolate bar scene) now the usual moral restraint - England seeing his desire - was removed.

Meanwhile, England himself felt that same guilt but his was also laced with panic and despair. He didn’t want to lose or strain his relationship with the most important person of his centuries long life. Pulled between human standards of morality and the very inhuman existence of nation-people. Incidentally the clash between their existence as humans, while also being something more than human, is brilliantly done in AitD. It’s something that’s hard to get right - especially involving such taboo topics - but Hotama nails it. USUK usually handwaves the implications around England raising America, but here it’s made part of the narrative. Part of the tragedy, part of the resolution. Good stuff. Anyway, England begged Arthur to take his sight away so he wouldn’t have to see the way America looked at him. Then banished Arthur back into the dark in an attempt to run away from his problems. But without Arthur - without his strength - England couldn’t stand up to America when he needed to. Not that America was aware of any of this because he never knew about Arthur. Which brings me to point three: nuance of blame.

“Blame” is a very loaded word in this context, so I’ll do my best to talk about this carefully. Rape in the media is almost always black and white. Absolutely evil, irredeemable rapist. Absolutely blameless, sympathetic victim. But real life isn’t always that simple. Obviously the rapist is always the perpetrator and the one most in the wrong. I need to make that very clear. But the scene in AitD illustrates that sometimes a victim could have done more to help themselves. Not always, but sometimes. This is a delicate subject so I hope you understand I’m not trying to victim blame. Just saying that rape, like all crimes, doesn’t always deal in absolutes. Unlike media, real life is often complicated and tragic. Good people can give in to temptation. Be weak, do bad things, or allow those bad things to happen. England told America to stop, but failed to follow it up when needed. When America pushed for more and used England’s own words to argue he’d already been given consent, that was when England needed to push back. Interpretation comes in here but, personally, I think if England had told America to stop when prompted, America would have. But England didn’t and he gave in instead. Something America took as a tacit “yes.” Again, not right, but understandable in how it could happen. Their power imbalance had grown extreme, stress and feelings were running high, they were struggling to connect as they used to, England’s prior cowardice and separation from Arthur prevented him from being strong when he needed to be, America was ignorant of his problem, and it all came together in a horrible, tragic mistake. All throughout, the rape continued to be brilliantly, awfully realistic. America not noticing - either genuinely or from denial - that England was not enjoying what was happening. England quickly becoming too distracted by the pain to do anything other than focus on enduring it. Then the aftermath where America didn’t realise what he’d just done due to coming down from a post-sex, post-stress euphoria. Awful, miserable, horrifying, tragic, perfectly crafted scene.

Which brings me to my final reason why this comic impressed me in its depiction of rape: where the story goes from there. Where it goes and how the narrative builds from the rape instead of trying to move on because the “shocking” part is over and now we’re in diminishing returns. Going back to my first point, too many stories see rape as something that happens in an isolated part of the narrative. It happened, it was shocking and brutal, now it’s done and we can move on because we didn’t plan to interweve the rape with the rest of the story. So we won’t give it the weight it needs. At best the victim might get a few scenes expressing their trauma later on - maybe a callback or two - but that’s it. It’s shallow. Plenty of fictional rapes could be replaced with a savage beating and nothing would change. In the worst cases you could remove the rape, not replace it with anything, then run the story with minimal problems. Not so in AitD. There, the rape isn’t just another semi-important plot point. It’s a crucial one which couldn’t be replaced with anything else. The whole first part of the story, the engine of the narrative, is built around America and England failing to deal with their changing relationship. A relationship between a pair of humans who also happen to be strange, immortal beings that ordinary humans can’t understand. Changing from platonic/familial to romantic over hundreds of years. With romance comes lust. Lust can be perfectly healthy just like any other bodily appetite. In this case it became twisted by circumstance, and the only “suitable” narrative payoff was rape. Nothing else would have had the necessary impact.

Then there’s how the rape compares to the final sex scene in some classic narrative juxtaposition. The final sex scene which happens to be the only one in the comic that’s fully consensual on both sides. The one that goes beyond sex and becomes real, honest to goodness lovemaking. It’s a perfect contrast. The rape scene had all the trappings of a classic romance. Right down to it being their first time and taking place in a rose garden. But it’s tragic, horrifying, and deeply unsexy. Then, near the end of their story, America and Arthur get lost on their road trip and have sex in their car. Their crappy, cramped car, where they’re surrounded by ordinary luggage, both of them sweaty and a little cranky with each other after a long day. It’s awkward, ordinary, imperfect and gorgeous. If we didn’t have the rape before to show us the nadir of this relationship, the healing and the dawn that came after wouldn’t be half so meaningful. A very strange thing to say without context, but it was a perfectly done rape that gave the audience the payoff of perfectly done lovemaking. It’s no small feat to get a reader to cheer for a romantic resolution after all of the above. Kind of in awe of Hotama’s skills, I tell you what.

Up to this point and I don’t know what else there is to say other than, geez. This comic, man. Blew me away. I’m so happy I rediscovered my interest in Hetalia if for no other reason than I got to read Arthur in the Dark. I’m a bit of a bookworm in my spare time and I’ve read quite a lot of classic literature over the years. Classic literature with rape scenes not crafted half so well as AitD did. Really think about that. An amateur fan comic based on a jokey gag series about national personifications being silly with each other. Did better at something than the books we hold up as the best of the best. Can’t really say anything else than that is genuinely bloody amazing

[jq37]

Are we sure Sandralynn wasn't cursed with like. Shit taste?

It's def a real mixed bag, though I think besides Bobby it's more just wild choices than straight up bad choices.

Bobby Dawn: Regular Freak. Liar, Frumpy, Wrong. Cheated on his wife and then ruined another woman's life over it. This is not a a ranking so I'm not giving him a score but I almost wish it was so I could give him a comically low number. Actually, there aren't any rules here. I still can. Negative infinity and kick rocks. If I was Sandra Lynn's friend I would be *begging* for her to love herself (or at least have a better sense of self preservation) and RUN GIRL.

Gilear Faeth: Gilear was a successful, hot elf before his loser energy kicked in because of his curse. Wasn't he like a diplomat or something? Like, Gilear now is a loveable loser but Gilear then was probably kind of a catch. And hell, Fabian's mom likes loser Gilear and she's a pretty hot commodity herself. As Sandra Lynn's friend I would be doing cartwheels if she moved on from Bobby to be with Gilear. 1000% improvement. And, for what it's worth, so is loser Gilear. Most guys would be frankly.

Gorthalax: Def seems a bit reactionary to go from a cleric of Sol to one of Sol's fallen angels turned devils. But Gorthalax is a nice guy from what we've seen and as a devil of gluttony he prob can conjure up some killer date night food. I think that if I could get over the shock of him being a MAJOR DEVIL, as Sandra Lynn's friend, I could warm to the idea. And he's not Bobby Dawn so instant improvement. However, as there was infidelity involved this would be another GIRL WHAT? reaction from me. But again, less about the guy himself, more about the decision to cheat.

Jawbone: OK so the thing about Jawbone is that I think he's great and a super good person and he's Brennan's semi-self insert so of course I love him. But he would also be an insane person to know IRL. Like, the stories he tells so casually. I think I'd be like, uh are you sure about this one? But he seems to have at least mostly chilled out now that he's working with kids and I think he's a really great guy. There's maybe a risk of contracting Lycanthropy but I'm sure they're using whatever protection you use for that. Solid guy as long as you're cool with his past.

Garthy: When Garthy was introduced, 80% of the fandom was instantly thirsting over them so objectively, "Garthy is hot" is a pretty mainstream opinion. And even if you (like myself) were in the 20% of people not thirsting over them, they're still very clearly a good person between raising Ayda and being super into self care (I loved the scene with them and Mercer's char in PoL). Also they're just really cool conceptually. So again, very normal person for Sandra Lynn to wanna hook up with. The problem, once again, is the infidelity. Especially because Jawbone was willing to have an open relationship! He closed the relationship for her! She took an L here for no reason!

So, to recap: shitty guy, good guy (who was cursed), devil (who is a good guy* and also an affair partner), good guy (with a wild past), and hot pirate (who is a good person* and also an affair partner).

*I don't remember if they knew Sandra Lynn was in a relationship when they were hooking up with her and am not factoring that into my judgement.

Besides Bobby Dawn, the rest of her choices were pretty OK (unless I'm forgetting stuff). Wild and with no obvious connecting thread--she absolutely has a rogue's gallery to rival Batman's--but it seems like the problems she had with relationships came down more to stuff other than, "She picked an objectively bad guy."

She really has the most inconsistent taste ever. I can't even begin to categorize what her type is. Gilear and Garthy should never been on any list together besides, "NPCs with G names."

[remylebeaugambit]

Hey! Love your blog. I’ve come away from comics lately and most of fandom simply because of how bad the writing is and how unhinged fans are towards things they don’t like/accept, particularly in the Romy fandom.

I used to really like them but I totally agree with some of the stuff you’ve previously stated on writers, mostly on Gambit. I stopped reading anything Rogue & Gambit because it was so disheartening to see that after their marriage Rogue still treated Remy like he’s her purse or something. A lot of Rogue fans blast him for the early days when he was still married to his first wife and the lying or whatever but never acknowledge that they weren’t even really an item, Rogue was constantly pushing Remy away, mixed signals, left him to die in Antarctica even though that wasn’t her decision to make and not once was she ever called out for it. Gambit is always going to be morally grey, he’s a good guy but he’s a criminal, it’s all he’s ever known, it’s his life and Rogue has never accepted that side of him, never put in any effort with his family or friends or home. She talks down on him and about him a lot, humiliates him in various stages of their relationship then calls him her best friend but never actually put any effort into their friendship even when he was trying so hard, it always felt like there wasn’t a genuine friendship, they were just super horny for each other and the sexual tension is gone now they’ve done all that and it hasn’t got better so what’s left to continue. How many times has he said he’d leave her alone if that’s what she really wanted, has stood aside and let her be herself with other people even when it hurt him. How many times has he tried to move on and she’s dragged him back because she gets jealous and makes him feel guilt for trying to move on when it’s her telling him she doesn’t want him or “needs space” or “doesn’t trust him” but berates him for having feelings about her kissing Deadpool etc when she’s constantly pushing him away over her “not able to touch.” Didn’t stop her from touching other people or treating other men better than Gambit when he’s supposed to be someone she loves. It’s a reoccurring event in their dynamic and I’m kind of glad people are seeing it and not really enjoying the ship anymore. The way I see it and probably a lot of other Gambit fans do, is Rogue simply doesn’t want him to be with anyone else but she also doesn’t want him either, it’s like the idea of him being happy elsewhere is so irrational to her she has to keep him around, he’s very much a bitterly in a jar and she’s suffocating him. He worships her and she loves that. She doesn’t particularly care about him, just what he gives her. It’s a very one sided relationship and had they not got married I think people wouldn’t be as fired up over it. Really can we blame the writing when she’s constantly written that way? Can’t we just accept Rogue is messy and won’t ever really know how she feels about Gambit. Does she love him or just love his love for her?

It’s sad to see what he’s been reduced to. It’s sad to see Rogue made out to be the victim when actually, throughout comic history, Gambit is the victim and yes, he’s a victim of her too. She gaslights him, manipulates him and guilts him constantly. He’s just there to be her cheerleader and it’s not consistent with his personality. Remy knows when to end things, he did it with his first wife when it wasn’t working for him even though that was his first true love and someone he would always love no matter what, they’d always be intertwined. Having him with someone who is constantly hot and cold with him, who never defends him to her friends or mothers who have done terrible and disgusting things to him isn’t it. That’s not love, that’s using him for her own needs. Gambit should just be a solo character again and back with his OG friends in team ups like Storm, Bishop, Jubilee, X-23. People who are his people, not just people who put up with him because he’s Rogue’s husband. He has a family who yes, are messy but they love him. He has friends who’ve been pushed aside so his entire life and personality revolves around Rogue. He’s a joke really. We saw that on Krakoa and I stopped reading then. It was sickening. So much has happened between Rogue and Remy that I could never ship Romy again. Just thinking about it is gross. And Rogue fans need to sit back and take a good look through comics again. Rogue’s treated Gambit terribly from the beginning. Remy was a mess, traumatised, flaked in and out of being a hero/criminal but he’s had growth. He should be shown some respect for all he’s done for the X-men and Rogue more than anyone.

People keep blaming crappy writing when actually, her character has been very consistent in how terrible she is to Gambit. That’s not bad writing, that’s just how her character was written to begin with. Even if it changes now (which it won’t) the damage is done. Antarctica, Mystique, Magneto, Avengers all of that tally’s up against Rogue. Remy grew up and became a better man, for his friends, for himself and for Rogue. Rogue has never once changed. Has never once been genuinely sorry for how she’s treated him and other characters, (I won’t ever let folks forget how she treated Dazzler, Rogue is not a girls girl my friends). Rogue and Gambit is a cycle of what ifs and never will be’s. It’s been drawn out for too long and Romy fans think they have some kind of claim to Gambit only for Rogue. They’ve never really been friends, it’s “mentioned” but never shown. They only ever have drama and it’s 99% Rogue’s doing most of the time. Gambit’s character has been squeezed to death for Rogue, stuffed into a box he’ll never belong in for her. All she cares about is how she looks as a hero, which in itself makes her a crappy hero. Remy is selfless, Rogue does everything for a reason. That’s okay, she’s allowed to be a messy character, she was raised by the messiest woman in Marvel comics, it’s only natural she shares qualities with Mystique. Rogue would be a more interesting character if she was allowed to be messy, at least she’d have a personality other than loud, bossy, the always right hard done by wife. Gambit is always made out to be the problem-criminal who’s never going to be any good… let’s all think back on how Rogue was first introduced. A villain. A villain raised by a villain. I see one problem and it isn’t Gambit.

He’s not perfect, nobody wants him to be. But he’s a good man with a rough history who continued to have a good heart anyways no matter how badly he’s treated. He has a few loyal friends, one big ass messy family and three beautiful cats. He’s more than the bumbling husband. He was NEVER a bumbling husband. Romy fans are entitled to their ship, everyone is but it’s consumed fandom and his character in comics. It’s not good for him and by now it’s never going to change. He deserves better than that. There are loads of characters he has great potential with who will never see the light of day because of how popular Rogue is. Gambit married Rogue (out of the blue because that whole comic made no sense at all) and suddenly he’s her obedient pet who can’t think for himself, can’t go anywhere without her, can’t have interests or friends or even see his own family because of her like, what? And that’s a loving healthy relationship? Are we all on the same planet? Would this dynamic be hyped up if it was the other way around? Would Gambit exist at all if he behaved towards Rogue how she does to him? The scales are very unbalanced. I don’t see why Romy can’t be a side story like Rogueneto or Roguepool or Roguestorm. Why does it devour Gambit’s character but not Rogue’s?

This is no hate at you, by the way… I’m just rambling and I’ve seen you’re pretty open to discussions on the good and bad of both characters. I’ve made this out to be very against Rogue but actually it’s just Romy, beyond that she’s okay, I don’t mind her at all. She has good and bad qualities which is human, that’s great but the Romy ship is sinking for me. I haven’t come across many blogs who are open to discussing Rogue in a more negative light, that’s the only reason I’ve babbled for so long, sorry about that. It’s sort of been giving me brainrot! I hope this doesn’t come off as offensive to you. I’m very ship and let ship, I personally just think Romy has blown up and is casting a storm cloud over other characters who don’t get a look in anymore and other ships get shot down by Romy fans so much that it’s just a very negative space to be in especially if you aren’t as fond of Rogue as you are Remy. He was my favourite character, I always saw him in a sort of kindred light, if that makes sense? All the trauma he suffered through his life and he still hasn’t caught a break makes me really sad, particularly when Rogue/Romy shippers shut any critical views down with “He’s married, he’s happy.” Because he clearly isn’t. No one would be in that situation. Obviously he’s fictional and they aren’t real but Marvel comics has always been about showcasing real life problems and truama. Remy had a few near escapes from Rogue but he kept being dragged back, I don’t think that’s fair. Rogue has whole lives and love interests beyond Remy yet Remy is there for Rogue and nothing else. It’s very disheartening as a Gambit fan.

Sorry for the long ass word vomit.

First of all, I’m glad you like the blog 😉 Second, I tend to be concise, so I’ll try to keep it brief.  

I mostly agree with you what you said, but you know why I will keep blaming the writers? As Gambit fans, we are pissed off at how he is written as Rogue’s husband, but if that wasn’t the case, what would the chances of him being written well be? I say low because that’s his history, unfortunately. Rogue is the issue right now (and has been on many other occasions) because everything revolves around her and she is written as super selfish and she is shown neither respecting her husband nor standing up to him. However, Gambit has mostly been treated as a disposable character, a small player, an inconvenience. He hasn’t been respected outside their relationship either. There are exceptions, obviously, but he’s the most shitted popular character on the X-Men roster. The relationship is a huge part of the problem, but it’s not the only problem. Back in the 90’s, he used to be as popular as freaking Wolverine and Marvel made a point to unreasonably destroy that popularity. Then, those fucking movies with unrecognizable characters and Wolverine as a protagonist contributed to that; comics mirrored the movies, even though it should be the other way round. There was no Romy in the movies, and still, it took Gambit almost two decades to debut on the big screen, and it sucked because he had almost no screen time and the script sucked, the writing sucked. Again, we can blame the incompetent writers for that, not his nonexistent relationship with Rogue in that universe. Even Tatum’s Gambit hasn’t been unanimous among fans. 

As I’ve stated before, most Romy fans are actually Rogue fans in love with the idea of her hot boyfriend. I know I pissed a lot of them with that statement, but that’s what they show. Romy fans are in love with a fact that they are married, but what good is it when Gambit’s devoid of all his personality? When everything is about Rogue? That’s my problem with it. I am bitter that we’ve been deprived of seeing Gambit interact with other characters and having other relationships, romantic or not, and now he’s married. All the while Rogue is the self-insert hot girl, and even though I haven’t been interested in her character for so long that I don’t know half of what happened to her while she was on other books, it maddens me.

No, if this were the other way around, people would go nuts over it. It’s a double standard. Most members on Gambit Guild are pretty much against the relationship and the people here on Tumblr hate us there for that and calls us sexist. Many Rogue/Romy don’t see they’re the ones being sexist when they defend Rogue’s behavior towards her husband or simply pretend there’s no problem.

In short, to be honest with you, I often feel inconsistent. I’ve been critical of their relationship for most of the time, but at the same time I cling to the idea of them, that magic that child me saw in them. So I believe the potential. If there weren’t any, they wouldn’t be such a popular ship. But then again, the comics hardly ever showed us that potential. I must be stuck on fanfiction mode.    

[miraculouslbcnreactions]

When Zoe-oneesama was still mapping out her plans for Scarlet Lady, she made an observation that two of canon!Sabrina’s biggest issues with her own personality are that she operates on both Mean Girl Logic AND Sidekick/Assistant/Slave Logic, which I agree with. This is evident in how, like you said, there are just as many moments — especially earlier on in the show — where Sabrina is gleefully going along with what Chloe wants as there are where she’s shrinking away or scared. Zoe also pointed out how this is highlighted in Evillustrator when Sabrina is trying to switch to being Marinette’s best friend and immediately tries to ingratiate herself by suggesting that they tell the teacher on Chloe and that she does Marinette’s homework. How would you handle a redemption or even just character growth arc for Sabrina with these main flaws in mind?

Here’s the OG post for reference (just for the Sabrina parts, not necessarily the SL parts since a few things were altered for the actual comic): https://zoe-oneesama.tumblr.com/post/180211248479/i-only-have-one-question-about-scarlet

(Link to the post that spawned this ask and a clickable link for @zoe-oneesama's post, which I'll also schedule to reblog the same day as this one if you don't feel like clicking a link)

Zoe is wise and makes excellent points. I've really enjoyed her comic's take on Sabrina and fully agree that people-pleasing Marinette is a poor choice for the character to help Sabrina be a better person in most situations. Marinette is great at standing up to those that she doesn't like, but once she cares about a person, she can be a bit of a pushover, which is a deeply relatable struggle. It's much harder to stand up to people when you care about them and want them to like you.

Adrien would be an even worse person to redeem Sabrina since he's even more of a people-pleaser! Marinette will at least stand up to her enemies, Adrien struggles to stand up to anyone.

This makes it hard to redeem Sabrina in canon because these two are our main characters. We want the plot and most of the subplots to revolve around them or the people close to them. We don't want Sabrina eating up screentime and elevating her narrative status to that of main character or major supporting character unless it benefits the wider story because the show isn't about Sabrina. She's an extremely minor character with zero ties to the leads outside of her role as Marinette's bully. No matter how much you like her, it makes no sense to give her serious narrative weight based on her established role in the narrative.

This means that Sabrina's path to the good side needs to either be very quick or somehow involve our leads and/or their core friend group without making them feel out of character. You could also somehow tie it to the villains and use it to develop them, but I really don't see that working for a redemption.

In spite of all of these issues, there are still a few ways that you might be able to make this work. Here's my pitch list. Note that the first three ideas could probably be mixed and matched into variants of each other where, for example, idea one's setup lead to idea two's plotline. I'm just keeping them separate to keep things simple and avoid repetition.

Idea 1: Remove Chloe and see what happens

Have season three end with Chloe leaving Paris because everyone blames her for Miracle Queen and Andre wants to protect his daughter. Without Chloe to be her leader, Sabrina is left adrift, so she looks for a new leader. She's already clung to Marinette once, so have that happen again, but with Alya more involved. Marinette will feel bad for Sabrina and Alya will be there to call Sabrina out on her bad behavior because you need a character who is willing to do that for this to work. Someone who won't try to sugar coat things like Marinette might if she's feeling sorry for Sabrina.

This path only works if you stick with the show's gender segregation issue where the girls and the guys don't interact much as it doesn't fit a setup where Sabrina is the fifth member of Alya, Nino, Marinette, and Adrien's little group. I don't even think it would work well in the larger group of girl friends. This plot line needs to really focus in on Sabrina and you simply can't do that with a large cast. The end result will probably be Sabrina becoming a pretty major character, pushing the guys even further into the background, so I don't really like this one, but it would work since canon is already giving Marinette and Alya way more importance than Adrien and Nino.

Idea 2: Self-Reflection After the Breakup

Have Chloe dump Sabrina. This could happen in several ways such as Lila not wanting Sabrina around as a witness or Sabrina failing Chloe in some way, leading Chloe to decide that she's better off alone. The cause really doesn't matter. What matters is the fallout.

This separation will play very differently from the one in the first idea. The separation is no longer forced on them, but an active choice made by Chloe, leading Sabrina to go into a full breakdown as she tries to understand what she did wrong. She may even try and fail to fix things. Chloe's continued presence will also make people wary of Sabrina, leading her to really have to face the bed her choices made.

Eventually Sabrina will reach a stage of self reflection where she wants to be better on her own. She will approach the rest of the class from the perspective of wanting help on her self-improvement journey, then someone who isn't a main character - and who hasn't suffered much from Sabrina's actions - will "adopt" Sabrina as their pet project. Sabrina's redemption will now no longer be a real plot line, instead it will be something we see hints of in the background. I liked the idea of this being Alix, that's a good fit. She would be very good at drawing lines in the sand. You could even make this a rabbit thing where Alix knows who Sabrina could be if she really works at improving and so Alix wants to help make that future happen.

Idea 3: Expand on Season Five's Speed-run Redemption

Stick with season five's plot of Sabrina switching sides because Chloe has gone too far, but instead of it being a one-episode thing, make it more drawn out. Make her and Marinette actually work together over multiple episodes and let Sabrina see what it's like to work with someone who cares about others. Someone who has lines that they won't cross. Marinette having a task to focus on will make her much less likely to baby Sabrina and give her Ladybug side a chance to really shine, which works since that's the side that inspires people to be better.

Idea 4: Paying it forward

Redeem Chloe, elevating her narrative role to someone who can have their own subplot, then have Chloe redeem Sabrina. Let their complex, but close friendship become a healthy and even closer friendship. This would let Chloe show how much she's changed and is probably the only path where I could buy Sabrina getting a miraculous as I just don't think that it makes sense for one of her main victims (Marinette) to give her magic powers. Just like Adrien should have picked Chloe, Chloe should pick Sabrina. "I know she's done wrong, but so did I and you still let me be on the team. Plus there's no one on this planet who is more loyal than Sabrina. This miraculous should be hers. She won't let us down."

You can also get real crazy and have Chloe pick Sabrina pre identity reveal so that Sabrina's redemption comes with a level of removal from the bullying baggage, making forgiveness much easier post-reveal. Identity shenanigans don't need to be limited to humor. They can be dramatic, too!

Personal confession time, that last one is my favorite. I just really love the power of love and friendship. I also really love the idea of the secret identities being used for more complex identity shenanigans such as easier redemptions. It's a lot easier to believe that someone has changed when you've become friends with their alter ego and seen the change first hand without the weight of the past hanging over you to bias your judgement. Option two is also pretty solid. Keeps Sabrina in her canon role while allowing her fans to see her grow into a good guy. Very best of both worlds.

I'll also note that the issue from my original post remains true: if you want to redeem Sabrina, then you need to stick to the version from the first three seasons. As soon as you add things like Derision to the mix, it becomes nonsensical to make her friends with her victims. She's simply gone too far with no complicating element to make her victims want a relationship with her.

For all Gabriel's awful actions, it makes sense that Adrien might want his father in his life, so you can potential make that redemption work if you handle it with extreme care, but Sabrina is just a random mean girl. There's no greater connection that would make the heroes want a relationship in spite of all that she's done. The only way to change that is to make Chloe a hero too because Sabrina is Chloe's best friend, so it makes sense that Chloe would want to keep Sabrina around (or at least these two were best friends in the first three seasons. I don't know what they were after that. It seriously felt like season four started with the introduction of Chloe's eviler twin).

[kerubimcrepin]

Liveblog: Wakfu Season 1 (episode 20, The Tree of Life)

I like to think he was looking for any sign of Armand being a sussy baka, or, alternatively, Armand being actually worried about the things he's been told.

Sadly, Joris finds neither.

I like to think that Joris and Amalia&Eva have a good pre-established relationship for the following reason: it's shown to be good enough for him to get onto the balcony and for them to be immediately happy about it, instead of going "what the hell are you doing here?" or "were you spying on us? (he was. even if it is for the good of the world.)"

Maybe that's another reason Armand hates him — besides Joris insisting on the instructions that were given to him and not bowing down to Armand's ~power~ — Joris may be a yet another person who likes his sister more.

Btw Joris is doing batshit insane tower climbing again, just like in the Ush comic.

Never change, king.

Get ready for my deep, deep, insightful commentary into what the fact that Joris believes that no issue is insolvable implies within the context of his "has seen countless human deaths" life:

I think I hauve covid.

Do you think one of the solutions that he has for issues is to wait it out and watch, as the walls of the prison that are "circumstances of life", start to decay?

Translation from politespeak: "I am going to cause a political incident with your cringe brother to help you tell your father about Nox's plans."

I love how ready he is to beat people up. And to cause a political incident.

Joris after getting down from the balcony railing, now suddenly very much below everyone in the room, in a matter of fact voice: After I slam the tree stump on the floor to create a loud sound, — and probably damage said floor, sorry, — you are going to scream that the iop returned. I will keep hitting random things until they run in. When the guards do run in, I beat them to unconsciousness with my magic wand. You can also hit them if you want, — yes, yes, you can use the candelabra, or any other metal object in the room, — but do not hit them on the head without me! It's very easy to accidentally kill a person, when you're not used to beating them to unconscious on a relatively regular basis.

Bugs when you lift a rock.

God knows, Joris is extremely aware of how bad the thing he just did is, and how much trouble he'll be in afterwards. God also knows that Joris probably doesn't give a shit.

The little slam... The commanding voice... He's everything.

When Joris is this polite, he is either angry as fuck and can't do anything about it, or angry as fuck and about to beat you to death.

This little "I insist" is so uncalled-for. He's just mocking them at this point, considering what he is about to do.

Something I really noticed this time around, is that Joris really likes kicking things. He kicked Pinpin, he kicked these guys... This is a trait he gets from Kerubim, sure, but he takes kickmaxxing to another level by, very cockily, doing half this battle with his hands behind his back on a simple whim.

He is the same exact type of an insane, prideful asshole as Kerubim. It maddens me when people think he's actually humble and normal just because of his introversion and more low-key facade.

He may not scream "I'm smarter and better and stronger than every loser in this room" outwardly like his father, but exudes the same exact noxious aura nonetheless.

You know why I also think Joris thinks of Amalia and Eva well?

He put this little show on, — fighting two simple guards with pirouettes, hands behind his back, and a little touch of magic, — just for them. We know what he actually fights like when he means it. And it has none of this insanity.

You see, he points out his ability to fight off an army of simple, normal people, all alone. And on one hand it's just reassuring Eva and Amalia that they have nothing to fear...

...and on the other hand, it makes me think he likes it when random teenagers think he's cool and awesome.

Even though this blog is crepinjurgen-focused, I want to say that this is one of my favorite wakfu episodes. This scene always makes me tear up.

Anyway do you think Joris just carries with him ropes to tie enemies with whenever he goes — or did he take a rope from somewhere within the castle? How often does this happen? Does he do this as a torture method too? Does he—- [I am removed by the secret police by being way too insane today]

Still using vous, despite hating his ass.

[guy who made a blog that's 33% dedicated to talking about doomed siblings] Yeah it's so sad that even Tot doesn't understand Clephee's potential, and how insane her relationship with Eva is. Imagine loving your sibling, but they never feel good enough, and they keep leaving you. They turn everything into competition, never celebrate your wins because they feel like their losses. Imagine speaking so little — being so distant, that when you have a happy dream of that sibling, it's them as a child, way back before. And imagine that this sibling wants to turn you into a fur coat— [I am electrocuted]FHDSJHDFJKsdhfsdhfERR-

There are so many people unconscious and Joris is actually freaking the fuck out, which makes me think that, for the past 10-20 minutes in-universe, he and Armand have been doing the Joris whack-a-mole thing.

Like, Joris is actually alarmed/bewildered by the fact that Armand will literally not listen to a single fucking word and just keeps mindlessly punching the floor.

Is he insane? Is he for real?

At this point, he's worried for the guy's health. This has been happening for a while. He sounds scared.

Like Armand keeps hurting himself in his attempts to beat Joris up and it's scaring Joris shitless because it's actually starting to get a little bit weird and off-putting.

Yet he turns around so nonchalantly.

[graysoncritic]

A (Negative) Review of Tom Taylor's Nightwing Run - What Went Wrong? Melinda Lin Grayson

Introduction Who is Dick Grayson? What Went Wrong? Dick's Characterization What Went Wrong? Barbara Gordon What Went Wrong? Bludhaven (Part 1, Part 2) What Went Wrong? Melinda Lin Grayson What Went Wrong? Bea Bennett What Went Wrong? Villains Conclusion Bibliography

Things do not get any better when it comes to Dick’s relationship to Melinda.

As I believe it is important to own up to one’s biases, I’ll begin by admitting that I dislike secret-sibling tropes. However, the problem present in Melinda’s character does not revolve around the concept of her existence, but rather in the fact that her status as Dick’s sister adds nothing to the story. Taylor does not take advantage of her existence to add to Dick’s backstory, complicate his views of his parents, to add conflict to the plot, or to offer on-screen character and relationship development. In failing to have his original character live up to her full potential, Taylor reduces her to a deus-ex-machina who only appears to either save Dick at the right time, or to put him in danger at the right moment.

That is why in execution, Melinda’s existence is irrelevant. While I would never want John Grayson to be cheater and I do not want John and Mary's marriage to be tarnished, that route would have offered conflict, for it forces Dick to grapple with the reality that parents were not the infallible individuals he remembers.

Instead, Melinda is very conveniently conceived during the span of time between John and Mary becoming an acrobatic duo and them getting together. They were already in love, so Dick does not have to worry about Melinda's mom being John's long lost lover and Mary having been a rebound. Yet, because John and Mary were not yet together, John remains a good person as he was not unfaithful. Melinda's mom doesn't resent Mary for ending up with John while she was stuck in an abusive relationship. Melinda doesn’t resent Dick for having known their father while she lived with Zucco. Neither does she feel any love towards Zucco or seeks his approval — which would have been another interesting and understandable source of conflict. After all, though he was an awful man, husband, and father, for a good part of Melinda’s life, he was the only father figure she had, and it is very common for children who were raised by an abusive guardian to still desire their affection.

(Taylor, Tom, writer. Redondo, Bruno, illustrator. Leaping into the Light Part Five. Nightwing: Rebirth. 82, e-book ed. DC Comics, 2021. pp 14)

The way in which Taylor quickly and neatly wraps up this story does little to add to either Melinda or Dick’s character. Furthermore, Dick readily believes Melinda and Meilin when he is told their story. He does not know them, yet he simply accepts their words without requiring any evidence, without asking many questions, and without following it up with an investigation. 

Neither do we see him experience denial or any other form of human emotions to such a monumental discovery. In #83, when Dick returns to his apartment, he tells Babs “You heard? I have a sister. And even better… There’s a chance she’s not evil,” to which she replies  “I hear. You need to talk about it?” Rather than replying, or, indeed, talking about how he feels about this revelation, Dick instead passes out. As readers we never get to see if said conversation happened (which would also develop Dick and Babs’ relations), and so we never get to see Dick grapple with this life changing revelation..

(Taylor, Tom, writer. Redondo, Bruno, illustrator. Leaping into the Light Part Six. Nightwing: Rebirth. 83, e-book ed. DC Comics, 2021. pp 12)

Conveniently, Melinda’s morals and her approaches to solution also perfectly align with Dick’s own. Not only is she not the bad guy Dick originally thought she was, but she is actively working against those Dick wishes to stop. And, again, Dick takes her word for it without a second thought. Dick appears skeptical for a mere second before Melinda gives him an out by asking if he has “difficulty believing someone could have a double life.” 

(Taylor, Tom, writer. Redondo, Bruno, illustrator. Leaping into the Light Part Six. Nightwing: Rebirth. 83, e-book ed. DC Comics, 2021. pp 04)

This question misses the point of what should be Dick’s understandable suspicion. Just because Dick can believe someone can live a double life, it does not mean he should immediately accept the words of a woman he has never met before without any evidence. Neither should he just take her word for it when she says that she “brought down two crime bosses from within” and that she wishes “to do the same for Bludhaven.”

Just as baffling as the fact that Dick immediately believes is the fact that he is ready to include her in all of his plans to take down Blockbuster without even investigating whether she might have ulterior motives.

And this goes both ways. When Melinda claims to have the same goals as Dick, she does not question Dick’s motivations. Neither does she question the legality of having a vigilante in the city, working outside of the system. 

The problem is not just that they have the same objective — take down Blockbuster — but that their approach to said objective is the exact same, that their beliefs in what would be best for Bludhaven perfectly align, and so they trust each other with critical information almost instantaneously, denying the reader the opportunity to read them about them earning each other’s trust by trying to persuade the to their side.

(Taylor, Tom, writer. Redondo, Bruno, illustrator. Leaping into the Light Part Six. Nightwing: Rebirth. 83, e-book ed. DC Comics, 2021. pp 05)

fter meeting one another, Dick and Melinda work closely together, and soon they start to think of themselves as siblings. This, however, happens off-screen. Melinda and Dick hardly ever appear together on the page, and Dick only thinks of her when it is convenient to the plot.  

As such, we are left with a significant change to a character’s backstory without having any conflict or significance created by this new addition. Melinda is not evil, so there's no conflict to be added. Melinda and Dick's morals not only perfectly align, but their methodology does as well. Dick is also not suspicious of Melinda, and Melinda views vigilantism and Nightwing’s presence in Bludhaven as a positive. There are no secret identity issues where Melinda doesn't know Dick and Nightwing are the same person and has contradicting feelings for each persona. Since Dick immediately takes her word when she claims to be his sister and when she claims to “not be evil,”  there is no need for her to win him over. There is no need for Dick to get Melinda to trust him. In other words, there is no room for this relationship to develop in front of the readers’ eyes so that we can grow to care for their bond and become invested in their dynamic. Every potential conflict or development is resolved and achieved as soon as the idea of Dick having a secret sister is introduced to the reader, making so that the storyline goes from its beginning to its endpoint in just two issues. 

This further destroys Dick’s characterization. Rather than trusting, Dick comes across as gullible, as he will blindly take the words of others when they tell him they are not evil. Dick comes off as incompetent, as he was unmasked so quickly and so easily when trying to investigate Melinda. And Melinda becomes a plot device, not a character. She is a deus-ex-machina who is there to call Dick when Blockbuster is going to try to kill him so Dick can escape at last second

(Taylor, Tom, writer. Redondo, Bruno, illustrator. Get Grayson Act Three. Nightwing: Rebirth. 90, e-book ed. DC Comics, 2022. pp 04)

Or to bring Dick to danger when the plot needs Dick to be in danger.

(Taylor, Tom, writer. Redondo, Bruno, illustrator. The Battle for Bludhaven’s Heart Part Three. Nightwing: Rebirth. 94, e-book ed. DC Comics, 2022. pp 22)

A lot of this could have been avoided if Melinda just wasn't Dick's sister, and instead they were made into reluctant allies. There would be no reason for her and Dick to spend time together outside of Nightwing-business or develop a sibling-bond, and without the Grayson connection, there would be the tension of Dick not knowing whether she is a threat. Losing the Grayson connection would also allow Melinda to become her own person, with her own history and interiority outside of Dick, John Grayson, and Zucco. She, too, could have become a face of Bludhaven so that her relevance to the plot would be through the city rather than Dick’s past. 

But that would require Dick to have meaningful interactions with a woman who is not related to him and who is not Barbara Gordon, and there would have been the threat of any tension between Dick and Melinda to be seen as romantic or sexual. It would have also required Taylor to put in the work to make an otherwise everyday human into someone who can excel in her work despite her ordinariness. 

Instead of letting the audience witness Dick and Melinda grow closer to one another, their bond as allies, friends, and siblings is developed off-screen. Taylor opts to skip over the interesting and messy steps that it takes to create such a relationship by instead having them immediately like and trust one another. 

As I said in the beginning of this section, I was never personally going to like "Dick's secret sibling" concept, but I could have still liked Melinda for her own character. Or I could have fallen in love with the sibling relationship she would build with Dick, had I been allowed the chance to witness it grow for myself. But Taylor makes no effort to endear his readers to Melinda as a character or to her relationship with Dick. Instead, she becomes the perfect example of so many of Taylor’s weaknesses as a writer — his distaste for conflict;  his tendency to show and not tell; his wanting to create plot twists that look shocking in a social media post while having no desire to follow through the consequences of said plot point; his wanting to create emotional pay-offs without putting in the work beforehand; his complete lack of understanding or care for Dick's character. Melinda embodies all of these problems.