#which was before his death

[undertheredhood]

i don't get why people seem to portray jason todd as a horny f-boy, because he's pretty much the exact opposite.

like i once saw someone say, even jason wouldn't date/want to be with who people portray him as.

[symphonyofsilence]

Let the poor man rest.

[voiice-of-the-soul]

It irritates me alot when people say that making medic more compassionate is ''missing the point of his character'' when he is literally shown to be in the comics.... did you miss the part where he showed concern for both sniper and miss pauling's well being in comic 5 and 6.

His actions are a combination of genuine attachment + clinical interest and these things do not cancel out one another. He is always pushing boundaries and going against the grain and i think this is what led to him losing his license in the first place. He felt stifled by the rules imposed on him.

He is shown to be extremely passionate so it makes sense that he would use his endless fascination with medicine as a way to show his affection. He loves his friends so he will find a way to make them borderline indestructible. Malpractice is his love language.

[zombee]

never forget that izzy hands is funny. he's fucking hilarious. he's funny when he's having a breakdown and he's funny when he's a bad guy and he's funny when he's trying to be smooth. don't let the nonsense stop you from enjoying the parts of him that are enjoyable!!!!! he's a pathetic, sad, funny little dweeb!

[mohntilyet]

illario + lucanis growing up together means a lot for obvious reasons ofc like the fact they did not have to go through the dellamorte villa torment nexus alone really helps. immediately from the moment they are taken to that house, lucanis has had something to protect and love. the snark and jokes that they share in wigmaker job finally having a chance to shine outside of the only person lucanis is socialised with and he learns that wow, he's actually likable. because up until this point everyone around him calls him a demon and is freaked out by him but ofc the veilguard only know him as lucanis "he banished harding from the kitchen" dellamorte. sure he's a big bad crow assassin but his reputation simply does not carry that much weight with people who are just equally deranged (maybe a de riva rook but that's also a little different) . and then he's able to share and extend that love with his new friends, and able to try being something that he's not had the chance to before, and his goodness is actively encouraged rather than being an unfortunate sidequest that is tolerated. and i fondly think also of how much of that humor is copied and mirrored off illario ("shoulders....... feeling tight...... need a ..... MASSAGE!") and it's his best experiences with illario that turned him into the man he is. wish the game explored this just a little more because the betrayal would have been made a lot more intense if they had just bothered to show any of illario's redeeming qualities. he has them!!!!! nobody is just born a traitor. you have to love someone before they can become that.

[bumblingbabooshka]

Thinking about marriage/women's rights on Vulcan Some may think that T'Pring not being allowed to divorce Spock was because he was going through the pon farr but if she were allowed to divorce him at all she probably would have done that a long time ago, confirmed by T'Pol when she's speaking with Koss, who isn't suffering from the pon farr. She says that he can choose another mate (without invoking a fight it seems: note the difference between a 'mate' and a 'challenger') and after he makes it clear that nothing she says will change his mind about marrying her, she finally threatens to declare a kal-if-fee. It's clear that Vulcan women cannot divorce/refuse to marry a man they've been betrothed to under any circumstances if A) He himself doesn't consent to ending their marriage or B) She doesn't have someone else waiting in the wings to be given to in his stead. Though, if the challenger she selects fails to win the fight, she'll have to marry her betrothed anyway unless (again) he decides he doesn't want her after the challenge. That seems like an incredibly unfair system, heavily biased towards men. SNW is an alternate universe in many obvious respects but most egregiously in that T'Pring has a lot of non-canonical agency over her relationship with Spock. It's interesting to me that Vulcan society has women in many positions of power and treats women as equal to men from what I've seen despite these laws. We don't really see Vulcans exhibiting a misogynistic attitude towards women in general but in TOS (perhaps because of its general writing style but it's still interesting to note) both Sarek and Spock take on patriarchal attitudes specifically regarding wives. Amanda says that 'of course' Sarek commands her because "he is a Vulcan and I am his wife." It's worthwhile in my eyes to note that she specifies 'wife' instead of attributing this attitude to women as a whole. Again, with TOS' writing style it wouldn't be out of place for her to say "he is a man and I am a woman." Spock, while in a pon farr induced irritation, states that it's "undignified for a woman to play servant to a man that isn't hers" - again implying that there's something specific about being a Wife in Vulcan society which is different from being a woman in general and demands subservience to a husband. This could perhaps stem from the extreme sense of ownership that Vulcan law has permitted men to have over women. A woman legally cannot point blank refuse marriage. There is no option which guarantees she won't have to marry her betrothed other than death. When T'Pau speaks of T'Pring she refers to her as being 'property' and Stonn, before being interrupted, states he's made 'the ancient claim' - we don't know what this is because he gets cut off but it's obvious they're both using the language of Vulcan law. Men are permitted true freedom to choose. If a woman wants to choose someone else to be with there is no option available to her other than the kal-if-fee which might result in the death of the one she wants to be with. And, if her lover fails, her husband can still just decide he wants to marry her and she'll be forced to. T'Pring gives two scenarios: One where Spock 'frees' her and one where he doesn't - it's still ultimately his decision which is clear when he ends the conversation with "Stonn, she is yours." This again isn't just because of the pon farr as T'Pol also goes through this. Koss can choose another mate and when the option is talked about there's no implication that this would result in any sort of fight (both by the casualness of its mention and by the fact that there's no formal word for it unlike the kal-if-fee.) Also, the fact that Koss does eventually grant T'Pol a divorce and it's all fine means that T'Pol isn't lawfully required to have another man waiting if her HUSBAND doesn't want her. It's ONLY required if SHE doesn't want her husband. Tradition must take precedence over individual desire UNLESS!!! You're a man. Then it's fine. Like, your parents might not be happy but legally you're golden.

[surreal-duck]

es rarepair week 2024 day 1 | AU/future

lil ghostic au of mine!!! yuzuru and the rest of fine are long since trapped souls in an abandoned mansion of which rst come across while looking for shelter during a storm :] it doesnt um. particularly end well

[mummer]

just saw asteroid city last night, pls explain the proposed significance of the kiss!!

answering this publicly hope thats ok! cant do a readmore im on mobile *****asteroid city spoilers below beware*****

i dont remember anyones names so this is gonna sound partly unhinged. okay so the edward norton playwright and jason schwartzman actor (not character, in the black and white parts) are lovers right. tbh i thought this was kind of a gag and forgot about it. but later we find out that the playwright died 6 months into the production. i didnt make the connection that THAT’s why the actor-jason has to suddenly leave the stage and freaks out backstage about how he’s not sure he’s Doing it right. hes not talking about acting!! because he himself is literally grieving his lover while he’s playing a character who’s grieving his wife written by his lover so obviously it’s too much!!! actor-jason is trying to find meaning in his death through his writing but there isnt any meaning in death [gerris drinkwater voice] which is what the play is trying to say anyway. he doesnt think he’s performing grief right even in his own life!!! (and tbh it’s the 50s so he wouldnt be able to perform grief publicly anyway!!!!) the play starts with a car accident… anyone would search for some hidden meaning there, some sign…. so when he talks to margot robbie outside it’s not really about finding the CHARACTER’s motivations it’s about the actor himself being able to process the playwright’s death! and adrien brody director was probably also dealing with that too (him and norton seemed to be good buddies) so the whole “sleeping backstage” thing gets a bit sadder maybe? maybe everyone else got this in the theatre and im just stupid lol but crazy making stuff to me!!! the whole story is about sublimated gay grief that cannot be expressed?!?!

the tweet that caught me onto this was here which posits that the playwright’s death was a suicide but i think that’s pretty stupid and unnecessary because the whole thing about the play asteroid city is that death is random and meaningless. im pretty sure that’s what the alien represents— a shocking and absurd event that isnt outright evil or menacing, not something anyone can predict or make sense of, it’s just a thing that happens to you out of nowhere, it doesnt mean anything. he’s a little black figure, he’s death! giving and taking! aagh

[daisybell-on-a-carousel]

"Jason was the happy robin" this, "jason was the angry robin" that. Let's all be fully honest here Jason was the lonely robin

[starry-bi-sky]

"Stillborn? No, still born" Danyal au -- VLAD MASTERS THE BITCH HIMSELF

*Points at Vlad* THIS MFER GOT SOME TEEFS TO HIM. !! Okay okay, Vlad Masters in the stillborn au is different compared to most of my other aus in the fact that I am far more heavily leaning into his original ambitions of wanting a family and being desperately lonely. Because you know what wanting a family implies? Wanting to be a parent.

Fucked up father figure that could've been Vlad. Complicated love-hate relationship between the only two halfas in existence.

Danny hates Vlad, but he hates even more that he's genuinely considered his offers of mentorship. Vlad is the only halfa around, and they both have fire cores. Danny has these powers he doesn't understand, can barely comprehend some days, and can't control. But Vlad does. Vlad can. And Vlad wants to help him. He's the only other person who can get close whenever Danny runs too hot. Whenever his igneous hair cracks, splits, and spits back out into magma and his friends can't get close, Vlad can.

His hair is made of magma, which runs so hot that people need specialized suits in order to get near it. He physically cannot get close to the living as a ghost unless he's calm enough for his hair to cool into igneous rock. Which isn't as often as he would like. And sometimes he's too hot for other ghosts to get near unless they have fire cores -- which Vlad has.

There have been many times when Danny's having a meltdown (literally) and gone somewhere to be alone, to let his anger and hurt and loneliness overflow and spill out, that when he's come back to, Vlad's right there with him as an anchor. It's desperately frustrating, it's the only time they can get along. They don't say anything, Danny just turns and clings onto the only person he can touch as a ghost.

Its not fair. Vlad wants to kill his foster dad, and Danny can't let him do that. But he wants to be trained by the man, he wants his help and wants what he can offer. But Vlad can't step away from his revenge long enough to let him. It's just not fair. He thinks for a moment that maybe it could work, and then Vlad does something to remind him that no, it can't.

Vlad Masters sees too much of himself in Daniel Brown -- from the way he holds himself, to the defenses he puts up, his quiet anger that builds and builds and builds until it explodes. That simmers beneath his skin. All the way down to the fact that they have matching cores. This boy is cut from the same cloth as him, and by god does he want to help him. He's always wanted to be a father, and Daniel Brown is too much like him for him to ignore. He genuinely, truly cares about Danny and his wellbeing.

He wants to help him, child just let him help you. Let him kill your foster dad so he can adopt you himself and help with these powers that terrify and intrigue you -- he knows what that's like to have something that you can't control, to have a heat that you can't cool down from. "We're in the same boat you and I, let him help you please."

But his methods are all wrong, and Danny is too much like him -- stubbornness and all -- for him to agree when they oppose each other so greatly. But again, Danny is much like him -- which means that Vlad is equally stubborn, and in every single one of their fights he's parental. He's annoyingly parental. He drops his interest in Maddie to focus his efforts in trying to coax Danny onto his side. It's like trying to get a traumatized cat to trust you, and on some levels it works. It's like he makes some progress, and then moves too quickly and the cat immediately runs off and you have to start back from square one.

TL:DR; Vlad and Danny both want to find family in each other but they're too different to get along and ultimately they are doomed by the narrative to be at constant odds with one another unless one of them is changes, and it doesn't matter who.

[jjyo--01]

you’re edwin payne. you’re a british schoolboy in the 1910s and you keep to yourself, mostly. you find your penny novels more interesting than people. there’s one boy who seems to like you but you’re too afraid to talk to him lest you make a fool of yourself. you fall asleep one night, unaware that anything might be amiss. you’re violently wrested from your slumber and dragged away scared and confused. your kidnappers are your classmates and they gag you and pin you down. one familiar boy starts chanting and—oh god, what are they calling you? you struggle against them but their grips are just too tight and before you know it the room is silent. you glimpse something crawling in a dark corner. so do they. now it’s your captors’ turn to be scared. in an instant, they’re gone, combusted into flames at a single touch. a demon reveals itself to you and you beg for mercy, for your life. it’s the only thing you can do. but the demon isn’t interested in sparing you, and he drags you down to hell.

at least he said he was sorry.

now you’re in hell. you think you’re dead, but you’re not. the demon is there too, and now he owns you. you think you’re dreaming—no, not dreaming. this is a nightmare you’ll wake up from at any moment. but the more time passes, the less faith you have that this is true. the demon says he doesn’t want you, he has no use for a living human. and so you find yourself alone, tethered in darkness while the demon searches for a trader. he finds one, and you’re brought out to meet him. this demon is different from the one who brought you here, you can feel it. more evil, more sinister. nevertheless, you attempt to take it in stride. you extend a hand and introduce yourself. the demon takes your hand with a hungry grin and you are transported in the blink of an eye. you find yourself in a poorly lit, dingy room with hallways of equal quality stretching and connecting with each other as far as you can see.

it’s eerily quiet and you instinctively know something is wrong. you stand and survey your surroundings. there’s no one here except you. but there is something. a massive lump sits in a dark corner, covered in shadows. you can’t get a proper look at it, but you don’t dare draw any closer. it shifts it’s position and you hear the clanging of a thousand pieces of glass. now you’re confused, but you’re not curious enough to investigate. you need to find a way out of here as quickly as possible, so you make a break for it. you ignore the thing and duck through the nearest hallway as fast as your slippers will take you. then you trip and fall, not quite stifling a sharp cry. you’ve scraped your knees and your palms are bleeding. but it’s no matter, you’ll force your way through the pain.

you realize you’re lost so you turn back, but you freeze before taking your first step. the thing that you couldn’t get a good look at is standing in the doorway, blotting out what little light shone through. it starts crawling toward you—slowly at first, but it picks up speed. the clanging rings in your ears and fear strikes through your heart. you run, but it’s faster than you. god, it’s faster than you. then your leg snags and a shooting pain runs up your body. you look down and see dozens of tiny limbs clawing at your skin, ripping it apart. you hear yourself scream, a bone-chilling, bloodcurdling scream with which you didn’t know your lungs were capable. it’s tearing into your body now. your arms, your torso, your chest. blood fills your throat and then you can’t scream anymore. you feel like you’re on fire. the last thing you see is a head made of a dozen glass faces.

and then you die.

and then you wake.

you see the same dark room as before. you clutch your stomach, the one that had just been ripped out, though the skin is now unmarred. your chest is similarly intact, as is your throat. there is no evidence that you’ve been mauled to shreds, but you feel it in your soul. your body remembers it too. just as you’re coming back to your senses, you hear the creature clambering back through the hall closer to you. you make yourself as small as possible, but it’s dragging something along with it. you squint, and see the most gruesome sight imaginable. it’s you. it’s your body, mangled and broken, covered in blood, hardly recognizable. your gut twists and you feel dizzy. that’s you. it was you. but now you’re here, and your body is there. so what does that make you? you don’t have time to think before your let out an involuntary sob. something squeezes around your heart as you realize your grave mistake. the creature turns its focus onto you. you know what’s about to happen and there’s nothing you can do to stop it.

you’re edwin payne. yesterday, you were reading your favorite book instead of listening to a lecture. now you’re in hell, and this is your unspeakable reality for the next 73 years.

[littlefankingdom]

Me to myself: Don't send murder threats to DC comics writers, don't send murder threats to DC comics writers, don't send murder threats to DC comics writers...

[totheidiot]

that little element of grief in lawlight has got to me. it crawled itself into my brain. i have started to work on this ghost!L au where he haunts light after he died but really, it's all just a metaphor for grief. if i had a nickel for every time etc etc etc

[turtleblogatlast]

I am once again reiterating that Leo could and should be a figure skater because what are ice skates if not twin blades? What is dual blade swordsmanship if not a dance-like performance? Using the skates as blades themselves could let Leo make portals be his ice rink no? I rest my case. ⛸️

[theheirofthesharingan]

“Tell me, father, which to ask forgiveness for: what I am, or what I’m not?

Tell me, mother, which should I regret: what I became, or what I didn’t?”

- source

[epicfirestormer]

What I love about Hellboy and Abe Sapien's dynamic in the comics is that, if you came into this blind, you'd expect Abe to be the voice of reason or the straight man to Hellboy's impulsive and hotheaded personality. But no, Abe is more often than not the crazy one. Hellboy would deal with fighting evil monsters and bad guys by just sighing and getting it over with, while Abe is going rabid over tearing the creature apart when he does get into a fight. Hellboy acts like it's a 9-to-5 job and will reasonably talk things out with a guy that had nearly killed him before, Abe acts like a madman in a slaughter house and his first instinct is to shoot first kill second and ask third. They're both insane, but on completely different levels.