#Fucking idiots i think people

[the-evil-pizza]

God forgive me but i think some people deserve to get covid.

There i was minding my own fucking business (wheezing and dying because I'm sick and not because of my mask) and 2 fucking women, strangers to me and my health situation, saw me and fucking laughed in my face.

Snickering to themselves "it's even a p2 medical mask!"

Die

Anyway my mom, who differently from me does not give a single shit about people, looked at them and went "is there a fucking problem?"

[tiredyke]

every time queer discourse surges on this site everyone is so quick to jump to “it was actually the evil lesbians who divided us” because y’all heard the term “political lesbian” and never bothered to figure out what that meant

[comradekatara]

sokka, katara, and the paradox of “the gifted child”

something i’ve noticed is a tendency to (mis)characterize sokka as someone who is dismissed due to being a nonbender, when that’s only partially true. sokka is certainly dismissed by some for not being a bender (namely, by benders), but i think there’s a key difference between being dismissed and not being valued in one specific way. katara was valued by her tribe for being a waterbender for the very crucial reason that she was the last one left. had she been a dime a dozen in her tribe, which would have been the case were it not for the systemic extermination of her people, she would not be valued as highly for possessing this skill. that said, while sokka clearly does hold some resentment over his lack of bending ability, calling himself “the guy in the group who’s regular,” i think it’s folly to assume that this means that sokka was dismissed and discarded as “average” while katara was put on a pedestal for being special. because while katara obviously was considered special, sokka is also clearly considered special by his family, merely in different ways. and if anything, sokka embodies the archetypal struggle of the so-called "gifted child” far more than katara does.

while sokka clearly believes himself to be disposable and intrinsically worthless, i don’t think that he was actively neglected by his family. even if katara was clearly marked by her bending as embodying the last hope of their tribe, that doesn’t mean that she was seen as more gifted than he was or was designated as her family’s obvious favorite. for example, the way hakoda talks about sokka (saying he trusted him with leading and protecting the tribe when he was thirteen, calling him a genius, and other such insanely high praises to heap on a child) shows that he clearly views his son as particularly exceptional and has never been shy about showing that. sokka is distinctly insecure around his father for assumptions he makes regarding hakoda's faith in his abilities and his insecurities when it comes to his perceived failure in not measuring up as a man, but from the second we meet hakoda, it's evident that these insecurities are entirely internal and completely unfounded, at least in terms of his father's perception of him. hakoda is nothing but incredibly proud of sokka, constantly emphasizing just how capable and brilliant he believes him to be. whether or not sokka is capable of internalizing it is another story, but it's clear that hakoda is not stingy in his praise and affection, not even a little bit.

moreover, while katara is clearly kanna’s favorite on an emotional level, she nonetheless affords sokka far more respect. she admonishes katara and tells her to do her chores, and notably, she also impresses the importance of “listening to her brother,” and backs up sokka’s decision to banish aang from the village. you can claim that sexism plays a factor in how sokka views his own supposed position of authority, but kanna is a woman who traveled the entire globe as a teenager because she wanted to escape patriarchal impositions dictating her life. she’s simply far too smart to treat sokka as any sort of authority within their village if she did not fully entrust him with that responsibility. she treats sokka almost like a peer, as if she is legitimately co-running the village with a fifteen year old boy.

katara is only a couple years younger than sokka at most, but her dynamic with kanna is very different. on one hand, kanna clearly sees more of herself in katara, can identify with her sense of adventure and rebellious spirit, but on the other hand, it means that she views katara as a child to be taken care of, who needs to be reminded to do her chores and bailed out when she gets herself into trouble. sokka doesn't want to be viewed as a child, and so he does everything in his power to position himself as kanna's equal rather than her grandson. he takes his duties and responsibilities very seriously, and is obedient to a fault whenever he is submitting to any authority he actually respects, especially his father and grandmother. to be honest, a lot of what katara considers coddling is probably just sokka never being bossed around by their grandmother because she never actually has to tell him to do his chores. because despite katara's claim that he simply faffs about "playing soldier," sokka's problem is actually that he takes himself too seriously for her liking. and with the exception of kanna saying "be nice to your sister," which is the kind of teasing a parent says to their child, she clearly respects sokka's position in the village. when katara tries to run away with aang, kanna takes sokka's side and forbids her from acting impulsively, but when sokka is the one who packs supplies and plans to save aang, kanna gives them both her blessing.

katara is the only person who takes umbrage with the notion of sokka running the village and telling her what to do all day. and those frustrations have likely accumulated up from a lifetime of being told to “do as her brother says” and “why can’t she be smarter and more responsible and levelheaded blah blah blah.” she clearly thinks that she’s punching up when she yells at or mocks him, which may seem crazy to anyone who understands that sokka’s entire identity and existence revolves around being katara’s protector, but katara doesn’t actually know this. in her mind sokka is merely the perfect child who has always represented this impossible standard of “genius.” and what's more, he's absolutely insufferable about it.

and to be clear, this isn’t to say that katara herself isn’t highly intelligent, capable, competent, and skilled. she’s not only an incredibly talented waterbender, but also clever, quick, witty, creative, resourceful, practical, mature, and thoughtful in other ways. at one point, toph calls her a genius (“a stinky, sweaty genius”). and she is, indeed, an extremely powerful and innovative waterbender, both due to her hard work, but also because she is genuinely brilliant. that said, she’s smart in the realistic way that a kid is smart; she works hard to be good at what she cares about (and she has an existentially devastating reason to care about being a good waterbender, mind you), and she’s also good at thinking on the fly when she needs to. however, unlike sokka, or even toph, her intellect may be impressive, but it isn’t astonishing. sokka’s mind functions completely anomalously. i wouldn't say he's unrealistically intelligent, because i do know some people in real life who are similarly adept at processing all kinds of different information with the ability to deftly apply it near-immediately, but it is certainly abnormal, both for real world standards and within his universe.

i normally bristle at this term and its applications (for multiple reasons), but since it is explicitly stated multiple times across the show, it is important to acknowledge that sokka is referred to as a genius multiple times, including by his father. katara is referred to as being a genius by toph for using her own sweat to waterbend (which, as hama points out an episode later, isn't even that clever because you can literally bend water from the air around you); conversely, sokka is referred to as a genius for helping to invent hot air balloons and for figuring out multiple escape routes from the world's most secure prison in less than a day. we don't know the exact timeframe under which katara trained with pakku and earned the title of master, but she clearly worked incredibly hard to earn that title, not only as a master, but as the greatest waterbender in the entire world. i assume it was any time between a few weeks and a little over a month in which zhao would organize a fleet to arrive at the north pole, which is, of course, extremely impressive in itself and a testament to her passion and determination. however, on the other hand, piandao claims that sokka has basically mastered the sword and is ready to make his own within less than a day. it's important to remember that katara is also brilliant in her own way, and possesses great skills that sokka lacks: not only bending, but also midwifery, and an ability to locate her own emotions and allow herself to be vulnerable with others, two skills which should never be looked down upon for their association with womanhood and femininity, and are also particularly impressive considering just how young katara is. she is brilliant in her own right, and in any other family, katara would easily have been "the smart one." and yet, sokka is simply in a league of his own.

so, yeah, he can stand to get thrown around and yelled at; everyone her entire childhood just kept on impressing how special and perfect and brilliant he is, he can handle it. she has no idea that he is depressed, depersonalizes, loathes himself, and thinks he’ll never be good enough, because he never actually communicates any of that to her. the closest he ever comes is admitting that he’s jealous due to not having bending abilities, and even that shocks katara, even though it’s such a small and obvious admission in the scheme of things. she has no idea what’s going on with him psychologically, how he views himself in relation to others, and specifically in relation to her, so she kind of just assumes he’s entitled because surely he must know how special he is and thus feels owed accolades by the world at every turn. he deserves to be humbled, and she is in fact righteous for humbling him.

when she makes fun of him for being stupid or miserable or paranoid or cynical, she thinks she’s owning him the way a righteous underdog fights against an oppressor. it's similar to how zuko wants to "put azula in her place." in katara and zuko's minds, they are both the valiant underdog siblings who had to fight and struggle against the siblings for whom everything came so easily. and in katara’s mind especially, she is always punching up, and she always has a moral justification in lashing out at anyone she pleases. so she couldn’t fathom that the reason sokka puts up with her antagonism without complaint isn’t because he’s so above her that he can simply ignore her taunts and gibes without a care (if that were the case, he wouldn't bother to taunt and gibe in return), but rather that he feels so detached from his own personhood that he would never think to actually explain his feelings to the person whom he has defined himself through since childhood. and if he did ever, somehow, communicate that to her, she’d have to reevaluate their whole entire lives and dynamic. but he never will communicate that to her, so she’ll never actually have to do that.

moreover, even though katara often does tease sokka and cast doubt upon his competence and abilities in low-stakes situations constantly, whenever they are actually facing a real problem that requires an immediate solution, katara seems to forget that sokka is supposedly an unhelpful, lazy, immature idiot because she immediately turns to him to fix all their issues. and then once that issue is resolved, katara goes back to finding his existence bothersome. sokka, on the other hand, falls into this role of problem solver instinctually, with the one exception that when they actually name him as the idea guy, he jokingly complains that it’s a lot of pressure to be one who is always expected to come up with solutions. and while he is joking during that conversation in “the drill,” he’s being honest to an extent, because his perfectionism and fear of failure is truly dire.

when katara is faced with failure, whether as the consequences for her own actions or otherwise, she simply gets back up and tries again. she can’t be knocked down, she can’t be deterred from achieving her goals. she has a very healthy approach to making mistakes, and while she doesn’t always learn from them in the longterm, she does always try her best to fix them and amend the situation as immediately as possible. katara is someone who is incredibly resilient and is constantly demonstrating the sheer magnitude of her inner strength, especially in particularly difficult moments. she has the ability to fail as many times as it takes without letting that failure affect her own self-esteem or desire to keep striving for what she believes in.

sokka, on the other hand, is very physically resilient (he gets beat up a lot), but his emotional resilience is actually quite pathetic. he has no tools for coping with failure. from even the slightest mistake, like not actually being able to open the doors at the fire temple with his makeshift explosives, to a catastrophic one, like his failed invasion, sokka immediately retreats inward. in “the boiling rock,” sokka demonstrates how his first ever real failure that rests squarely on his own shoulders is so devastating to him that he becomes totally irrational and suicidal in an attempt to “rectify” the situation. he does not know how to cope with failure, because he expects himself to be perfect at all times. and it’s not because sokka is overly proud, but rather that his guilt complex is so profound that he blames himself for every single thing that goes awry at all times, even when it isn’t actually his fault whatsoever. so that guilt and shame is magnified a thousand fold when sokka is actually culpable for those losses.

one of many ways in which it is evident that sokka is the older sibling is that he clearly lives with the mentality that if katara messes up or gets herself in danger due to her own impulsive inclinations, it’s always actually sokka’s fault for not being a better, more attentive brother. when she sets off the booby trap in the banned ship, sokka banishes aang from the village so as to protect katara from herself. when katara experiences the consequences of heedlessly blowing up a factory, sokka gets mad at her for her recklessness, but also immediately finds a way to help her fix this situation, because that’s his job, and in fact, his primary purpose on this earth. this is a dynamic sokka has probably internalized even before he was assigned the role of her sworn protector, because that’s just how being the eldest is.

sokka’s tendency to take responsibility for everyone else’s mistakes and his desire to shoulder everyone else’s pain at all times, coupled with his implicit belief that he, uniquely, cannot afford to mess up ever (if other people make mistakes it’s fine and he can help them fix it, but if he makes mistakes he no longer has a purpose on this planet, goodbye cruel world), definitely indicates that he was held to an incredibly high standard all his life. he expects himself to be able to handle a lot of responsibility with perfect ease because he always has. he isn’t used to making mistakes of any kind. if he puts his mind into learning a new skill, he always masters it within a couple of days, whatever that skill happens to be. unlike katara, sokka is used to things coming easily to him, and what he isn’t used to is failure.

katara and sokka are both exceptional, of course, but in very different ways, and for very different reasons. katara grew up with a lot of external pressure to excel as a waterbender, because she needs to embody her cultural legacy and prove that her mother’s sacrifice was not in vain. it’s an unfathomable burden to place on a child, and the rate at which she improves her waterbending once she is actually given the resources to hone her skills is a testament to her perseverance and untiring dedication. katara becomes the greatest waterbender in the world not because she is a natural prodigy (which is something she bristles at when aang does display prodigious skill), but because she is incredibly determined and no one can outmatch the strength of her heart and unshakable commitment when she is pursuing a goal. as pakku even says, raw talent isn’t everything, and katara’s abilities prove that despite not being “naturally gifted,” hard work and determination is far more important when it comes to excelling in any given domain.

however, if katara’s motivation to be excellent is externally imposed by the tragic circumstances of her life, sokka’s motivations are, at the very least, internally maintained. as aforementioned, i have no doubt that he received a lot of external validation and praise from the adults in his life as a child with a dazzling, brilliant mind. as has been established, sokka is constantly displaying an ability to synthesize new information at a staggering rate, which likely means that before katara had even discovered her ability to waterbend, sokka was probably being fawned over for the impressive rate at which he was picking up new skills as a baby. since pretty much everything (cerebral, at least) comes easily to sokka, i can only imagine that hakoda, who never hesitates to express to his children how proud he is of them, would constantly affirm sokka’s intellect. and by boasting that sokka takes after himself (hakoda also refers to himself as a genius, completely sincerely), he unwittingly plants the first seeds in fostering sokka’s belief that he must be exactly like his father in every way, and that any deviation from hakoda’s image would prove him unworthy. but he will never be the spitting image of hakoda the way that katara is "the spitting image of kanna" because sokka is already the spitting image of kya, if not – perish the thought – his own person entirely.

unlike katara, who spent her whole childhood trying to waterbend by herself with little success (beyond, of course, isolated instances demonstrating her sheer raw power when her bending was being influenced by her incredibly strong and passionate emotions), sokka always felt like he could handle the amount of responsibility he was given, because everything came easily to him. until the day that his life changed forever, and suddenly the stakes were no longer abstract, but tangible and personally devastating. sokka had never learned that it was okay to fail as a child because he never had a reason to, and then suddenly, he could not afford to fail under any circumstances. failure of any kind went from being a (purely hypothetical) blow to the ego, to being something that could directly endanger the lives of his loved ones. and so sokka decides that the only way to not be culpable for his potential failures is to be a martyr.

of course, there are instances in which sokka is proven to be inept, such as on kyoshi island or with piandao, wherein his humility and open-mindedness are put on display and sokka puts aside his own standards of perfection to learn from a master, but i don't think these instances qualify as failures. for one thing, sokka happens to master the forms he is being taught in less than a day, at an unprecedented rate, and thus these initially humiliating blindspots in his knowledge become victories as sokka absorbs new knowledge. sokka is always eager to learn, and willing to acknowledge his lack of expertise in area, humbling himself to learn from others any chance he gets. no, what i mean by "failure" as it relates to sokka's self-perception and ego is not a lack of knowledge, but an inability to protect another. to sokka, his existence is defined by his ability to provide and protect, and thus, a failure is, specifically, when someone gets hurt under his watch. that is what it means to not be able to afford to fail. he is not overly proud (if anything he is overly insecure), but he also understands that the stakes of failure – real failure – are tangible.

so when it comes to failure that carries grave consequences, he would rather be dead than fallible (or, responsible for not adequately protecting his loved ones), one million times over. and so every time someone makes a sacrifice for him, he feels as if he has failed on a fundamental level, because simply being exceptional is not enough, he must also bear the entire world’s suffering alone – as (in his mind) hakoda instructed him to when he left him behind to protect and provide for the village. otherwise he has failed in his promise to be needed, which is his raison d’être. sokka’s complex is very obviously not informed solely by his upbringing as a “gifted kid,” and in fact largely informed by the dehumanizing logic of war as it necessitates sacrifice, but his inability to accept his own fallibility as a product of his self-dehumanization is, at the very least, compounded by his debilitating perfectionism.

thus, katara and sokka's dynamic within their family isn’t “gifted kid and neglected kid,” but rather “two gifted kids who are gifted in different ways, one of those ways being valued more on a cultural level due to its scarcity as a byproduct of genocide.” while katara was put on a pedestal her entire life due to her ability to waterbend, it doesn’t mean that sokka wasn’t put on a pedestal in other ways. if anything, the reason hakoda entrusted a child with the burdens he did was specifically because he put his son on a pedestal. sokka assumes that hakoda didn't think he was capable enough to join his army, but that couldn't be further from the truth. hakoda trusted his thirteen year old son so much that he genuinely thought it best to leave him alone with this duty to defend his village and protect katara at all costs. he didn't leave a single man behind, not even the other teenage boys, because that's how much faith he had in a child to take his responsibilities seriously and perform them competently. and if that decision gave sokka one million different complexes and fucked him up for life, it wasn’t because he wasn’t valued for his abilities, it’s because he was overvalued and given too much responsibility at too young an age.

both he and katara struggled to live up to the expectations placed on them, forced to fulfill the roles of their parents instead of being allowed to exist as children. but crucially, katara sees the injustice in that, and clings to her childhood even as she strives for greatness, and sokka simply doesn't. he's long accepted that injustice, and in fact feels guilty that he cannot better live up to the impossible portrait of an idolized father, an idealized masculinity, an illusory model of the infallible, unshakeable warrior. despite all his achievements and natural giftedness, he nonetheless feels totally inadequate, deeply flawed, and ontologically worthless. perhaps, in a world beyond the pressures of war and its dehumanizing logic, sokka would have internalized the praise he was constantly receiving his whole life for his gifts. but since he was only ever a prodigy in ways that didn’t matter (within that colonized paradigm), he doesn’t actually care about how clever and brilliant and creative and talented and unique and special he is, because that would first require him to see himself as fully human, and he can’t even do that.

[cuubism]

inspired by this Hope!Hob piece by @mashumaru, have a little reverse-verse fic, Hob as Hope of the Endless and human Morpheus

(reverse-verse Hope and Morpheus are my special special little guys, I wrote an extremely long fic about them before. I think about them all the time and at this point they're basically distinct from Dreamling in my mind 😂)

cw hate speech, homophobia, slurs, violence. it's pretty brief though.

--

At this point, Morpheus is no longer shocked to come home and find Hope sat at his kitchen table, knuckles and brow bone bloody, drinking tea as if none of that matters. It still rankles him, though. Bloody. Injured. Always.

Morpheus sets down his messenger bag in the hall with a thump and bypasses Hope entirely to go right for the first aid kit on the top shelf in the bathroom. Hope turns to watch him pass, a forlorn little look on his face. No, Morpheus tells himself, he does not get some sweet little welcome home kiss if he’s going to come back like that.

“Must you insist,” he says, as he drags the kit—packed full, always—off the bathroom shelf and trudges back into the kitchen, “on always starting fights?”

Hope pushes his half-drunk tea away, pouting. “I don’t start them!”

Morpheus sits in the chair next to him and just looks at him.

“…Okay,” Hope concedes. His lip and brow line are bruised. There’s dried blood under his nose. Morpheus wishes this wasn’t his natural state. “Sometimes I throw the first punch.”

Morpheus sighs, tearing open an alcohol swab and starting to wipe at the cut on his brow.

“…Most of the time,” Hope admits.

“Hope,” Morpheus says, exasperated, and Hope cringes.

“You know I can’t really be hurt,” he tries to explain. “I’m not human. Besides. You think I’m just beating the crap out of people for no reason?”

“No,” says Morpheus, and wipes at his split lip with perhaps more force than necessary. “I do not.”

“Besides, I don’t kill people and I don’t like when people do it around me either. It’s not about fighting, I don’t enjoy fighting. It’s about taking a stand.”

“You do enjoy fighting,” Morpheus accuses. “I have seen you.”

Hope ducks his head. “It’s not about that, though,” he insists. “Listen. You know I never really finish these things, but it’s my role to start it. To show that these battles can be fought. And that it’s worth standing up.”

“Bar fights, such a noble cause,” says Morpheus dryly, and Hope tucks his forehead into his shoulder. Morpheus can’t help himself, his hand automatically goes to the nape of Hope’s neck, fingers combing through his hair.

“You attract violence to you,” he says quietly. “I have seen it.”

Hope sighs. “Did you really think that people would like Hope? Sometimes they want to give me a hug but more often they just want to punch me in the face.”

“I thought you were meant to inspire,” Morpheus says, and it’s a little bit mocking of things Hope himself has declared in the past but Morpheus is listening.

“More like get in the way,” says Hope, his face still pressed to Morpheus’s shoulder. He sounds despondent now. Morpheus supposes people instigating fights with you simply because of your nature wouldn’t be pleasant. At least when people instigate fights with Morpheus, he’s usually done something to deserve it.

“You are not ‘in the way,’” he says. “If you are, then you are meant to be there. Like when you stepped into my path.”

“‘Least you didn’t punch me,” Hope mumbles.

“I considered it.”

Hope huffs. He pushes himself upright again, shaking his messy hair out of his eyes. He is so beautiful, even still speckled with blood and grime from the fight. Especially like that, if Morpheus is being honest with himself.

“So long as you never hated me,” Hope says. His voice is fragile now, and it hurts Morpheus’s heart. Hope is like a radiant sunbeam, and still more often than not people are only trying to throw shadows over him.

“I could never hate you,” he says, and Hope’s expression softens. Morpheus kisses him lightly on the lips. “I do not think they hate you either. You are… challenging. Just being around you… it is a confrontation in its own way. Especially for those who may have pushed you aside.”

“Even for you?” Hope says.

“Especially for me,” Morpheus tells him. He leans his cheek against Hope’s, overcome with fondness. Fondness that is greater for how frustrating Hope has been to him over the years, during those times of darkness. “It is how you saved me.”

“You saved you,” Hope says firmly. “But if I helped, then I’m glad.”

“Always.” Morpheus kisses the hinge of his jaw. “What would I do without you?”

“Now you’re just coming on to me.”

Morpheus hums, not disagreeing.

“Admit it,” Hope says, tangling fingers in Morpheus’s hair. “You’re into it. When I come home all bloody.”

“Mm. I am not.”

“Oh, you are. I can tell.”

Morpheus skates a hand up along his thigh. “Hm. Perhaps it makes you seem very fierce.” He kisses Hope’s mouth this time, swipes his tongue soothingly over his split lip, tasting just the tantalizing hint of blood. Leans in and—

“Ow!”

Morpheus pulls back, raising an eyebrow. Hope looks sheepish, pressing his hand to his nose, which Morpheus had bumped. Hope’s non-human body will heal quickly, but for now his nose remains at least partially broken.

Morpheus keeps giving him an unimpressed look. “I see you are gravely wounded.” Hope catches him by the hair before he can truly pull away, and he smiles. “I suppose… I will have to ply my mouth elsewhere. If you promise to be more careful.”

“For such a reward I’d promise anything,” Hope swears, and Morpheus obligingly sinks down, hands on Hope’s thighs. It is hardly a hardship.

“You do like this,” Hope swears. “Don’t try to pretend. You’re so transparent.”

“Perhaps you once punched a man in the face on my behalf, and perhaps I found it titillating,” Morpheus says, and Hope laughs. “Is it terrible if I wanted you to break his nose? Perhaps I am terrible. You do look appealing with blood on your hands. If it is not your own.”

Even Hope’s own torn, bruised knuckles do stir something in Morpheus, a fierce pride and terrible heat. But he worries for him also.

“Liar,” Hope crows, gleeful, “hypocrite. Terrible lecturer. You love it. You know you do.”

“Do not get yourself horribly maimed in a bar fight,” Morpheus orders. “However…” he takes one of Hope’s hands, kisses his knuckles, lets his lips linger there for a moment. “If you must be righteous and full of passion, then I will soothe your injuries later, oh knight of promise.”

“Terrible incentive, now I’m going to get worse,” Hope says. He caresses Morpheus’s cheek, thumbs at the corner of his mouth. His look on Morpheus is so fond, always. Then he says, “Alright, darling, for you, I’ll be careful.”

“Thank you.” Morpheus leans his face against Hope’s thigh, lets Hope play with his hair. In a moment he will indeed ply his mouth upon Hope’s body as promised, in a moment he will indulge the spark that Hope’s fierceness lights within him. But for this moment, he just stays close to him, a gentle valley in the topography of Hope’s violence. Morpheus has never been gentle for anyone before. He finds he likes it.

Hope leans down, smiling, and kisses the top of his head.

~

Morpheus does not like to be “out and about.” In fact, he generally detests it. But Hope likes to be out among people and Morpheus likes to be with Hope, so sometimes he goes. Besides, he likes to see Hope happy.

The White Horse is a safe space for them, anyway. Morpheus does not feel so uncomfortable there as he does at other crowded, loud establishments. He sits in his usual corner seat at the bar, nursing a drink and working on his writing, leaning lightly against Hope’s shoulder as Hope chats with whomever has come up to him now. He tends to attract people wherever he goes. Fortunately, no one has tried to start a fight, this time.

Hope leans in close to his ear. “Get some air with me?”

Morpheus smirks. Inevitably, getting some air will turn into Hope pushing him up against a wall and kissing him senseless. He is hardly opposed to that series of events.

Cold air washes over him as Hope leads him out to the back garden, around the corner to a private spot in the alley by the inn. It makes his hands feel even warmer as he takes Morpheus by the hips, leans him up against the wall as expected, thumbs stroking over his hip bones under his shirt. Morpheus smiles to himself.

“Did you get bored?” he teases.

Hope kisses his cheek, then his jaw, leans in close to his ear. “Hardly. You know my mind is always on you no matter what. But you were being so patient.” He tugs on Morpheus’s ear, then goes to his throat, kissing along his pulse. “How could I not reward my darling?”

“Knowing that I am the one you will go home with is its own reward,” Morpheus murmurs. He trails a hand up Hope’s back, pulls him close so their bellies are pressed together. “So many of those people in there want you. I see it. But they do not know that you are already taken.” It makes him feel privileged. And hungry.

Hope laughs. “Possessive little bastard.”

“Yes.” Hope is so radiant. To be the one chosen by him… it makes Morpheus’s soul sing. “You are mine. I am yours.”

“Yours,” Hope agrees. With that he moves to Morpheus’s lips and kisses him deep. Morpheus hums in pleasure, opens his mouth to him. Tastes the beer lingering on his tongue. Sinks into the press of Hope’s fingers on his hips, and—

“In public? Disgusting.”

Hope pulls away from him, and Morpheus grumbles in displeasure. Hope turns to the mouth of the alley, where a strange man is standing, expression of, indeed, disgust on his face.

When they don’t respond, the man steps closer until he's almost in their space. Hope’s jaw clenches but, perhaps remembering how Morpheus had chastised him for always getting into fights, he doesn’t yet react.

“Can we help you?” Morpheus asks. Not politely.

“By taking that somewhere else,” says the strange man. His tone is aggressive. And most of his attention seems to be on Hope, rather than Morpheus, which Morpheus doesn’t like. Morpheus has noticed before that Hope’s presence inspires ire to jump to action as often as it inspires positivity and good works. But this is the first time he has seen such outright aggression.

Maybe some people really do hate Hope.

“Mind your own business,” says Hope, stiffly.

“You fags shouldn’t be allowed out in public, it’s an insult to respectable people.” He’s still primarily looking at Hope, and it's hard to say if it's because he is the one who looks more traditionally masculine between the two of them, or if it is because of the inherent draw of Hope as an Endless. “Should fuck a real woman instead of that.”

Hope takes a quick step forward at the man’s words, expression hard.

“Hope—” Morpheus starts. Do not get yourself hurt again, he means to say. As much as I enjoy you defending our honor I also like you well. For Hope may have supernatural qualities that prevent him from dying but he is not invulnerable. His powers lie in his empathy, his charisma. Emotion and community. But he takes a punch like any other man. Comes home to Morpheus with a black eye like anyone else would.

Hope stops sharply as if caught on a leash. And Morpheus immediately regrets speaking, for the other man crows in victory.

“What are you, his little bitch? You a man or not?”

Hope flinches despite himself. Not, Morpheus thinks, because he cares so much about a stranger’s sense of masculinity, but because he prides himself on being able to handle himself. On being able to defend his lover. On being able to stand on his own feet after being broken down into shards by his imprisonment.

Morpheus often feels anger, is too quick to it even, but he does not often act on it with violence. It is not so much that he disapproves of violence as that he dislikes the attention associated with causing a scene, and, being rather slight, is usually at a disadvantage in any physical confrontation besides. Cutting words are his weapons instead.

But watching Hope shrink back, the hurt that flashes over him—a terrible spark jumps inside Morpheus. Hope is stronger, is better, than any person he knows. Has been through hell and come out of it still with more empathy than Morpheus has ever possessed in his life. Morpheus will not watch him made small.

He steps forward and punches the man square in the nose.

He hears a crunch. He’s not sure if it’s the nose, or his own knuckles. The man wheels back with a shriek, clutching his bleeding nose, and Morpheus stumbles back, too, shaking out his hand.

Hope has his hands over his mouth in shock, eyes wide. “Holy shit.” When he drops his hands, he’s grinning. “Holy shit.”

Holy shit indeed. Morpheus watches the man scamper off down the alley, casting one last dark look back at them. His hand hurts, he might have broken it—but the adrenaline pumping through his veins is much louder. He can’t quite believe he did that.

“How’d that feel?” Hope asks. He is a terrible influence sometimes. Always roping Morpheus into doing terrible things, like wanting to live.

A smile tugs at Morpheus’s lips. “It felt… good.”

“Yeah?” He’s still grinning madly. “Let me see your hand.”

Morpheus shows him. Hope prods gently at his knuckles, and winces.

“That’s gonna hurt for a while,” he says. “Your punching technique is terrible.” He kisses Morpheus’s hand anyway.

“Now you understand how I feel when you come home bloodied,” Morpheus says.

Hope’s eyes are sparkling. He does not seem like he’s learned a lesson from that at all. “Oh, I do.” He leans in close, presses his lips to the corner of Morpheus’s mouth. “You were…” his voice is a low hum, “incredible.”

“Do I get a reward?” Morpheus asks dryly, though his breath quickens at Hope’s proximity, the heat in his voice.

“For defending my honor? Anything.” He takes Morpheus’s uninjured hand. He smiles. He’s altogether too excited about Morpheus punching someone. Which only makes Morpheus want to do it again. Terrible influence, Hope. “Come home, and I’ll show you.”

But Morpheus catches him when Hope starts to tug him away. “Here.”

Hope raises an eyebrow at him, but he does look… interested. “Something to prove?”

Morpheus draws him close again, leans back against the wall so Hope is caging him in. “Perhaps I simply want you, and I do not care who knows about it.”

He touches low on Hope’s belly, his hand hidden between their bodies. He is not willing to truly expose them—though they are somewhat sequestered in the alley at the moment—but to play with the idea is… arousing. He wants Hope to touch him. Here, in their place. After Morpheus has hurt someone for him.

He cannot blame Hope for this. Morpheus is just a terrible influence upon himself.

“Menace,” Hope chuckles. “You’ve no high ground left, you know that, right? You’ve obliterated it.”

“I never did,” Morpheus says, as Hope lets him draw him in and kisses along his neck. “Always you have been the better of us.”

“In terms of exhibitionism, maybe,” Hope says. Even now, he won’t let Morpheus truly criticize himself. “I could be persuaded, though.”

With that, he slots their lips together. Sucks on Morpheus’s lower lip as he pushes him harder against the wall, Morpheus’s back scraping the brick. Morpheus groans, pulls him close by his hips so Hope’s swiftly-hardening erection is pressed against his, and Hope’s breath hitches against his mouth.

“Should I give you a proper reward?” Hope murmurs.

“Yes,” Morpheus breathes. “Hope—”

He loves Hope so much. He wants Hope so much.

“Vicious little thing, I love you so,” Hope says. And then, in the darkened alley by their favorite place, with his hands and mouth and the weight of his body and his devotion, he goes about showing Morpheus just how much.

[diseaseriddencube]

normal people: alastor is aggressive with lucifer because he's actually under the control of lilith and needs to keep him away/help charlie or sth

me: alastor is aggressive with lucifer because he saw someone with two ounces more power than him, someone who could help charlie more than he has and show him up as worthless, and he Is Not Having Any Of That anyways do you wanna hear my npd headcanons and why he is actually me and

[crabussy]

IS ANYONE ELSE FEELING KIND TODAY!!! IS ANYONE ELSE FEELING GENEROUS TOWARDS OTHER PEOPLE!!! IS ANYBODY ELSE BEING KIND AND TRYING TO UNDERSTAND EVEN WHEN ITS HARD!!! IS ANYONE ELSE ASSUMING THE BEST OF OTHERS INTENTIONS AND RESPONDING IN KIND!!!! CAN ANYONE HEAR ME

[enbyeddiediaz]

Bobby when he finds out buck is attracted to a death doula and Eddie is going on dates with women

[kinokoshoujoart]

CORRECT TAGS‼️‼️‼️‼️ @rn0na-lizard you are so so so correct….. my favorite ‘Normal Girl’ in hmds…….i almost never see anyone talk about these aspects of her let alone also love her for them as they should.

i feel like Leona/ DS lumina gets mischaracterized super often which is understandable bc out of all the DS candidates leona is the least like her ancestor (who i also love, for different reasons).

in AWL lumina was the only kid in the valley for a very long time, but many of the DS residents have lived in the valley their whole lives. while lumina had accepted her role as a proper young heiress by chapter 3 of AWL— and when DS begins Leona already at this point of her life— lumina still had a lingering sense of uncertainty and angst and loneliness and doubt, and unresolved worries about her parents. absolutely none of this is present with leona

in this world leona starts with Lumina’s 22 year old appearance, she’s just rich as hell and living her best life (as she deserves), she’s unabashedly shallow, puts herself first always, speaks so politely and affably yet she can be so casually cruel in the most genuine cute way and out of touch with reality and and i fucking love her and i’d die for her. my beloved girlboss girlkeep girlypop

more iconic Leona Moments

when muu/muffy asks for beauty advice leona’s recommendation is “this brand of mail order beauty cream is simply divine! and it was quite inexpensive too, just 100,000 G 🥰” everyone else looks uncomfortable and muu is like “you’re as frivolous as always….”

aside from the 3 who take literally half your money (Witch💖, moi, and thomas) leona and panama (romana) take the most money from you if they carry you home when you faint. just a couple of girl bosses holding on to their girlpire (btw shout out to sebastian, the only resident in the entire valley who carries you home for free)

neither panama nor leona attend the harvest festival, they send sebastian there by himself to test the food first lmao (if you poison it like the witch they’re harboring on their property requires you to do, sebastian is just like “i can’t serve this to Mistress Panama…”)

once again sebastian attacks mukumuku for her sake, this time not to make her a paintbrush but she told him to get her the best slippers and this was apparently the easiest way. sebastian gets fucking mauled btw

leona has hands down the best romance route in hmds. all her scenes are incredible but god the slow burn friends to lovers with your DVD player….

in her purple heart event she shows up at your house because she heard you have a DVD player, asks you to show her how it works, and then just leaves after she’s done playing with it

in her yellow heart event she has sebastian fetch van so she can buy a DVD player for herself but van’s like “i’m so sorry …. Pete… bought the last one….”

leona is so unable to stomach the idea of other people having things she doesn’t that she starts to cry and the only way to placate her is to tell her she can go to your house anytime she wants just so she can use your DVD player. that’s not a setup to a budding romance that’s her final heart event

it’s the most incredible romance arc in the world like girl you have infinite money you can just. buy a DVD player somewhere else?? “i want to watch DVDs at my house just like you!” leona you have three entire bedrooms

“rich girl love interest who has everything except love, win her heart by having genuine conversation with her”: done to death, tired, i don’t have time for that

“rich girl love interest who has everything except a fucking DVD player, win her heart by giving her expensive stuff and ‘relax tea’ and access to your DVD player”: audacious, intriguing, never been done before, innovative

if you deny her god-given right to access your DVD player she is like “Is that so……………Just let me be alone for a little bit.” incredible tragedy i understand. take as much time as you need to grieve darling

oh but her first heart event asks you to pick a side in an argument she’s having with panama and the correct answer is to say “sebastian is the one who’s wrong” (sebastian has said nothing wrong this whole time and yet both of them have just been yelling at him to shut up)

and her blue heart event is “help me find this heirloom necklace… boohoo…” and when you find it she’s like “perfect! now grandma won’t get mad at me. hmm, you seem pretty dependable…♡” augh she’s way too good at this…….!!! i’ll do anything for you!

when you propose she says “of course, i always dreamed of having a romance and a wedding♡” and says nothing abt how she feels about you <3

also if you marry her, once a week she goes to hang out at her ex love interest’s place for 6 hours straight and comes home saying “whew… i had so much fun that i must have lost track of time… i’ll hurry on home”

if you marry another girl she starts flirting with you like “I’m so envious of your wife, having such a fine husband… Pete.” (or whatever your name is)

i’ve become obsessed with her and romeo’s horrible trainwreck soap opera marriage since replaying cute in jp… it’s SO… i have so much to say about them that it should be its own post but i’ll just give the cliffnotes

shotgun wedding vibes. romeo is surprised by his own wedding. they’re childhood friends but he himself has never considered marrying her. her words to him at their wedding are “Make me happy♡” (command)

she understandably can’t stand his terrible table manners or his clothes or anything about him (except that she wants to watch him surf and have his child. but he instead walks in circles all day. coward) and he’s both really good at accidentally stepping on landmines and just ever so slightly majorly terrified of her after marriage (“but surely her angry outbursts are just her way of showing love hahahahaha” you’re going to die. she’s going to kill you). the only positive things they say about their marriage are extremely shallow. they can’t communicate with each other because romeo always says the Dumbest Shit obliviously and leona always responds by cutting him out of her life forever!!!!!! (for 5 seconds) while he has no idea what happened

they are both so melodramatic and they both just do nothing except make each other worse and run away from each other and push each other away but they can’t escape each other. neither of them ever has to grow or change if they marry each other because an elderly overworked man is sustaining both of their existences and neither of them can take care of themselves and i love them your honor

also romeo’s first crush as a kid was apparently her mom, and if leona falls for YOU she flirts by mentioning that sebastian says you look like the spitting image of her dead father. dear fucking god

they’re the epitome of “You're both just enabling each other's mental illnesses. You're both perfect for each other. Never change. Just never involve anybody else in what you've got going on.”

romeo really does feel like her stupid lackey. like the karen to her regina. they even had this dynamic in the games they played as kids… she was the Harvest Goddess and he was Servant A/Minion A (they might still be playing this game as adults…he calls her lady/mistress sometimes after marriage…)

btw leona’s best friend (wife) marivia is also just as… there’s an event where they just gossip about all the mineral town ppl and marivia says ann would win a gluttony contest and they both giggle

there’s also an event where marivia casually walks into Witch’s hut and just interviews her so she can write her into a novel. witch is left completely drained by this exchange. leona and marivia both are so chill about the horrible cruel villainess living in leona’s shed who wants the town poisoned and rewards you for killing animals and hurting yourself and is putting curses on everyone (and they’re right. she’s never done anything wrong in her life)

[uncanny-tranny]

The most infuriating form of sanism is this idea that mentally ill people/people with mental disorders are just too stupid or too unenlightened to know how to be a proper, well-adjusted person

So many therapists have ignored signs of my unwellness simply because they assumed I was just... being stupid, and I just needed educating about why I'm acting disordered (apparently, mental disorders stop disordering you once you are condescendingly told why you're just disordered and dumb, who knew (sarcasm)).

Like, I could tell them that I knew my behaviour wasn't "rational," wasn't "reasonable" to do or believe and I'd still be treated like I was so dumb I needed hand-holding and scolding about why I'm acting disordered.

I truly wish that people would be able to take the idea of guidance and stop twisting it into "I am superior and enlightened and the people I am trying to help are stupid and wrong and beneath me!"

[cloudysarts]

wow look at these 2 random human men. i wonder if this moment will be paralleled in their afterlives

~i dont support vivziepop or her shows + this art/redesign is from my rewrite~

[goldengrecha]

Today I'm thinking about manga versions of Maxie and Archie, because it's something... I even dont have words for it. Like. Holy fucking shit.

In the beginning, of course, they're confront each other - that's the classic, they're rivals after all, standing for different things and all that things. They're different. They're opposites. They're still strongly exist in each other lives, because of their conflict.

But then

This happens. And this IS beginning of the end, because of course they're working together - and at the moment it looks like it is only for benefits for their goals, nothing else. They will destroy each other when they will get to finish.

They're fucking irritating(/pos), it almost feels like they're drawn to each other, in any scenario, their destiny is to meet, to exist in each other lives. None of them exist alone (and when one of them do exist alone, it means that something went terribly wrong).

AND THEN THINGS JUST GO EVEN WORSE (/pos)

This panel. I don't know where to start.

Do I need start with that they're realizing they work together perfectly? Do I start with that this making them thinking they needed to work together from the beginning? Do I start with that two men, who, up until this point, was fighting with each other and conflicting, hating each other, founded in each other the best partner they ever could have? Do I start with that they're probably the best persons in each other lives?

It is already very emotional (at least for me), but with how story goes on, they're connecting more and more, becoming even more emotionally fucked up.

AND THEN THERE IS EMERALD ARC???? CAN WE PLEASE TALK ABOUT EMERALD ARC???????

There is so much going on in emerald arc I barely can find words for describing my emotions.

This is the fucking tragedy. Because, what do you mean, they're put in situation where is only one of them can leave alive for some more time? (Remember how I said that if only ONE if them exist it means that some shit is going to happen something going to go really terrible. It either them both exist or them both don't).

What do you mean Archie is literally killed Maxie, just for chance of living a little longer?

And this is tragedy, because Archie, in the end, loses again. And now, not only he does lose in literal sense - he didn't achieve his goal, after all. He loses everything he had - his team, his life, and most importantly, he loses his only friend. He is all alone now.

Ah yeah can we talk about

This?

It's just one phrase. It has so much in it.

Not only he calls Maxie friend, not only he confess that Maxie probably the only one person which Archie was thinking as a friend, but also like.

Consider this: this isn't oras archie yet. This version of archie is cold, closed and gloomy, genuinely intimidating person. He doesn't care about his team members, it is kind of okay for him to use them as tools (which, ironically, shows even in this interaction with Maxie: after all, Archie still killed him for a chance of living a bit longer. And Archie acknowledging that he betrayed Maxie. He betrayed his only one friend). He is a cold person, but it almost seems like Maxie managed to warm him up a bit, just a little bit. This is actually incredible and, again, endlessly emotional, and I still can't stress this enough. Holy fucking shit.

Just imagine Archie at this point. Imagine, because, the best person in his life always was his rival. His rival, and maybe, even friend.

And I told about this before, but can we talk about that in distorted world they became one? It's just so symbolic. Like, Archie and Maxie from beginning were opposites, they was supporting opposite things, their goals was completely opposite. But they can't choose only one of this, because everything around them is a combination of different, sometimes opposite things. Like even the land and water in Hoenn! Exactly this combination of land and water create Hoenn as we know it, and how they know it. And they, people, who choosed only one of these things, in the end, became the one themselves - isn't this ironic? Isn't this funny? Isn't it symbolic in some way? (I also fucking love how this fusion explain in some way why when oras hits, Maxie is more like original Archie, and Archie more like original Maxie. They had explored each other minds I'm sure of it)

And finally, ORAS, part that I love the most.

Not only they both was given chance of living again, but this is literally their peak. They're working together again - and by that I mean they're working perfectly together.

They even acknowledge it themselves:

And this is so good in contrast with Ruby and Sapphire arc - back then, they too, realized and started to think they're work perfectly together, but it still was mixed with some evil fucked up shit, but here? They're working together because they (ironically), have the same goal. And they're helping each other.

They're working together perfectly, this is so good for them. And no evil bullshit this time! It's actually best versions of them in some way - because they're working together, for sake both of humanity and pokemon. They working towards happiness and safety for everyone, not choosing and prioritizing only one of them.

And they're talking to each other as if they was old friends, partners, every one of their interactions shines with this somewhat warm feeling. This is so good for them. I would even dare to say that ORAS part was the happiest moments in their lives.

And.. Then end of ORAS hits.

And, again, as classic already, it's a small panel, but how much here is.

First of all, can I point that Archie died two times, and both times he was thinking of Maxie in some way?

And both times is some kind of emotional moment for Archie: first time, he calls Maxie friend (he doesn't call him by name, but. He obviously talking about him COME ON), and second time he ask Maxie, if he would want to work together again, if they will have chance to do so. I just love seeing this progression, how Maxie became more and more dear person for Archie as time goes on, how he became more attached to him. And Maxie does too!

It is such an incredible moment filled with so much emotions, with so much sense. I love how Archie doesn't even say his question fully, but Maxie still understands him. Of course he does, because, I'm sure, even if Archie didn't ask this, Maxie still would think of it. I'm sure if none of them said this, they still would understand this wish to work together again that they both have. At this point, they are incredibly connected together, and they have only each other.

I also love this moment, because when Archie died first time, he was told that, if he will continue like this, he will end up all alone. And Archie agrees to that: he answer in the way that he is already accepted that he is alone now, and he doesn't even have Maxie by his side (I still can't get over that he really highlighted him in this speech holy fucking shit). BUT then, when he appears next time, he appears as ORAS self, and his ORAS self is very different from what he was, not only as a person, but his motivation is different, too.

He changed in some way. And he ISN'T alone, because now, Maxie is by his side again. And I can't stop thinking about how happy it probably made Archie.

And even dying, he is calm, because he isn't alone. He have Maxie by his side. His only friend.

[sadkachow]

And Then It Is Monday - Why Sunday's plan did not (and could not) work

So normally I don't really make longer analysis posts, but I kept seeing people on social media outright supporting Sunday's actions in 2.2, and I wrote something out about why I personally think that Sunday's plan is wrong. I don't know if this is an issue with tumblr as well, given that the people I saw supporting him were on different forms of social media, but regardless.

Before I begin, I'd like to pose a reminder that the opinions in this are mine and mine alone. If you agree, awesome! If not, I'd love to hear your thoughts on it, so long as you're respectful! I have no idea if this is well written or will make any logical sense, but here we go!

(Spoilers for the 2.2 Trailblazer quest under the cut, if that wasn't already obvious)

So the first thing to get off the table: I feel Sunday is a very sympathetic villain, but a villain nonetheless. I understand the people that sympathize with him. I do too, to an extent. He was raised on unhealthy ideals and the belief that he was a "religious figure," one that people looked up to. Other people were allowed to just be, but Sunday always had to be better. He loved his sister, and the people around him, and he wanted to make a better world for them.

But that does not excuse what he did. Making a 'better world' can never come at the cost of taking away people's free will, because that world will never be "better". That's where Sunday's plan falls apart.

Because, yes, there are shitty people in the world, and yes bad things happen. Would it be amazing if we could stop all the bad things from happening ever again, and make the world a much better place? Yes! It would! I would love to live in a world where I don't have to fear for my life and my freedom for an assortment of reasons! But that world doesn't exist--in real life or on Penacony--, and getting it to exist shouldn't be the result of subjugating and controlling other people, because that in and of itself is violence. Albeit a different kind of violence, but violence nonetheless.

Not to mention that things like Sunday's plan and the concept of forcing everyone to act a certain way just to fit this "better world" to me almost serves as a condemnation of human nature and of the very act of choice itself. Your better world starts by saying that some choices are bad, so those choices get taken away, but where does it end? What if someone in charge views a harmless choice as a bad one, and takes away that one in return? Does it stop there, or does it continue, until no one at all is allowed to make any decisions, except those in charge? Who, really, does that benefit?

Consequences for certain choices exist. Generally, society says murder is bad (except for specific circumstances such as self-defense, which technically at that point is no longer even considered murder (at least where I live, it may be different in other areas, but I'm basing this off of my own experience)), so there is a concrete consequence to people murdering people--assuming that they don't get away with it. It doesn't stop people from murdering people, because the liberty of choice is still there, but it shows that just because you can do something doesn't mean you should or that you will escape without consequence.

People are going to do bad things. That is, unfortunately, how humans are. But our responsibility lies in holding ourselves accountable and in promoting growth and healing. That is how you build a better world. Not trapping everyone inside a dream world without any care for their feelings or beliefs, but in getting people the help they need, in fostering a society of positive change and human connection.

And that is why, as "golden" as Sunday's dream may have seemed, it was never going to work. In the end, as the story quest shows, human will and the desire for freedom wins out in the end. When there's a will, there's a way.

[iqmmir]

The thing about milgram girls is that they are all Pathetic and Stupid and Idiots . Yes even amane .

[anxiousdreamcore]

Spider fan-artists after creating a yet another heartbreaking piece that explores his numerous traumas, relationships and tough upbringing (they also draw other Sullies fairly often):

Neteyam fan-artists after making an art or a comic where Neteyam A. Is dead or 2. Cries a little bit and is comforted by Aonung for the bazillionth time (their biggest fear is diving into another complex character because “ew Tarzan”):

[fullscoreshenanigans]

Still the greatest loss in the official translation

[mamawasatesttube]

psa again because i saw someone being wrong on the internet again. kon was originally not created in any way shape or form by lex luthor!!! this was a retcon. his original form was a fully human clone of some random dude (specifically a cadmus scientist) named paul westfield, who was then genetically engineered and modified to be as similar to superman as possible, using the ttk metagene to emulate superman's powers; later iterations simplified him into an actual clone of superman, fully kryptonian with a small amount of stabilizing human dna, still with the ttk metagene.

then geoff johns came along and went "hey! what if i throw out all of this and also all of his existing characterization to turn him into my own superboy oc who's half luthor?". this is unfortunately the most famous iteration of kon because geoff keeps shoving his version everywhere, but it is Not the original. it is not inaccurate for people to call kon a clone of clark; this is canon in [later] superboy 1994.