#I WILL NOT STAY SILENT ABOUT HIM

[wikitpowers]

and what are 🫵🏼 gonna do about it?

[s0fter-sin]

god the way ghost’s voice drops when he tells soap, “you’ll need to improvise to survive”

before that, everything he says is steady but when he acknowledges that soap’ll have to do something outside his skill set, something he intimately knows to be difficult, his voice wavers. he does the same when he says, “welcome to guerrilla warfare”; it’s sombre and serious in a way he doesn’t act for the rest of the mission. if you read into it enough, he almost sounds apologetic; like he knows exactly what soap’s about to go through and wishes he didn’t have to

he keeps soap going; poking at him and making jokes, giving him tips and asking about his progress. he never lets him stop and take a second to think bc he knows the moment he does is the moment it'll all hit him; the betrayal, the pain, the fear, the deaths, all of it will drown him and if that happens, soap won't make it

he needs him to be a soldier through and through and he knows this is one of the worst kinds of battlefields you could end up on

and the only times he slips is when he acknowledges that fact

it happens again when he says, "tryin' to get you here alive and in one piece". his jovial dark humour facade drops for just a moment when he has to face the potential reality of losing soap. then he tries to pick it back up again with, "one of us has to survive to tell the tale"; completely discounting himself as a survivor to try and rally soap and make him think it’s all down to him

and soap does the same thing

when he's calling out for ghost on the radio, he's tentative, testing the frequency, then when he doesn’t get a response, he grows desperate; "ghost, this is 7-1, do you copy?"

then when ghost answers, he smooths out his voice; he hides the pain, the fear, and no matter what response you give to ghost asking if he’s injured, soap brushes it off (“i’m good”, “what’s the difference?”, “i’m not a medic”). soap decides it’s in ghost’s best interest to hide the extent of his injuries

he doesn’t know where ghost is, if he’s secure, if he has any weapons; he doesn’t even know if he’s in las almas until he says, “there’s a church, i’m headed to it”. for all he knows, he could’ve run in the complete opposite direction. if ghost knows he’s hurt, then his attention would be split between his own survival and soap’s

and soap, who lets himself be poked and prodded towards the church, needs to hide his own doubts. maybe he needs ghost to believe he'll make it so he himself can believe it ("what are my odds?" "don't make me bet against you", "think i'll live that long?" "probably not")

he all but begs ghost to tell him he'll get through it and if he knows just how bad off he is, maybe he'll change his mind. maybe he'll think he won't make it to the church

maybe he'll leave him alone for good

"you injured?"

"i’m good"

"let's find out how good you are"

[yugiohz]

idk i think they're equally annoying roommates

[thejasontoddarchives]

Brothers in Blood will trick you into thinking it’s just a silly crack scenario brought to life and Jason just concocted this plan for shits and giggles. Then you get a single page like this:

Nightwing (1996-) #121

that reveals he wanted/desperately needed shreds of acceptance even if it was coated in layers of resentment irritation and doubt after going through this:

Batman (1940-) #650

And it had to be from someone who isn’t Bruce

[teatitty]

"I want to stay with you forever, I don't care if I never get my memories back" "I also want to stay with you forever. I'll give you all my memories" rotating that scene in my head 24 fucking 7 literally what the hell was all this gay ass fucking goth romance at its core

[layraket]

au where is all almost the same but shadow is there instead of midna

[dirtytransmasc]

I think. I think I need Helaena to go see Aegon. I think they have so much tension and hurt and grief and confusion and longing and disgust and at the end of the day, some sad scrap of something that, in certain light, may resemble love, between them.

he is her brother, her husband, the father of her children, of her dead boy-

now here he lay, potentially dying himself.

I need them to look at each other. I need her to do something seemingly mindless. fixing his sheets, taking a cloth and wiping his hands. something that keeps her focus on him, but not on him, not present per say.

they are unable to focus on one another. it hurts. it's foreign. it's not right. they're not sure of how to do it. so she cannot look at him, not in the eye. she cannot sit there and look at him and speak to him. but she can clean his hands. she can fix his sheets. she can exist in his space.

but she's there, and her touch is soothing. he isn't alone.

maybe she speaks, maybe she doesn't. maybe Aegon speaks, maybe he chokes out a fragment of her name, or and "I'm sorry" and she will nod. or maybe he too sits in silence, watching her.

but they're together.

[redstringraven]

oh, we're doing all 72 seconds of this exchange, lads. but for now have some extremely rough key frames because i haven't animated in like a decade and ya girl's trying to relearn and trust the process. also i still haven't actually drawn arthur yet, because i'm impatient/giddy and wanted to jump right into key framing, but we're here to have fun we're here to giggle, what we're not here to do is stress out and fall down the elevator shaft.

[ohitslen]

Part two of the thing and uuh also final one

Of this interaction. Because this is far from all I can give, my brain almost imploded from all the ideas

[ganondoodle]

im listening to some zelda music compilations again and i gotta say 2 things

damn does the hyrule warriors, aoc included, line have some bangers or what

and damn, if you ignore the absolut blast i was having fighting koga, does totks music on its own make me feel things the game never did, like i dont wanna sound like i keep hating on it but man the music is SO GOOD in ways the game didnt deliver on and when i hear it i just kinda drift off into what id imagine the game being like with music like this and then be sad about the real one like the trailer music alone is just GOD what it made me think theyd dare do with the story after turning what was largely considered THE zelda gameplay so on its head, now surely totks gonna be daring in terms of story, its the most logical progressio-

oh :(

[buddiedaydreamer911]

okay i can’t stay silent anymore

i don’t like tommy. i have had a bad feeling about him from the start, meaning back to season two and it hasn’t gone away.

i’m not hating on any bucktommy shippers, i’m not judging anyone for liking the ship and/or character, i respect the bucktommy shippers opinions.

i tried hard to ignore the parts of him that made me hesitate to like him. i tried to like him but i just can’t. i could mention the things he’s done before and after he started dating buck that i can’t ignore but i won’t, ill only mention this one.

i absolutely HATED that little “i hope you do.” comment when buck asked him if he thought buck had daddy issues.

after seven years, i feel like we finally finally got Buck admitting/acknowledging his father/son relationship with Bobby. I thought it was beautiful on how he referred to Bobby as “The Father I’ve Never Had.” yeah, tommy reminded buck that his actual father is still alive, but (unless this has happened before and i’m just forgetting about it) we finally have Father Figure Bobby canon.

it was heartwarming to hear buck say that, but then tommy went and tainted the moment with a sexual innuendo about daddy issues.

i don’t care if buck and tommy have a canonically sex life, we all know he had one with all of Buck’s exes- that part didn’t bother me.

what bothered me was that particular moment got sexualized when it shouldn’t have.

[sweet-potato-42]

Seeing the studff Shelby and lexie have been talking about recently I do hope some more ccs would at least speak out or support the victims of abuse

specially in lexie's stream they talked about how many men refuse to do anything to stop abuse when its a friend of theirs. This type of behaviour is incredibly common and a huge issue.

I am so proud of both Lexie and Shelby for talking about their stories and so proud of them for being able to grow and helping spread awareness. So proud of them for not allowing the culture that allows men to stay silent when a friend does bad things to prevail.

[sunlightfeeling]

｡ﾟ･ (>﹏<) ･ﾟ｡

smapxsmap: 2009.6.1

[chilledmac]

hmm why is the last stage of the dennis system to seperate entirely from the woman but the last stage of the sinned system is to form a closer connection to the man (by asking about his mother, the first person a man forms a bond with)

[boyfridged]

Genuinely curious question.

How do you interpret those comics where Robin!Jason was advocating for the woman who killed a serial killer?

I certainly don't take issue with it even if the authors intent was to make us dislike Jason, but one could argue it was unintentional character establishing for elements seen in his Red Hood era even if that was not the intent.

two parts to my answer here: one that explains why i don't think this story can be taken straightforwardly and the second explaining what i think is still of value there and how it could be reinterpreted.

to clarify for those not overly familiar with jay's robin tenure: we're talking about judy koslosky, introduced in batman #422.

first of all. you know this, of course! but i think some might forget about it - this is not a jason story. this isn't even a robin story. this issue is strictly a batman story, and jay role there is one that often gets delegated to robins - in fact, got delegated to every single robin at some point, dick and tim included - the role of a youth too rash in their pursue of justice, which serves more purpose for bruce's character than their own. bruce has to deliver his lectures about the legal system to someone, and that someone happens to be robin, who is often for this reason treated with little consideration. that's an issue historically, but not a surprising one; as i've said before many times, this is bruce's world, everyone else just lives in it and has to suffer through being reduced to a rhetorical device from time to time. so whatever jason says, in that arc especially, is in contrary to what the narrative wants you to believe (and it wants you to believe in law, essentially.) it doesn't draw any connection to jay's personal experiences and offers no insight into his inner life. and this, of course, was even more taken advantage of in case of jay, since starlin believed robin to be a hindrance to batman's story in general.

and since we're speaking of starlin -- we ought to once again note, that he completely butchered any continuity for robin jay, making weird time skips. jason's robin run is very fragmented because of that - we basically go from him at 11/12 to him at 14... with essentially no insight into what happened in between.

but all of this to say: i don't fundamentally take issue with jason's attitude either. it's the execution (being the result of all mentioned above) that bothers me... or, well -- i definitely think that the implication that jay would be fine with personally killing the man is disturbing and weird given that bruce holding his arm when he beats the offender up is a strange mirror to jay similarly stopping bruce in dc #569... but i don't think his desperation and raw emotions in reaction to the case were a wrong turn. i just wish they were portrayed as a turn; i just wish we got to see the build up to his hopelessness, of it being culminated from overflowing empathy towards victims, victims like judy. because i believe the reason for which he sympathizes with judy should not be his own anger, but rather a result of his morality being so deeply rooted in interpersonal relations and focus on the victims... instead, starlin portrays it as if it came from his own pettiness. but how interesting would it be if starlin considered his own, albeit of course exaggerated, complaint that the position of robin is child abuse seriously and explored the traumatic effect of witnessing so many brutal crimes up-close, and what it would do to someone as sensitive as jay. and oh, it could go meta, since it contrast so starkly with silver age-esque plotlines of barr's run and takes place as dc was entering it's "dark" era, condemning even a child to spectate acts of violence that would often get relegated to bruce's solo adventures in the past (this is the third part of this arc and robin did not appear in any of the previous 2)...

as to it being read as establishing his red hood era: honestly, i'm not a fan mainly because 1. it was done badly 2. makes him read as someone doomed to become red hood 3. and it ignores the fact that, as i mentioned, it is not a jason-centric issue. in general reading his robin stories through the lenses of his post-res characterisation is not beneficial for the source material... could be if he was, in these moments, properly written as a child and even just a human being. and could provide with an some argument regarding how these experiences push him into considering more radical methods. alas.

[seoafin]

i know i would love to read about stsg suffering in this love hotel fic

oh they're suffering alright

“So…there was a girl wasn’t there?” You start, referring to when you had last seen them. The three of you, out for drinks with Shoko at a bar near TokyoU, and the pretty, doe eyed girl who had struck up a conversation with you in the bathroom about Satoru and Suguru. She had smelled nice, and her hands had been warm and soft they had grasped yours. You smile encouragingly. “You brought her home.”

Satoru and Suguru stare at you. You stare back. Maybe that was the wrong thing to say. Maybe they don’t want to talk to you about their romantic trysts. Maybe you’re just forcing conversation where there is none. People talked about these kinds of things during sleepovers, didn’t they? Huddled together, laughing and teasing each other about their romantic endeavors.

This is…not what you envisioned. 

Suguru is beginning to look faintly embarrassed while Satoru’s lips are thinly pressed together, just a nudge from being downturned.

You sweat. Tough crowd.

It’s not like…you hadn’t seen them all get into the same taxi. Or the way the girl whose name you had never caught had been clinging to their arms the entire way. 

“Did you get her number?” You ask. “For a date or…” you trail off. You think you might really be digging yourself into a whole.

“Ah,” Suguru says, looking embarrassed. “There wasn’t really an opportunity…”

Once again, silence hangs in the room.

You quickly move to change the topic, in hopes that it’ll lighten the mood. “When I was in Kyushu, a man gave me his number.” It had been a relatively quick interaction. An extra helping of the famous local cuisine of Miyazaki beef, and a piece of folded paper atop of the napkin you had been given paired with a wink. “Shoko thinks I should call him!”

…You’re doing this wrong. You must be doing this wrong. Why else would Satoru and Suguru be looking at you like that?

Satoru exhales, running a hand through his damp hair, looking questionably weary. “He knew you were a tourist. He was probably looking for a quick—”

“Kyushu seems a bit far,” Suguru interrupts with a small, tight smile.

You blink. Satoru’s words aren’t lost on you. You are still contemplating them when you say, “Oh.” It wasn’t as if you had been planning on actually calling the man anyway. Maybe he had been wanting you solely for sex. It was obvious from your Tokyo accent you were a tourist. It would’ve been easy enough. “You think?”