#Is a major disservice to his character

[sepiamestus]

It always rubs me the wrong way when people characterize atsushi as too much of a sweetheart. Like he IS a sweetheart but he's also snarky and sarcastic and most importantly he's very very angry. Do not forget this.

[hecksupremechips]

To also go off of the point about cop!akihiko being annoying to me I gotta say that Akihiko as a character is very hit or miss with me because of how different adaptations of p3 will subtly alter his character. I felt like in portable with the femc route he comes off best, he’s a bit of a hothead with an obsession with fighting, but he’s overcompensating his strength so he doesn’t feel as weak and helpless as he’s been in many situations. He defines strength in a very literal sense, being physically strong and using that to protect others, but he’s lacking in emotional strength as a result. And in particular in this version I think he’s portrayed as a bit more goofy and sweet in a sense. He cares deeply for you as a friend and leader but he struggles with finding the words to describe how he feels. Hes kinda naive and gullible and has trouble noticing his surroundings. He has no clue what he’s doing but his heart is in the right place. I think he just comes off much more human and he has flaws, many many flaws, and that makes him all the more lovable

But then in other adaptations and spinoffs it’s like. They look at him through some hetero male bullshit filter and seem to view him as a lot more admirable and cool. Like in p3 dancing, theres literally an event where he’s talking with Junpei and Minato and they’re gushing about how perfect Akihiko is and how he doesn’t seem to have ANY flaws at all. And it becomes clear his inability to flirt with women just gets added as a way to make sure you, the Straight Male Player, don’t get insecure being next to such Perfection because at the end of the day, you’re still more charming and sexy than he will ever be because you’re better. It’s a “flaw” that’s only there to shield a sensitive male ego. And then in arena I mean, come on. He’s overly beefy and is a damn cop and travels the world and loves Protein™️ it’s his whole personality and he’s so clearly meant to be seen as hot but like, he’s just some shitty hetero male fantasy. Hes what the writers deem to be a Perfect Man that every guy wishes he could be, but don’t worry he’s still bad with women so you don’t gotta worry about him stealing your property- I mean, girlfriend!

And though I’ve not played reload and don’t really plan to anytime soon, judging from his social episodes they seem to have a similar problem. Akihiko comes off as a lot less approachable, like the year age gap is just too much of a barrier to get to know him properly. And he doesn’t have that dorky sweetness he has in portable, he’s just that perfect hetero male fantasy guy and don’t you fucking worry- he still has his protein powder with him

[rookflower]

seems like you all enjoy my rambles! great. anyways it kinda sucks how few deaths in avos and tbc felt narratively satisfying. i think it's kind of a given that deaths will seem less cool when they are given to long-running characters without much room for buildup of their death, or nothing background characters being killed off-screen to reduce numbers rather than being written specifically to die like they were in the first arc etc but stilllll

[bumblingbabooshka]

This is literally one of my favorite moments for both Harry Kim and B’Elanna characterization. I think a lot of people forget how soft hearted and altruistic B’Elanna specifically can be while Harry, of course a friendly and sweet individual, devotes himself most often to the mission, his friends and Starfleet’s ideals. Harry’s been shown to be much more down-to-earth and less fantastical in his thinking than either Tom or B’Elanna. The only time he gets in major trouble with Janeway and breaks protocol is because he wants to be with a woman. This is distinctly different to me than Tom’s (attempting to save an alien world) and B’Elanna’s (giving a robot race the ability to reproduce) transgressions. His other biggest infraction is begin a mutiny which he does in order to save Janeway & Chakotay. He doesn’t get in trouble for this which is why I put it last but again it seems different from Tom or B’Elanna to me because it’s For The Ship it’s For The Captain it’s a crime which displays his loyalty to Janeway instead of one which demonstrates him going against her ideologically (as shown by the lack of punishment). In that way I think B’Elanna and Harry balance each other well. B’Elanna is a person who seems very nervous and defensive when in conversation with others, who thinks of herself as a person who is ‘bad’ and doesn’t believe in herself much. Meanwhile Harry seems to be at ease with most anyone he speaks to, attempting to befriend even Seven of Nine right away. He’s confident in himself and his abilities and out of everyone (yes even Tom who seems most often to just become frustrated) would be the one to push B’Elanna and break through her defenses. That’s to say it makes perfect sense that B’Elanna would be absolutely enamored by this person who views her as inspiring, would be struck by that while Harry views it as just a weird question. 

[ryssabrin]

it's honestly ironic that the people responding to a post criticizing the fact that the character least tied to the main plot has the most content with "well he's a hot vampire twink duh" not only didn't get the op's point but also missed that said hot vampire twink's whole character arc is processing his trauma as a sex trafficking victim and literally has a line saying he doesn't want to be viewed in terms of sex?

[wtfwhy]

I HATE tim drake headcanons that drag the rest of the batfamily down so he can be the special angsty boy when they all arguably do that like wtf are you talking about

[lgbtlunaverse]

Could someone tell me where the interpretation that, in book canon, the promotion Nie Mingjue gives Meng Yao made Meng Yao's life worse than it was before, came from?

I have seen that claim made multiple times now and I've looked at the text over and over trying to see where the basis for it is and I. Can't find it? Don't get me wrong, it absolutely spells out that it does not and cannot fix everything for Meng Yao, but the idea that it was actively bad for him?

Lacking other evidence, I kind of have to assume that it comes from cql canon being sort of projected backwards onto book canon. In cql canon, meng yao is suffering active and explicit bullying and abuse from the captain while under the nie, and does so because the capain believes he has risen above his station via nmj's promotion of him. (In book canon this... isn't happening. It happens with the captain in Langya instead) However, in cql canon he has also been with the nie for years and is openly close to both Nie Mingjue and Nie Huasiang, whereas in book canon he has only been working with nie mingjue for a few months (though has, in that time, apparently become close enough to him for Lan Xichen to explicitly state Meng Yao is able to calm nmj down in ways no one else can? Ofc he does this... Right after that stops being true. But. Food for thought. Not what this post is about tho.) So, if you project the much more explicit abuse from the nie sect captain in cql back on novel jgy who has a presumably much less stable position in the sect overall you get... a meng yao for whom the promotion only means a bigger target on his back and virtually no protection from nmj, who we must assume he can't trust to talk to his about because he never mentions it. (This also explicitly violates book canon when it comes to meng yao's general behaviour, we'll talk about that in a sec)

And look. We all do frankencanon in this house. I get it. And for fanfiction that is very fun. But for a serious reading of the character, his situation, and the actions that lead from that this... doesn't make much sense, in my opinion.

So. Why is that? Why did I say this was out of character for the novel? Because Meng yao spoke up about the jin captain mistreating him. Multiple times! It's just that none of it mattered because no one cared to listen to him. This is a pretty important line for his character because it flatly shows that meng yao is not and has never seen murder as something trivial. He's not trigger happy. He will only do it if he sees no other way out that doesn't end in himself being seriously harmed. (Whether he's right or justified in these cases is not the point of this post.)

If anything remotely similar was happening in the Nie sect, he would have said so. Cql Meng Yao doesn't do this because cql Meng Yao is a different character, and also the plot wouldn't work if he did. Cql Nie Mingjue, by extension, comes off as a fundamentally less trustworthy figure in cql Meng Yao's life because apparently for whatever reason, he cannot be trusted with the information that the deputy he has already publicly defended is still being harassed, and doesn't notice even when it is really blatant. The assumtpion the audience is given is that, like a middle schooler getting the principal involved when being bullied, it would only make the harassment more viscious.

This... actually has a somewhat solid basis in the book. Because after nmj yells at the bullies in question Wei Wuxian says this.

And it is important to keep in mind that this is Wei Wuxian saying this. Not Meng Yao, not an omniscient narrator. Wei wuxian is drawing on his own experiences, likely from the Jiang family, to conclude that if someone is angry at you and thwarted by someone defending you, this generally does not make them less angry at you.

This is leaving out two crucial things, though.

Firstly, this worry isn't about the promotion at all.

The promotion hasn't even been brought up. In the novel it doesn't ctually happen immediately, it takes another few battles where meng yao continues to do his job well and nie mingjue continues praising him for him to eventually go "yeah, you deserve a raise."

This is another aspect that is being projected from cql canon onto book canon I presume, because it does happen quite quickly there, and it's a throwaway line in the books so it's easy to miss. I can't be mad about anyone forgetting the difference, but it is important to mention for this particular analysis.

Which is the second point: change in status

Wei Wuxian couldn't exactly change status within the Jiang family. (And if he could, that would just fuel rumours that he was jfm's bastard even more and make madam yu even angrier at him, etc etc.)

This isn't comparable to Meng Yao. The worry Wei Wuxian is talking about is explitly about Nie Mingjue's initial very loud defense of him. Before he has any idea Nie Mingjue is going to promote him.

Promoting him would likely decrease his chances of cultivators coming after him because now he was in a higher standing in the sect than they were. If applied to that earlier metaphor of middle school bullying it's like if the bullied kid suddenly got hired as a teacher. Which. Doesn't work with the metaphor at all. Touché. But what I am trying to say is that any payback they would have planned for him relied on the fact that they could make sure that Nie Mingjue wasn't going to be within very convenient earshot a second time, and as a random disciple Meng Yao couldn't just go complain to him every time.

But as his right hand man? Who spends most of his time working directly alongside him? Lmao. Good luck. Oh, sure, it is very likely that they feel offended a son of a whore has been raised in status above them, and many will continue to do so as jgy rises through cultivation society (in fact, Wei Wuxian's observations are absolutely on point for how Madam Jin will be treating jgy later on). But as we can also see from the way jgy is treated and how he treats others throughout the story: you can be upset all you want, but if that person is higher than you in status there's jack shit you can do about it.

If I am correct and Wei Wuxian is basing this on his experiences with the Jiang family, it makes sense why he'd miss this. Madam Yu gets to be way angrier at Jiang Fengmian as his wife than some random disciples can be at Nie Mingjue. Insulting Meng Yao, suggesting that he didn't deserve his promotion or that he earned it through less than proper means (you know who is mother is) is also an insult to Nie Mingjue and the way he chooses to run his sect. They can't do that.

Another thing I see brought up in this regard would be the tea scene. There may be no explicit harassment like in the show, but cultivators still don't respect him! The disrespect is just quieter and more subtle.

Tiny detail: these are actually not Nie cultivators

They're cultivators Lan Xichen is escorting with him, making a pitstop in heijan.

The book confirms this by basically outright stating that this is the first time they see his face, and recognize him as Jin Guangshan's bastard son.

Now, just because there is no proof that it happened doesn't mean it definitely never happened. Mdzs is a novel that often leaves stuff out or up to interpretation. Similar stuff to the tea situtation could very well be happening in the background. But I do think it is pretty significant that there is no mention whatsoever of Meng Yao having any negative treatment from Nie cultivators betwen him and Nie Mingjue meeting and him executing them while spying for Wen Ruohan, and the most we get is Wei Wuxian's personal speculation, after which he immediately goes to wax poetic about how surprised he is that Meng Yao and Nie Mingjue are getting along super well.

And, again, novel Meng Yao would have said something. He doesn't say anything about the tea scene. - Or? Does he? Notably 3zun have some very long in depth conversations that Wei Wuxian zones out from because he's busy thinking about Lan Zhan again. But let's not rely on what-ifs. Let's say that neither he nor Lan Xichen find it worth bringing up. Major reasons for that would be that a) these are not nie cultivators, nie mingjue wouldn't really have the authority to scold them. Especially because b) it's such a subtle offense it could easily be handwaved as coincidence. "They just always brush their cups clean like that!! It's wartime you know, and they were traveling! They're used to drinking from vessels that aren't thoroughly washed everytime! It's just a habit!" And would therefore not be worth reporting.

But anything worse than that? A "price tens or hundreds of times greater" like wwx mentions? He'd report it! I do understand that "well if it was happening why didn't he say something?" would, in real life, be victim blaming. This is not real life, and I am not talking about this in a matter of blame. If Meng Yao was being mistreated in the Nie and stayed silent about it, it would still not be his fault. I am talking about this in a manner of character consistency.

His admission of seeking help in the Jin sect shows that at that time and prior to it (a very good argument can be made that he loses faith in this idea) he believes that if he is being mistreated and someone with the authority to say something about it takes his side, things can improve. If Nie Mingjue standing up for him in Qinghe only made things worse, he would not have tried to ask for help in an even more hostile environment. You can call Meng Yao many things, but naïve isn't one of them.

Meng yao's later habit of completely isolating himself and lying to everyone around him comes from the fact that revealing his suffering would mean explaining several horrible things he's become complicit in and he does not feel safe admitting to that. But he's done nothing wrong here!

The reading where he says nothing would imply an either correct or incorrect belief in Meng Yao's eyes that Nie Mingjue did not much care for his wellbeing or safety. Oh sure he defended him once but doing so again multiple times would be such a bother. This also contradicts his later behaviour, where he banks solely on Nie Mingjue's protective instincts to seal his qi and escape during the confrontation in Langya. After having been caught murdering a man, he is still convinced Nie Mingjue will immediately try to help him when he is in serious danger.

And even if you very badly want to characterize Nie Mingjue as a blundering idiot who is apparently less trustworthy in Meng Yao's eyes than the jin cultivators who had already resoundly rejected him by the time he tries to ask for help with the langya captain. He doesn't say anything to Xichen either! Lan Xichen, who has explicitly and exhaustively been portrayed as kind and understanding to Meng Yao's circumstances and very willing to talk to Mingjue if Meng Yao wants something from him he doesn't otherwise think he'd get. The conversation Mingjue overhears where Meng Yao's new position in the Nie is explictly brought up would be kind of the perfect time to go "yeah I've been promoted but I'm not treated well by other soldiers" aaaand. Nothing. So unless you come to the conclusion that Meng Yao trusted the Jin he told about the captain's abuse more than Lan Xichen you kind of have to conclude that Meng Yao's treatment after his promotion improved significantly. And that even if people still disliked him they could not openly do anything about it because he was high enough in status for that to be socially inappropiate. Which is, explicitly, one of his main motivators over the entire course of the story: Avoiding mistreatment by getting high enough on the social ladder it doesn't matter what people think of him, they can't hurt him.

And I'm not sure how to reconcile that character journey with the idea that he would, at any point, have preferred to keep his head down and stay where he was. When he was so desperate to crawl his way out.

[apphiarothowrites]

Random musings

Uuuuhh, tw for suicidal ideation whoops

After Marineford and the payback war, marco keeps a small box in the back of the bottom drawer of his dresser on Sphinx.

There's a set of seastone jewelry inside. A bangle bracelet, a few rings, an armband. It jangles around loosely inside the box, but the sound is muffled by the clothing that sits on top of it.

For a year and a half after Marineford and the payback war, the box sat there. A distant and forgettable friend, out of sight and out of mind.

After Wano, while enjoying Shanks' company on the Red Force, he had totally forgotten it was there.

After returning home and finding Sphinx defended and safe, and paying back the idiot who claims Whitebeard as a biological father, the siren call starts up. The world is changing and if things go the way Luffy seems to intend them...

Well, Sphinx probably won't need him after that. Doctors aren't rare, after all, and Devil Fruit have their ways of getting back into the world after their previous user is gone. Some days he never spares a thought for the box. Some days it's all he can do to not lock himself into his house with the box in his lap. He never opens it, but he jostles it purposefully to hear the metal rings and bracelets ding off each other-music to his tired soul.

He thinks about the box, and the ocean. He knows what being stabbed feels like, knows what it is to die to guns and cannonballs and burns and dismemberment. He knows what a heart pumping nothing but air feels like, knows what poison does to the guts and lungs, knows what sleep unending sounds like when it chases away what he can see.

He's never known drowning-the one thing that would be permanently fatal to him. He's heard stories, seen it's affects on others, but never has he actually gone into the water in a dangerous manner. He thinks about the waterfall, and the ocean around Sphinx. Thinks about the cliff that Ace and Pop's grave overlook that paint such a beautiful picture of the sea.

Some days he sits, box in his lap, and wonders.

Some especially bad days, he wonders and then supposes to himself he'll just have to see how the final battle goes and how hard Luffy will need him to fight.

[oc-cinematic-universe]

gripping edge of table. in 1.5-2 years i get to point out how much joe has wrong with him. i just need to wait 1.5-2 years. i just need to wait. it's getting so close. everyone is gonna get to see it and its going to be awesome. its going to be so cool. and worth the wait. i gotta wait. *visibly shaking and crying*

[bookwyrminspiration]

Why do you think it is that Dec’s wanderings smells like him when he doesn’t shower for a few days? Do all wanderings smell like this (when their person hasn’t showered)? I feel as though I recall someone else’s smelling nice.

It always felt like a weird detail to me.

My interpretation/understanding is that it's meant to give Dex's wanderling a deviant, unusual characteristic--the tree is pretty, but so are all the other trees, and its a superficial characteristic Dex doesn't care about. Would a pretty, nice smelling wanderling indistinguishable to all the others accurately represent him? Not in the slightest. Dex doesn't follow the crowd, he's not like everyone else. The malodor makes it more him.

The smell is something not many people would appreciate or see the beauty/value in, because it's not conventional, it's something weird people would prefer was something nice and pleasant. And Dex has never wanted to be pleasant for others who have looked down on him his whole life. Something different and "gross" would unsettle/dismay the stuffy nobles, and he'd love that. He'd love defying those expectations and not having just a normal pretty tree.

Wanderlings are supposed to be a nice memory to those lost, and stink typically isn't something you remember fondly, but they're also supposed to embody the person. And a huge part of Dex's character is being ostracized and embracing the weird and unconventional, enjoying the things other people find gross or unseemly. Of being ostracized and pushing back against the conventional.

Having a stinky tree is very fitting for him and his character, and I think the fact you think its a weird detail is entirely intended. It is weird, because Dex is weird and that's a major positive part of his character :)

[thenonbinarydetective]

You know, sometimes I wish Barbara Gordon was her own character and that people didn't treat her like Dick Grayson's love interest...She's so much better when he isn't around

[padfootastic]

I think a lot of mischaracterization of Sirius started with OOTP- we are told constantly in that book that he's childish and reckless and I think some popular fanfics took that and ran with it (also the trope of a fun uncle is popular and Sirius slots in there well.) I don't think he's been re-interpreted to the same extent as other characters because a lot of fans seem to conceive of Sirius more in terms of his relationships with others rather than as a character on his own, I have noticed.

hello anon! i rly appreciate this input because it does make sense. throughout ootp, sirius gets a *very* different rep. and i’ve been talking about this in a server- but his regression as compared to him in gof is so obvious and so heartbreaking. there’s very real reasons for why he became more broody, why he snapped once at harry, but all of that being boiled down into ‘childish prank-loving idiot’ makes it even worse.

and the part about him being conceived in terms of his relationships is really interesting too! i know i’m definitely guilty of that with how much i harp on about james and sirius, and the whole moral compass thing (that i kind of ran away with lol i promise i have more nuance re that than i usually show) so i can see how that affects who he is and diminishes his core traits as well.

[aroaceleovaldez]

im really not a fan of Rick's recent trend of recycling bits of his writing that got a good reaction the first time and acting as if that's a valid substitute for. actually bothering to write something original a second time around. It's clearly just there as a callback and nothing more.

It's "Nico's rage exploded" and "Percy's rage exploded" with the exact same paragraph formatting. It's CoTG having titles like "My Singing Makes Things Worse, and Everyone Is Totally Shocked" (reference to TLO, when Percy says he thinks his singing would cause an avalanche) or "Pretty Much the Best Good-Night Kiss Ever" (reference to TLO "Pretty much the best underwater kiss of all time") or any other number of near word-for-word references to the first series. It's Nico calling Percy "seaweed brain" in Un Natale Mezzosangue (when Percy says in TTC that anybody but Annabeth calling him that is a major offense). It's Nico and Will falling into Tartarus in TSATS word-for-word referencing Percy and Annabeth in House of Hades, despite it not making any sense for their characters (and otherwise being written as Percabeth 2™). It's the show making huge changes but keeping random "fan-favorite references" (mostly overusing "seaweed brain" and "wise girl" and emphasizing percabeth) only because they're popular in-jokes and considering that a faithful enough adaptation to market it heavily as such. It's lazy writing.

And it's a disservice to the series and to the audience, because it clearly shows Rick doesn't have original ideas anymore (though given all his writing is heavily derivative to begin with, it begs the question how much was original in the first place and how much he has difficulty when he doesn't have a structured mythological plot to work from) and that there is an expectation that the audience will just sit down and accept that behavior hook-line-and-sinker. Everything recently is clearly such lip-service to the audience, either in retcons that are overt speaking-to-camera acknowledgements of things he's been criticized on or wink-wink-nudge-nudges of community in-jokes that have no business in the actual text (see: over-use of ship names in canon). Especially since Rick tends to be about 5 years behind on the fandom uptake. It's just so disappointing to see.

[thetransguard]

okay i knew it was coming but its kind of killing me how obtuse people are being towards toshiro (im not fucking calling him shuro and honestly yall should stop with that too). should he have told laios how he really felt about him, sure, yeah, but im going to go off on a limb here and suggest maybe! maybe! he's been raised in an environment where it's actually like legitimately unheard of and taboo to be very open and straight forward about his feelings. the entire party has been calling him by a name that literally isnt even his own because he is so used to quashing down his own reactions to others. like i think other poc diaspora dunmeshi fans might agree with me here but he just reads like someone whos not bothered enough to correct every microaggression thrown his way. because that shit is exhausting. and after like five hours of laios bugging him about stories of his homeland why would he have a good opinion of him. genuinely. im not saying laios is entirely at fault but neither is toshiro. i love laios too but it is Very Weird that toshiro gets the brunt of their friendship's falling out (ill circle back to this)

also to preface this i am a farcille shipper so im. not pushing for falin/toshiro. but people acting like his affection for falin is somehow not relevant or he has no devotion to falin at all is CRAZY. immediately after being teleported out he threw himself back into that dungeon and didnt eat or sleep properly to rescue her. we literally watch him collapse from it. after multiple episodes emphasizing the importance of nutrition and caring for yourself and your take away from a man willing to toss that away is that he just. doesn't care for falin? why is he in the dungeon then? answer. quickly. granted he's not as onboard with the whole black magic thing but his concerns are literally valid and before we see falin chimera he seems to have been talked down from reporting them all for it. its the proof of his concerns of the use of black magic that he decides to go up and report them at all. his bond with falin isn't nearly as strong as marcille's bond but its also not nothing. ignoring that or minimising his own sacrifices is such a nasty bad faith disservice to his character.

speaking of bonds. toshiro doesn't hate laios. guys. his last act this episode was to give laios and the rest of the party (yes, even black magic user marcille) a way out of the hole that they'd already dug for themselves. fleeing to the east and leaving falin to the elves isnt the best case scenario but it is one that lets the majority of the party survive whatever's coming. its the realistic play. is this the act of a man who hates his former colleagues? is he wishing harm and further misfortune on them? his actions speak for themselves. you guys are being way too hard on toshiro and its really fucking telling. this goes for white viewers especially

[punkeropercyjackson]

It's finally here!!!

Graphic design is my passion LMFAO but as i said i would do a while back,i've created a masterpost of all the Jason Todd content that's worth your time!This is rather long but he's existed since 1983 so!!

Base edit is my little sister @mayameanderings and tagging @coffeemilkcatz and @nanaonmars since they said yes when i asked if they wanted me to!Let's dive in then!

Batman 408-426,Detective comics 568-582,Superman annual 11,New Teen Titans 18-31,Blue Devil 19,Action comics 556 and 594,Batman Annuals 10-12 and Batman(The cult)for pre-reboot Robin!Jason my beloved

Nightwing Year One 101-106,New Teen Titans 55,Nightwing 10(1997)and Legends of the Dark Knight 100 for Dick and Jason siblinghood,Gotham Knights 34 for the short story of him and Alfred and Detective comics 790 for Bruce telling Cass about him as it takes place on Jason's birthday

Lost Days aka the Red Hood prologue

Under The Red Hood(2010)-The original comic is good in it's own right but the movie is leagues better written(Rare comic book adaption exception lmao)

Robin 177 and 182-183 for tha actual Tim and Jason beef instead of 'replacement' and 'enemy to caretaker' bs

Azreal:Death's Dark Knight 3(Can't give commentary on this one since i don't know Azreal like that,sorry)

Red Hood and The Outlaws(2016).Unlike the Utrh comic vs the Utrh movie,the original Rhato has nothing positive like the reboot

Not TECHNICALLY Jason BUT Duke is his favorite brother and Stephanie's the only Batfam girl he's truly close to so you should also stan them since he'd want you to /lh

Red Hood:Outlaw for the confirmation that Red Hood loves black women from infinity to infinityyyyy(meaning his love interest Dana Harlowe is introduced and featured as an mc in this run)

Urban Legends 1-6 for his return to the Batfam-Messy tbh but i do enjoy parts of it!

Task Force Z for him and Stephanie being a vigilante team and it has a prelude,that being Detective comics 1041-1043

Unkillables and Joker:The Man Who Stopped Laughing for Jayrose goodies and more of the above

Gotham War if you feel like turning off your brain to look at good art and laugh at dogshit writing

Red Hood:The Hill is his current run and when our queen Dana comes home from comics limbo!!!

The following is a misc list that's not required to include in your Jason knowledge but HIGHLY recommended you do just for fun!

Tiny Titans 23,29,33,39,45 and 47,Bombshells 46,60 and 62,Bombshells United 18-24,Lego Batman:Family Matters,A Death In The Family 2020,Batman:The Adventures Continue,Batman/Teenage Mutant Ninja Turtles 5-6,The Doom That Came to Gotham 2023 and The Teen Titans Go episode 'The Best Robin'(Pre-Reboot Robin Jason rights!!!).Also look up 'Nobody cares about Tim Drake' if you don't know what that is,you'll love it

Jason also appears in the Lego DC Super Villains games that i highly recommend as well especially because my girlfriend is a mega fan of it and i don't know much about Lego Batman 3:Beyond Gotham but please avoid the aformentioned original Rhato,Red Hood:Outlaws and the Gotham Knights game as they feature extremely problematic writing not limited to but including racialized misogyny and ableism and do disservice to Jason himself anyway so you wouldn't want to consume them to begin with if you want to like him.I have mixed feelings on the Arkham Knight and Injustice games series' but they are objectively fairly good so i wouldn't say no to giving them a shot to see if you like them

And for the finale we have Wayne Family Adventures-Definitely a good read but to be totally honest it does Duke DIRTY and it sucks so much of DC to have marketed as his series to not only not follow through at all and make it an ensemble cast instead but ALSO deprive him of his actual characterization and story to make him a demure weak black boy stereotype.I won't judge you at all for liking it if you decided to read it or have already but kindly keep this in mind and consider joining me and my mutuals in our rewrite of it to give our Signal of Hope and Chaos the writing he deserves or at least support us through likes and reblogs!Happy Jason readings and have a good day💕

[steveyockey]

While some of both Davis and Crawford’s work could arguably be described as camp (for the former, King Vidor’s Beyond the Forest; for the latter, later-era films such as Strait-Jacket and aspects of the wondrous Nicholas Ray film Johnny Guitar), that their entire careers and places within film history are defined as such does a disservice to their artistry. But they aren’t alone in representing what has become a troubling trend when it comes to women’s work. As camp entered the mainstream lexicon, especially after Susan Sontag’s landmark 1964 essay, “Notes on ‘Camp,’” the term has been increasingly tied to work featuring women who disregard societal norms. Camp is often improperly and broadly applied to pop culture that features highly emotional, bold, complex, cold, and so-called “unlikable” female characters. I’ve seen films and TV shows such as the witty masterwork All About Eve; the beguiling Mulholland Drive; the stylized yet heartwarming Jane the Virgin; Todd Haynes’s Patricia Highsmith adaptation Carol; the blistering biopic Jackie; the deliciously malevolent horror film Black Swan; Joss Whedon’s exploration of girlhood and horror, Buffy the Vampire Slayer; the landmark documentary Grey Gardens (which inspired the 2009 HBO film starring Jessica Lange and Drew Barrymore); and even icons such as Beyoncé and Rihanna be described as camp. Look at any list of the best camp films and you’ll see an overwhelming number of works that feature women and don’t actually fit the label. Usually, What Ever Happened to Baby Jane?, the film whose behind-the-scenes story provides Murphy’s launching pad for Feud, will be at the top of the list.

While camp need not be a pejorative, that hasn’t stopped it from being widely used as such. In effect, being labeled as camp can turn the boldest works about the interior lives of complex women into a curiosity, a joke, a punch line. The ease with which camp is applied to female-led films and shows of this ilk demonstrates that for all the (still-paltry) gains Hollywood has made for women in the decades since Davis and Crawford worked, our culture is still uncomfortable respecting women’s stories.

That major Hollywood icons such as Marlene Dietrich, Bette Davis, Joan Crawford (and, more recently, Natalie Portman, thanks to Jackie) have been roped into this lineage isn’t surprising. Society doesn’t know what to do with women of this ilk without discrediting their very womanhood. Take artist and filmmaker Bruce LaBruce’s offensive description of Mae West in an essay on camp: “[She] played with androgyny to the degree that her final performance — her autopsy — was necessary to prove her biological femaleness.” In his 2013 essay “Why Is Camp So Obsessed with Women?”, J. Bryan Lowder expands on Sontag’s most well-known line: “It’s not a lamp, but a ‘lamp’; not a woman, but a ‘woman.’ To perceive Camp in objects and persons is to understand Being-as-Playing-a-Role.” Lowder writes, “‘Woman,’ the concept within the quotation marks, is not the same thing, at all, as a real woman; the former is a mythology, a style, a set of conventions, taboos, and references, while the latter is a shifting, changeable, and ultimately indefinable living being. Of course, there may be some overlap.” But if all gender is a performance, where does the “real” woman begin? And why does the presence of camp hold more importance than the actual work and voices of actresses such as Crawford, who have come to be defined by it?

At times, camp can feel like a suffocating label. Its proponents often misconstrue the fact that recreating oneself as a character is not merely an aesthetic for women, but rather, for many, a matter of survival. Living in a culture that profoundly scorns ambition, autonomy, and independence in women, girls learn quickly the narrow parameters of femininity available to them. When they transcend these parameters, life can get even more difficult. Women often pick up and drop various forms of presentation in order to move through the world more easily. Performance as a woman — in terms of how one speaks, walks, talks, acts — can be a means of controlling one’s own narrative. Camp often limits this part of the discussion, focusing instead on the sheer thrill of watching larger-than-life female characters cut and snark their way across the screen. How these works speak to women, past and present, becomes a tertiary concern at best, and the work loses a bit of its importance in the process; it either comes to be regarded as niche or, if it still has mainstream prominence, as abject spectacle. In turn, the conversations around these works become less about the women at their centers and more about how those women are presented.

Much of Baby Jane’s camp legacy comes down to how more recent audiences have interpreted Davis’s performance. She’s ferocious, frightening, and grotesque. But framing Davis’s performance as camp, as Murphy does, doesn’t take into account how dramatically acting has shifted over the course of film history. In some ways, camp has become a label used when modern audiences don’t quite understand older styles of acting. Modern actors privilege the remote, the cold, the detached. The more scenery-chewing performances that make the labor of acting visible — such as the transformative work that Jake Gyllenhaal did in Nightcrawler, or most of Christian Bale’s career — is typically the domain of men. (Or, at least, it’s only men who can get away with it without being called campy.) As Shonni Enelow writes in a marvelous piece for Film Comment, “[Jennifer] Lawrence’s characters in Winter’s Bone and The Hunger Games don’t arrive at emotional release or revelation; rather than fight to express themselves, her characters fight not to. We can see the same kind of emotional retrenchment and wariness in a number of performances by the most popular young actors of the last several years.” Davis’s work as an actor was the antithesis of that; she painted in bold colors. Even her quietest moments brim with an intensity that cannot be denied.