#although some are definitely more inconsistent than others

[talisetekt]

The sad fact is.. this is pretty much every character in the Sonic franchise. It’s not like anyone can be blamed for it either since the source material itself can’t keep characterization consistent. It’s just a shame to see these characters dip and in out of having depth and being shallow.

[sysig]

I can’t stop drawing tiny Watchdogs (Patreon)

[ladyrosemone]

My favorite

We've got all the ingredients, except you needing me - Cake, Melanie Martinez

I'm using Google Translate here! 🗣‼️‼️ Please excuse any spelling mistakes or inconsistencies, I swear I'm studying to improve my written English 😭 This idea came to me thanks to @kiwisandpearls, I loved your take on the abandoned Waynes haha! I'll definitely be making more at some point.

The Waynes, the most powerful and influential family in Gotham City, the diamond that gives it an artificial shine, replacing the forgetful Sun, which never seems to illuminate those lands of darkness.

What makes the Waynes different from other Gotham millionaires is not their humility, nor their sense of duty to their employees and followers, much less their reckless extravagance when it comes to spreading their (according to gossip) infinite wealth.

No, none of that, it's something more private, more intimate.

Love.

At first no one believed that, because come on, Bruce Wayne? The greatest playboy known throughout the world, with adopted children as if they were precious jewels every season, conceited and proud, a philanthropic genius of unfair beauty? In love? Pure gossip that entertained for a while, but was never more than that, gossip for the elite and showbiz for the lower class.

Until a newspaper (one that does not usually produce so many fallacies), revealed its newest scandal.

"Bruce Wayne Spotted With Young Beauty! Has Gotham's Biggest Mogul Finally Settled Down?"

If that wasn't enough, they were right, because the next launch came with Olympic magnitudes!

"Bruce Wayne's Child Finally Revealed! Gives Exclusive Interview About Him Sudden Return"

And how do we get to this?

When a man loves a woman...oh no, that's not how it started.

It was a woman from his youth, one who left when the next day and returned when Batman appeared in Gotham City.

You arrived as a ten-year-old child; small and confused, scared and insecure, longing for you deceased mother and the life you left behind with her. Bruce didn't know how to relate to you at first, and having an angry, newly orphaned child didn't make him any better, but he tried, he really did.

And little by little it worked...only in one child.

You could never get over the loss of your mother, she was your whole world and now you were with this...man who claims to be your father, a father you never had and out of nowhere he gives you things and takes you to his work to meet more boring old men. To make matters worse, that child he adopted out of charity is irritating, one day bothering you for being "spoiled" and the next wanting to spend a sibling afternoon with you.

But you don't have brothers.

You didn't have them when Jason arrived (although you cried for him), you didn't have them when Tim arrived and definitely not when Damian arrived and his arrogant attitude of the legitimate son wanting to hang out with only you. It's frustrating! Every second of the day is a request from someone to go out, to eat together, to...For anything to keep them attached like fleas!

You remember one of Richard's last attempts, before he left Gotham for an exchange, or for you a chance to get away from that family;

You were in the kitchen, eating breakfast that she had prepared herself because it makes you uncomfortable to have an older man serving you, when Richard appears with his hundred-dollar smile and a lot of irritating energy.

"Hello hello!" He greets you with his usual energy "How did my favorite person wake up?"

It's too early for this you think tiredly, taking a sip of coffee.

Your lack of response doesn't discourage him, it motivates him more for some strange reason "I have wonderful news, I got a vacation from work! And guess where we're going?"

"We're going?" Bored questions, annoyed by the new plan that you were not consulted about, again.

"That's the spirit! Let's go to Disneyland!"

"..." you look at him with dead eyes, and with all your heart you wonder how that big boy is a functional adult "I can't today, but ask me tomorrow, I'll surely be free to go"

"Really?"

"No"

Next is Jason, who although he was not as insistent as Richard, was the most energetic in his attempts, then the Joker thing happened and...well, you can't treat him badly, you're not cruel.

But coming back from the dead is his pity card, used so many times that you wonder every day if it became an excuse at some point.

"Hey" he said to you one day when he found you in the library "There's an art and literature exhibition in the downtown library, let's go"

"...I'm already reading"

"You can read with me and shop at the same time, you like shopping don't you?"

"I like my time alone with my book, Jason"

"You didn't used to say the same thing, but that's what makes you die, it leaves you thinking about your past life..."

"..."

"...Are you coming?"

"I hope you get hit by a car"

Tim is a silent pusher, he doesn't come close but you know he's there, and that happens brr brr every minute with a brr brr new message.

"Where are you?"

"Are you really asking me?"

"I give you the benefit of the doubt"

"I'm going to block you"

"Again?"

"The computers of the whole city"

Virtual annoyance has been disconnected

And Damian...OMG Damian.

It's a nuisance, a sharp little nuisance; refusing to leave your side whenever he can, demanding attention, time together, activities and visits to any place he wants.

"Sibling" greets the boy, who doesn't even know where he came from if you're at university right now and he should be at school.

"What are you doing here Damian?" You demanded harshly, looking everywhere so that no one would associate Bruce Wayne's youngest son with you, not when you did your best not to be recognized as a Wayne since you were a child.

"I want to go save wildlife in Africa from hunters and I need an adult to accompany me" he explains as if it were the most normal thing in the world, another Thursday for him.

"Tell Bruce-"

"Father"

"Let me take you, or take Richard, don't bother me"

"And I don't want adopted children, I want my blood accompanying me in this mission to safeguard wildlife"

"If I tell you if you leave?"

"Are you going with me?"

"Yes yes whatever"

You didn't go.

And not to mention the collateral damage; Barbara and her constant moments of togetherness solving cases (you don't answer her messages), Stephenie and her desire for you to teach her how to cook (you never go to the mansion's kitchen), Cassandra wanting to be by your side (years with Bruce allowed you to develop a sixth sense to evade his shadows), and the newest, Duke Thomas.

He is fine...he keeps his distance, and deliberately ignores the fact that not a single light bothers his eyesight all day.

The worst of all, your father, Bruce Wayne.

Money, gifts, trips, clothes, portraits, everything he can give you, he gives it to you, so much so that you feel like drowning sometimes.

It is strict and suffocating, affectionate but distant, present and absent at the same time. It is annoying and contradictory!

He was the reason you went on exchange to Metropolis, until you discovered that the Kents were close friends of your father and that their approach was not of good will, relocating you to Spain until you finished university.

Reluctantly you had to go back, just long enough to finish the paperwork and stop being Wayne once and for all.

But that was your mistake, coming home, and this time they won't let you go, because you can't hate them more and that's an opportunity for them.

[forsworned]

It’s said canonically that simon riley has trauma around intimacy from torture 😔 If you feel comfortable writing it, can I please ask for a short fic of an Afab reader body worshipping/lovingly pleasuring Simon after they both work through his trauma and he’s getting all soft and emotional and babbling about how good reader is making him feel and how much he loves them and can’t believe someone cares about him this much? I always liked the idea of Simon being portrayed as vulnerable and soft and not this dom sex god a lot of people portray him to be. I really love your work and would love to see your take on this request :)

Soft ft. Simon 'Ghost' Riley

Author's Note: So I do recall someone making a post about this and I have to say I do not agree with everything. Men definitely process trauma, specifically sexual trauma a lot differently than women do. While women experience guilt, men experience anger. And maybe it's not all men who experience it that way, but after reading the comic and making my own assessment, I can say that Simon does have lingering anger. Of course, he is hell-bent on avenging his dead family, but all that pent-up energy could be going toward trying to even the score. He is pretty level-headed and able to compartmentalize. He has support from his comrades as well as undergoes mandatory rigorous mental health assessments because that's military protocol. He needs to be able to perform his duties on the field without putting himself or others at risk. He also most certainly gets mandatory counseling. Although he may be reluctant, his superiors are very much aware of the possible impact that it has on his mental health. So all that to say that Simon is not without help. He is not as "damaged" as people may perceive him to be. He's not a broken individual. As seen in the remastered MW's, albeit reluctant he can clearly put his trust in others. He develops relationships with the people who he works closely with meaning he is capable of change. SIGH. I just wish people would break this down a little more, but I do get what you're saying. His masculinity, trust issues, and the type of secret operations he goes on can lessen the effectiveness of the therapy. He's definitely a very complex character with layers to him, but I just don't think he's as weak as you may think he is. It's also important to note that it hasn't been confirmed that this current Simon went through the same thing. He could have a completely different background. Honestly, Activision is so fucking inconsistent but ANYWAYSSSSSSSSSSSSSSSSSSSSSSSS I hope you enjoy this. Also if you read this all the way through, I applaud you. But thank you for enjoying my work, I didn't mean to critique you and your request, but I just couldn't let it slide LOL

Warnings: PnV sex, AFAB!Reader, Some Canon Simon Lore, Sexual Content, Mentions of Sexual Trauma

"Si—Simon..."

You sigh out in pleasure with every roll of your hips as you grind down on him. Your clit grazes against his lower abdomen, and his cock stretches you out pliant. Fingers dig into his shoulders, marking half crescents into his pale, scarred skin. But something feels off.

His hands loosen their grip on your hips, and upon opening your eyes you find him his half-lidded gaze distant in a familiar haze. He isn't present.

"Simon." You halt the rutting of your hips, cupping his stubbly cheeks. "Are you alright?"

His onyx hues fixate on you. He is clearly readjusting his withdrawn eyes to refocus on you. You didn't want to say it yet, but you had felt him go a little soft a few seconds prior. "We can stop."

"No, no." His fingers squeeze your middle as he sits up a bit. You shake your head, but he's not letting up. "Why stop?"

You firmly grasp his face and his blonde lashes flutter up at you with a seemingly unreadable expression, but you're no stranger to Simon's detachment. Although he loathes to admit it, it happens. The relearning of being intimate is tumultuous for him.

"Because you're not mentally here, my love."

He frowns. "But I want y'to finish."

You exhale sharply. He doesn't even deny it. "No, Simon. I'd feel disgusted with myself if I finished while you weren't here with me."

He struggles to reply. In all honesty, he doesn't know what to say. It's not exactly a common occurrence, but he's not too keen on having a conversation about it. You never pry though. His therapy sessions are his own, unless, of course, you join him if he so desires.

Couples counseling is mandatory. A rule you established when you first decided to tie the knot. If you had problems that were beyond just a sit-down talk, a professional would have to intervene. And Simon agreed. No fuss, no muss. To preserve the sacredness of your relationship, he'd do anything.

He sighs. "'m sorry, dovie." He caresses your sides, feeling the gooseberries on your skin rise. A small smile adorns his lips and you giggle at his smugness.

"Stop it." You begin to get off of him, but Simon holds you firmly. You feel his dick harden inside of you, now kissing your cervix. A little gasp escapes your chest as you readjust yourself.

"Y'like tha'?" Simon's grinning now. It's his confidence gleaming through the abysmal darkness of his mind. The life in his eyes feels revitalized, and you now feel his vigor—literally.

"Yes, but..."

"'m here, love." He reaffirms, squeezing your waist again. "'m here. Please, 'm achin' for you."

He groans a bit and bucks his hips when he feels you pulsate around him. You return your own moan, leaning forward but his fingers thread through your hair and he brings you into a sloppy, heated kiss. His hips thrust into you slowly and deeply, earning a guttural moan from him.

For a moment as you withdrew from the kiss, your gazes meet and Simon's eyes soften and become glossy with tears that brim over his oculars and spill over the corners of his eyes.

"Oh, baby." You coo, holding him close as you kiss his face. His sadness is silent, yet palpable. You're now babbling sweet, sweet words to him as you pepper him with kisses, and Simon holds you as if you're going to slip away. You gently guide him through the double inhale technique you learned from your therapist, and with the sweetness of your voice, the kindness in your eyes, and the tenderness of your touch, he feels at ease.

"I dunno how y'put up with me."

You grin, kissing the corner of his lip. "It ain't easy."

"Oh?" He flips you over on your back, pressing you firmly against the mattress and you giggle into the nape of his neck. "Wanna say that again, love?"

You thread your fingers through his sandy blonde hair and kiss the tip of his nose. "You're not hard to love, Simon."

His eyes soften once more and he kisses you deeply. Simon has never cherished anyone more in his life. You were always so patient and kind from the jump. You were truly the "greater woman" behind the "great man".

He rests his forehead against yours and closes his eyes as you gently card your fingers in his hair.

"Thank you, lovie."

[cosmowgyral]

"Lover's Contract: A night of immoral deeds"

▪︎ Nica Schwartz

This is a fan translation, not 100% accurate. Creative liberties have been taken. Expect grammatical inconsistencies.

Since Nica is not yet out in the EN server, there might be terms that will turn out different than what I have used here when he is finally released. All content belongs to Cybird. Reblogs are appreciated. Hope you enjoy!

CW- suggestive content

Chapter 2

The mansion was filled with men and women entwined with one another.

I was not sure where to look. But then, a female member called out to us.

Woman at the club: Oh, I don’t think I’ve seen you before. Is this your first time here?

Nica: I heard you can have an exciting night here.

Woman at the club: We can make love anywhere in this mansion and we can do anything we want, inside or outside.

As she was speaking, the woman suddenly began kissing the man who was with her right in front of us.

(Wh-where am I supposed to look….)

When I avert my eyes from the sensual scene, a mocking voice approached me.

Nica: You looked away, how cute.

Nica: But you usually do much more amazing things, don’t you?

Kate: Wha-!

(There’s too much stimulation everywhere.)

The man put his hand on her cheek and they both giggled as their lips parted.

Woman at the club: She’s quite naïve.

After that, Nica put his arms around my shoulders and brought his lips close to my ear.

Nica: Right? But that’s what’s cute about her.

Nica: That’s just how she is in public.

He whispered in a sweet voice.

Nica: But she never lets me take the lead in bed.

Kate: -----!

(I know this is all pretence, but was it really necessary to say something so embarrassing!?)

I couldn't help but frown at Nica, who raised his eyebrows and gave me a teasing smile in a way that only I know before petting my cheek.

 (….This is the expression he has on his face when he is enjoying teasing people.)

Annoyed by his smirk and the fingers caressing my cheek, I pressed my body against our intertwined arms.

Kate: Let’s go now, I’m bored.

Recalling the setting we’d decided upon in the carriage, I spoke in an exaggeratedly nasal tone.

Kate: I came here to do something more fun.

Nica’s eyes widen in surprise for a moment, but then he quickly changes his expression and wrinkles appear in the corners of his eyes.

Nica: Sure, but before that, I wanted to ask around a bit.

Nica: I needed some tips for keeping this illicit relationship going.

Nica turned his gaze back at the two of them.

Nica: I’ve been lacking in excitement recently, so if anyone around knows of any enjoyable activities, can you tell me about them?

Woman at the club: What kind of fun are you looking for?

He grinned and twisted his arms around mine, pulling me into a hug.

Nica: An experience exciting enough to immerse you in the ultimate pleasure.

The two of them look at each other and point to a couple sitting at a distance.

Woman at the club: Maybe you should ask the pair over there.

Woman at the club: They’re known as Queen and Prince. They’re one of the most well-known in this club.

(Queen and Prince!)

I suppressed the urge to flush at the mention of the target’s name.

Kate: Thank you, we’ll go talk to them.

Pulling Nica’s arm, I approached the Queen and Prince.

Kate: Good evening, is it okay if we sit next to you?

I called out to the man and woman drinking at the bar counter.

Queen: Oh my, your lover is quite the lady killer, isn’t he?

Prince: I’d like to know what your relationship is but it’ll probably be rude to ask here.

Queen took a liking to Nica and invited him to sit next to her.

(This guy is Prince….)

The man with the Queen had a flirtatious demeanour.

Although they have a similar vibe, I think Nica is definitely a lot cooler.

Nica: I was just introduced to you guys by someone else earlier.

Nica: They said you are the ones who’ll be able to teach me about thrilling experiences that will drown me in the utmost pleasure.

Queen: Hehe, that certainly seems like us.

Nica: Then can you give me an idea?

The Queen laughed heartily.

Queen: How about we swap partners and spend the night together?

Kate: Huh?

Queen: Wouldn’t it be nice to spend the night in the same room showing each other off?

(Wh-what does she…huh?)

(This isn’t something nice at all though….!)

Queen: Besides, I might have developed a crush on you.

Nica smiled as she touched his shoulder.

Nica: Well then, I guess I’ll take you up on it.

Queen: Hehe, then it’s decided! Let’s go.

I hurriedly chased after Queen who had already started walking with both Nica and Prince in her arms.

(What should I do? I just want to go back home now….)

I entered the room filled with anxiety.

Queen: Come on, hurry up and take everything off. The night will be over in an instant.

(Is Nica really going to do it…?)

The moment I entered the room, I found them stripping to their underwear.

(As I thought, this is impossible!)

I tried to turn around but Prince grabbed me and prevented me from escaping.

Prince: Let’s have a great night, girl.

In the next moment, he grabbed my arm and almost threw me onto the bed.

Nica: This one’s no good.

He hugged me from behind and released my arm from Prince’s hold.

Nica: Hey Queen, I know everything.

He looked at Queen who was seductively sitting on the bed in her underwear, and locked the door.

Nica: Your sec-ret.

Queen: What?

Nica: Your husband asked me to help him punish his wife for your repeated infidelity.

Nica let go of my arm and pushed me behind his back.

He took out a piece of paper from his pocket with only one name written.

These are divorce papers…

Nica: He told me ‘maybe I should ask you to do it’.

Nica hands over the divorce papers with the broadest smile I’ve seen today.

Nica: Sign it.

[Chapter 1] [Masterlist] [Bitter End] [Premium End]

[prettybaby-reid]

Criminal Minds topics I could write an essay about:

-Haley is over-hated and many of the things people used to justify disliking her are reaches and actually don’t mean anything in actuality. you can simply just not like her character, but acting like you have real “moral” justification is just delusional atp.

- in 4x22/5x01 when Foyet attacks Hotch in his apartment, it’s 100% s/a in some form. whether it’s in the traditional sense or not, Foyet clearly intends for it to have the same effect on Hotch.

-Yes Elle was valid to a certain extent for shooting the rapist in her second to last appearance, it was 100% not the same thing as Hotch murdering Foyet in episode 100.

-Spencer is highly baby-ified by the fandom and it’s insufferable to watch the way people treat other characters for offhanded teases they make at him.

-Jj wasn’t wrong for not telling Spencer that Emily was alive. Jj was wrong for continuously letting Spencer come over for 10 weeks to cry about it, knowing that Emily was alive and she was playing fucking scrabble with her. She could have easily said she wasn’t able to handle everything and let him go to morgan/garcia.

-The writers of criminal minds know how to write episodes and plotlines, but they don’t know how to write consistent character ideas and backstories. they also don’t know how to properly write characters trauma. immediately after Jj is kidnapped, they’re all in a bar together…that doesn’t make sense. she should be in a hospital or at home, not keke-ing with the homies.

-Although the writers are inconsistent with backstories, some of the things people think “don’t add up” actually do add up if you thought for longer than 5 seconds.

-the Cat Adams plotline and Cat as a character is so good until Reids prison arc when they say that Cat had the other girl s/a him, that’s so out of bounds for her. She hates men for what they do to women, specifically the violence men perpetrate towards women, more specifically s/a and domestic violence…why would she s/a Spencer.

-On the topic of the Cat/Spencer s/a topic…that’s definitely a pullover from the fact that it was supposed to be Hotch who was in prison but they had to switch it after Thomas Gibson left. I have an idea of what it could have originally been considering it was supposed to be Hotch/Mr. Scratch, but no solid proof.

[blazepanda17]

Justice Sensitivity & THT S6 ending

I saw some comments last week about neurodivergent folks connecting with Nick’s character—and thank you. I felt so seen!

Lately I’ve been thinking a lot about justice sensitivity, especially as I try to work through my lingering frustration with how the show ended.

In case you haven’t heard of it before, here’s a helpful definition:

“An individual's justice sensitivity is the degree to which they are aware of issues of equity, equality, fairness, and other justice issues. Those with high justice sensitivity are more likely to remain focused on injustice with more intensity and for longer periods of time... They may be driven to take action to correct it, but also experience burnout from how much injustice there is in the world.” — Verywell Mind

And according to another source, it tends to include:

1. Being sensitive to perceiving injustice. 2. Reacting emotionally to it. 3. Obsessing over it. 4. Feeling an urge to undo or fix it. (Psychology Today)

Although this is usually talked about in social justice contexts, I think it absolutely applies to fictional narratives too, especially with THT which is rooted in real systems of injustice.

So am I reacting this strongly because I’m immature or “too emotional” for caring about a character? Or is it possible I’m highly attuned to the unfairness in the story (the lack of continuity, the unequal narrative outcomes) not just based on characters’ morality, but on how their stories were constructed and resolved?

This is not just being unhappy about the fact Nick died or that Nick and June didn’t end up together. I’ve heard another writer (Brandon Sanderson, who’s well known for his world-building and consistency) describe writers and the audience as having a contract. The writer makes promises and asks us to care—to invest emotionally in certain characters, themes, or outcomes. So when those promises are broken or resolved in ways that feel unfair or inconsistent, it doesn’t just feel disappointing. It's unjust.

Why it can hit ND viewers harder: I’m not an expert, but as someone navigating ND, these are some connections I’ve noticed in myself and others.

Pattern sensitivity makes it easy to notice contradictions in character arcs—even subtle ones most people might miss.

Hyperfixation can lead to deep emotional attachment, especially to characters we resonate with.

A strong attunement to fairness doesn’t mean we expect happy endings. We just want the story to honor its own rules.

And with a low tolerance for hypocrisy, mismatched consequences or inconsistencies between characters can feel even more infuriating.

Maybe that’s why my reaction has been so intense. It’s not just that I like Nick’s character—it’s that the show asked me to care, and then made choices that violated that care. As someone who’s justice-sensitive, it feels like a personal offense.

The show has been my hyperfixation lately, so… dare I say it? I think I’m picking up on details and inconsistencies the writers have overlooked. I was never asking for a perfect ending. I’m just holding the story accountable for the standards it set for itself!

I’m not going to rehash all of these injustices. We know they’re there and have been discussing them for weeks. (the newest Above the Garage was incredibly validating!!)

I’m still somewhat new to my adhd diagnosis, but this framing has been really healing. Naming it helps. If this resonates, or if you’re still processing your own feelings about THT, I’d love to hear your thoughts.

TL;DR: It’s so much more than just not liking an ending in which a “ship” doesn’t end up together. Justice sensitivity = “This didn’t match the story’s moral and emotional logic, and feels like a personal offense I can’t move past.” 

[xjulixred45x]

I NEED a continuation of that satosugu x bully!reader thing you wrote

Okay okay😚 i will do it, i will make this a little long, enjoy it~ and thanks for the Request ❤️

They mean a continuation of this one

Bully! SatoSugu x Bully! Reader

Genre: Headcanons

Reader: female

Warnings:EXPLICIT BULLYING (not towards reader! rather she is the bully along with the boys. Don't do this in real life btw, it's horrible), reader has a bad family situation, reader has SEVERE attitude problems, surprisingly good friends Bully! SatoSugu? Ambiguos if this a Romantic poly relationship or a Platonic one(it's Upon You)strange amount of Fluff towards the end.

JUST TO CLARIFY, BULLYING IS SHIT AND ANYONE WHO DOES IT IS A HORRIBLE PERSON, NO MATTER THE REASON. THE BULLYING DESTROYS PEOPLE, THIS HAS NO INTENTION TO ROMANTICIZE THE IDEA OF BULLYING, BUT TO TAKE REFERENCE TO THE TROPE FROM A DIFFERENT PERSPECTIVE.

reader was someone... difficult to say the least.

From the first day she set foot in high school the only thing she did was cause some kind of trouble.

The students were afraid of her, her volatile nature made it difficult to know what she was going to do or what was going to provoke her.

teachers even started taking precautions around her to stay safe from her outbursts. which were a little bit of everything, from robberies, insults, physical violence, etc.

without forgetting that the girl's class attendance was irregular and inconsistent. just like her notes.

She hated everyone and it seemed like everyone hated her.

That's why she constantly moved between schools when the previous one had had enough of her antics.

which generated a big discussion at home.

The neighborhood where the reader lived was not very good, but her house was worse.

her mother was long gone, and her father, a poor excuse of a man, didn't do much for a living other than berating her for her own bad behavior.

often ending in physical fights. It was the only way they both had to get out their frustration.

It was the only thing the reader knew.

but sincerely? Not everything was so bad.

She had built a reputation as a badass in every school she went to and scared, she liked the feeling of finally being in control.

Being feared was fun, no one messes with you. You are at the top.

and at the same time you go unnoticed, since no one has the courage to say something against you (unless they want a beating)

Although it was definitely a bit monotonous at this point, the reader liked the feeling of being someone people were afraid of for once.

although something changed in 2007

That year, a reader was reintegrating into secondary education after a particularly unpleasant expulsion.

and thanks to that, it was somewhat difficult for her to find a school that would admit her this year until they forgot about the drama of the previous one.

and she went to the Jujutsu academy (strange name)

That was where she met them, in a way.

or rather, Gojo and Geto already knew about her beforehand.

It was difficult not to recognize her from the recent drama with the beating she gave to the gang of chimpiras in her old school (schools?)

Gojo was curious, Geto somehow felt threatened.

Gojo wanted to know how hard he could push this new student, to see her tough girl image crumble.

Geto took it more seriously, although he did not consider the reader a serious threat, a full-fledged bully with a reputation would definitely draw the spotlight on her for a while. They shouldn't let her think it was important.

The plan they had made was the standard.

First they would start with small incidents that did not seem malicious, so that she would lower her guard. so she would think it was a safe place.

Then those incidents would increase in quantity and more frequently, also starting to bring certain passive aggressive comments into the mix, but you still can't consider bullying, right?

Things like picking on her while she was distracted, grabbing her things without permission, commenting on her appearance, yes, all of that is wrong, but can you really say it's bullying? Are you really going to take a prank that seriously?

and from there, use everything they had.

stealing whatever she had for lunch, throwing food on her, yelling at her during breaks about how fat and ugly she was...

--use any kind of secret of her against her, throw her things in the trash, all so she would understand his place.

she was beneath them.

but things...did not turn out as they expected.

First of all, reader was much more aggressive than one would expect. every time Gojo tried to get closer it was like she sensed danger and moved away or worse, threw something AT HIM.

Like the time he "accidentally" tried to bump into her and she elbowed him in the ribs and told him to "watch where you were going, you idiot."

or when Geto tried to give her a little "constructive criticism" about her disheveled and reading appearance she just looked at him, with cold, dead eyes, and said "you're emo, you don't get a say in how I look" that was WOW.

Phase one failed completely. reader definitely did not act as they had expected, she definitely had experience.

which led to them having a surprisingly brilliant idea.

What if instead of trying to tear her down, they used her as another member of the team?

Sure, they were used to just working with the two of them, but Reader had a clear advantage in several areas where they couldn't reach (reputation, physical fights, etc.).

It was worth trying.

I imagine that at first they went directly to the reader to tell her the terms of this deal, how they would help each other stay on top and thus not bother her, in exchange she could do whatever she wanted.

simple, concise and effective. Reader accept the terms.

and the following weeks would be HELL for the students and teachers of the Jujutsu institution.

Geto was considerably the smartest of the group, he was the one who put together the heavy tactics and the one who selected the best victims, calculating and deceitful.

He was a relatively good student too, at least when Gojo and the reader forgot their homework (almost always) they could copy his (it's not like he could do anything after all).

Gojo was surprisingly less evil but much more immature and childish. He was like a man child.

He had intelligence, yes, but it was not conventional intelligence, he had great creativity when it came to being cruel. to give you insults. to make you feel like shit.

Apart from the fact that he came from a big family with a lot of money, all of the group's actions were swept under the rug.

and then was reader.

What could you say she became the muscle of the trio.

reader, with her history of fights and bad reputation, could make everyone so afraid to talk to anyone about their problems that it was ridiculous.

It was like a silent warning, say one word and I will beat you to a pulp.

Surprisingly, they adapted very well to Reader, although it was strange at first, since they were "business partners" but Reader was very quiet and reserved when she was not beating up.

Gojo was the most determined to change this, she was part of the group now after all! At least you have to learn to have a little fun.

Geto was more concerned upon learning of the reader's long history of previous schools, at first because it could mean she could leave at any moment, but upon closer inspection, it's more that he doesn't want to lose this new addition to the group.

The three of them skip classes from time to time, or force the reader to attend more so they don't expel her. How do you expect them to make life miserable for the first years without her? Woman, put your will!

They both even share food with her or steal bentos so that she eats more when they realizes that there really is absolutely nothing coming during class time, she has to stay nourished to take the beating! They won't let her kick ass until she eats >:(

If there is any group work that they do or do have to do, it is most likely that they will do it at Satoru's house, it is the largest and with materials, and it is also fun for him to see his two friends with astonished faces when they see his house every damn time.

although definitely when they both have a more serious problem, they usually go to where the reader lives, since her father is not there most of the time.

Suguru usually goes to the trouble of throwing away the old sake and beer bottles, along with the old bills scattered throughout the house.

Satoru limits himself to sniffing around whatever is within his reach, but at least he has the option of not opening what is closed. But when he sees the family photos or how dirty everything is along with the broken things.

It makes them have a better understanding of why is reader like that, she allows herself to be somewhat vulnerable with them by showing them how she lives.

and surprisingly they appreciate it.

And it's not like it remains reader only receiving a certain type of comfort.

Reader will be a shitty brawler, but if you mess with her Squad, you're Dead.

not only in the school environment, but in life in general.

When Suguru goes through a depressive episode, she and Satoru combine neurons to try to make him feel better, whether with company, games, food, etc. Same goes when Satoru is feeling shitty.

I think that in general, the reader is the "heart" of the group. Having a complicated life, she knows better about emotions and how she would have wanted to be comforted, in a certain way.

(only applicable to this fictional case, this may vary. Don't take it seriously)

For the same reason, when she is especially down, it usually means a day of rest for everyone, a break from EVERYTHING.

from family, from school, from responsibilities, from the whole world.

Just go play at some arcade, win silly prizes and discuss who will take it home.

play basketball and have Satoru kick their butts because neither Suguru nor the reader invites him.

go on a motorcycle and race who is faster.

eat ice cream and sleep on the street.

and miss school the next day, they missed yesterday after all, what does one more day matter?

On these types of days they can forget what kind of people they are, the things they do, what has happened to them.

Yes, in short they are all three DEPLORABLE and horrible beings, but at least they are deplorable and horrible all together.

Shares, reblogs and comments are very welcome!

Sorry if i take long in the works😅 i'm trying to keep publishing AND have a more healthy schetule with My other Activitys, so if i Slow down, it's bc i need it.

Thanks for the Request ❤️

[rambyol]

Analysis - The Joker’s cards for Bruce and what they suggest:

We shouldn’t take Handwriting psychology literally as it’s very subjective but it’s definitely fascinating what we can learn or pull from a characters penmanship.

1. The Card from the Church

Between the two cards, this one is my favourite because it has the most personality in it.

This card shows up after the events at Wayne Tower where Joker and Harley unleash the Virus (Gas Bomb) and during Batman, Iman, and Tiffany’s search for the next Bomb.

Right off the bat, the penmanship on this card is messy. The letters are jagged, some misaligned, and some have varying degrees of pressure to them.

Writing with a lot of pressure can be a sign of attention seeking behaviour and Joker is trying to get Batman’s attention, obviously, but more notably the pressure on the letters mimic Johns/Jokers speech. John has a habit of subverting and exaggerating certain words in his speech. For instance when talking about Harley potentially setting off the bombs on the bridge (if you choose to trust John), John describes that hypothetical as ‘exciting’. It’s no surprise that writing can reflect our speech but as I mention below it’s a sign of being unfiltered.

It’s evident that Joker isn’t dwelling on presentation here, much like his fashion sense, there’s a disheveled appearance to his writing.

The scribble in the bottom left corner where you can see Joker was checking to see if the pen was still working is kind of endearing since this letter was intended for Batman and the scribble indicated a lack of filter, as is observed through Villain Jokers personality. V Joker is arguably the least filtered out of all 3 in my opinion and naturally that would reflect in every facet of him down to his writing. I mean even his attempt to scribble out the joke at the end seems half hearted, because we can still see it clearly.

In addition we’ve got the doodles of a heart and a mystery doodle which Batman has his thumb covering (I wonder what it is 0_o). Doodles display playfulness and of course that childish is pretty consistent to Johns character regardless if he goes down the Vigilante or Villain route.

Jokers handwriting here is relatively ‘bad’ but without going into detail (I want to wrap this one up) we can see that theres a struggle for consistency in his lettering and strokes, which mirrors his personality in way. John was/and Joker is very muddled at times because his motives are all over place and it’s hard to determine what he wants. Now sometimes I think people see inconsistency in characters as ‘bad writing’ but I see it as making them more believable/complex. So yes, ‘unstable’ writing comes as no surprise.

2. The Card from Joker’s Funhouse

Now this one’s shorter but it’s much more presentable. The lettering is mostly level and although there’s the mix between capital and lower case letters within the same word it’s overall more thought out. Even the doodles of the diamonds (?) on top of the ‘i’ are consistent. There’s a bluntness to this that otherwise isn’t seen in the first letter, the sentence are short and concise almost as if Joker has more control here. And he does, Bruce sees this letter after being shocked unconscious by Joker. He’s not in his Batsuit and he’s being led towards the games that Joker is going to force him to play before ‘dinner’.

I know this is written with a different pen, clearly a marker and that can effect penmanship, I know I write better with a certain type of pen (thicker ball points) but I like to think there’s more certainty in Joker at this point in the story about what he’s doing, since before this, John was a part of other peoples plans.

Also this one reads more intimately than the other for obvious reasons like with the use of the term ‘our secret’ and the domestic connotations of ‘dinner’ but that of course goes into the bigger scheme of this being presented as a dinner party. What I think is most important in this letter is how the heart ❤️ has no arrow in it. Unlike the first card which did;

According to Google:

A heart symbol pierced with an arrow, symbolizing romantic love (being lovestruck, or the pain of lovesickness) A typical depiction of the Sacred Heart (often shown with other attributes, e.g. surmounted by a cross, pierced by nails or swords, etc.)

Okay maybe the first one was more intimate?

But from what I could find about a plain heart and what it could potentially mean, the closest I could really find was ‘unromantic but sincere love’. And with what we know about Joker’s determination and certainty that he is the ‘villain’ of Batmans/Bruces dreams (a term could definitely be a stand in for other things) I think that certainty comes off here too. Bruce never questions or entertains the thought that Joker would have taken his suit off in front of others or had his henchmen do it, it’s clearly implied with how committed Joker is to not exposing Batmans identity that it was HIM who removed the batsuit off Bruce’s unconscious body. Point is, there’s this mutual/unspoken assuredness between them that this is in fact THEIR secret.

End!

Phew! Idk if this made sense or even coherent but I just found the letters really cool and wanted to talk about them. Let me know if I should go into more detail or pls add to this in the notes I’d love to hear your ideas!

[invinciblerodent]

As I'm making my way though the Chant, one thing I'm not sure I quite understand at this point is the Urn of Sacred Ashes.

Like it's more or less confirmed in Veilguard that the Maker either doesn't exist, or at least he's not what that the Chantry suggests he is. Since he almost definitely isn't a deity (because it's starting to look more and more like Thedas is a setting absent of gods), Andraste was also not chosen by a deity, and therefore was not holy.

But her ashes really did seem to heal Arl Eamon from his poisoning, and if this part of the Chant is to be believed, they also healed Disciple Havard from two stab wounds through the chest, well enough that he could then trek from Minrathous down all the way to Ferelden.

Even ignoring the apparitions, the flourishes, Andraste appearing to Havard from beyond death, and all the other garnish that's in the Chant, the core fact remains that there exist ashes (a powder, some substance) that is a genuine panacea, that is somehow capable of healing, even after close to a thousand years buried in a crypt inside a remote mountain.

From a Doylist perspective, it'd make sense to just chalk this up for an inconsistency, or someone changing their mind: that quest was written fifteen years before Veilguard, and the writers having decided on the ✨magic ashes✨ quest before hammering out the intricacies of the world's theology twenty years into the future seems perfectly reasonable.

But I think a Watsonian explanation is almost always more fun than a Doylist one, so I have a couple ideas.

Explanation 1: Spirit Magic Shit.

No gods, no masters, just very powerful magic.

To me, it seems to be a reasonable enough interpretation of the text that the ✨spectral Andraste clothed in starlight and armored in moonlight✨ that appeared to Havard after Andraste's death (Apotheosis 2:16-2:18) was simply a spirit that was drawn to the area by the very intense emotions of the people, and death thinning the Veil. (Central square of Minrathous, probably the gallows were there at the time, and the place has probably seen its fair share of executions even before Andraste.)

It also feels very much in line with canon events that a spirit would/could assume the form and some of the personality of a recently dead person, like the spirit who appeared to the Inquisitor adopted Justinia's form, voice, and to some degree her memories (although that did happen in the Fade). Andraste was also a figure very much emotionally tied to Havard, so him seeing her in even just a vague spirit that couldn't fully manifest outside of the Fade and was holding only remnants of her, isn't far out of the ordinary.

If that is the case, I'm pretty reasonably sure it would be a spirit of Faith (the text of the Chant goes out of its way to mention the "army of the faithful" multiple times) that sort of absorbed Andraste's blind faith in her death, and more or less "became" her. There has been an example of a Faith-spirit "healing" mortal wounds before, in Wynne's reanimation- "spirit healing" used to be the actual name of the discipline while it was still mechanically in the game (which was at the same time the Chant was written in real life), so it having that sort of narrative consistency as well as that ability also checks out.

That though does lead me to wonder what kind of magic can sustain itself for quite literally a millennium, locked away in stasis, outside of the Fade and without its creator affecting it physically.

While there are examples of powerful old magic in the setting (mostly elven), much of it does seem to weaken and falter over time- could the power of Andraste's ashes be sustained by people's faith in her and the Maker? Is the Faith-spirit that may or may not be Andraste, and is responsible for that healing power, still being sustained as a powerful entity by "her" followers' emotions? Does that make the Urn of Sacred Ashes essentially a kind of application of the placebo effect, it works because people believe that it works, only in a slightly more tangible way? Does the Warden "corrupting" the urn with blood do anything on the physically magical level, or does it simply alter the state of it significantly enough that others' faith no longer affects it, either because it's believed not to work anymore (so it's a self-fulfilling prophecy), or because it's no longer the same object? Does any of this make any sense at all to anyone else????

(Asterisk on this one, there's some interesting "storm" and storm-like imagery in the Chant around these parts that makes me wonder about whether the "Devouring Storm" has anything to do with this all, but we don't know anything certain about that.)(Yet? I hope it's a "yet". Trying to remain cautiously optimistic about it being a "yet".)

.... but, I think there is also another, more straightforward interpretation, that is a bit less dialed into the mythology of the setting, but I just like it better:

Explanation 2: It's All Just Coincidence.

The ashes are mere legend.

Havard was always going to survive being stabbed through with spears. The fact is, he did somehow drag himself to the center of Minrathous from somewhere around the Valarian Fields- which is nearby, but still quite an unlikely walk for a man with mortally severe abdominal injuries. In his case, it's possible that either his injuries weren't actually that bad, or homeboy was always resilient enough to pull through all on his own, and him putting ashes into his wounds probably just acted as an antibacterial rub.

He also got there after the pyre had already burnt down, so he had no way to tell which ashes were Andraste's, and which were just wood-ash and charcoal from the pyre itself, so he presumably just swept like five pounds or so of debris into a jug and went on his merry way. Maybe it was milled or sifted to be finer, more "ashlike" later, but what he took from the site probably had bits of wood, as well as bits of Andraste's actual remains in it. (An open-air fire iirc doesn't burn hot enough to completely turn bone to dust, so he could very well have struggled to distinguish between charred wood and charred bone chips.)

And the funniest thing about this is that... in this case Eamon, since he was poisoned, could be assumed to have been healed by the "ashes" because whatever it was that the Warden gave him just so happened to basically act as a piece of activated charcoal.

Which is a non-magical, non-fantastical, very pedestrian solution, but it's almost elegant in its simplicity, and I kind of love it.

It makes for a fun theme, too.

The storm broke out right at the time of Andraste's burning? Yeah, we knew it was coming days ago and nobody actually bat an eye, but it made for a great couple verses in the Chant.

Rubbing Andraste's ashes on them healed Havard's wounds? Well, wood ash could have helped the healing process somewhat, and that was perhaps exaggerated into a magical and instantaneous recovery by the story being passed down over a thousand years.

The ashes have incredible healing properties? Maybe, if it's the right thing that ails ya. It's not a panacea, but if you're specifically poisoned, sure, it might help.

And I know this is such a small thing, but it really does crack me up.

(It might raise the question of why the healers at Redcliffe jumped straight to the Ashes and didn't just give him charcoal the moment they learned that it was poison causing the illness, treating poison with charcoal has been a thing since antiquity irl, but then I feel like I should revert back to a Doylist POV, which would make the answer simply "because then there's no quest", so I'm cutting them some slack there lol.)

[evidence-based-activism]

I’m really tired of seeing all the ‘PCOS is an intersex disorder’ posts and think they’re extremely offensive to women with PCOS.

Please can you clarify that it is not (or if it miraculously is, I guess.)

Hello! You're correct PCOS is not an "intersex disorder".

First, what is an "intersex disorder"?

Currently, to my knowledge, there's a shift towards using disorders/differences of sex development (DSDs) rather than "intersex".

A DSD is a very specific group of medical conditions which is "restricted to those conditions in which chromosomal sex is inconsistent with phenotypic sex, or in which the phenotype is not classifiable as either male or female" [1].

The possible point of confusion is "phenotypic sex", in this context, this refers to primary sex characteristics (internal and external genitalia) not secondary sex characteristics (breast growth, hair growth, etc.). This is important because both primary sex characteristics and DSDs are present from birth. Although, in some cases, they may not be identified until later in life, they are still present at birth.

How does this relate to PCOS?

Polycystic ovary syndrome (PCOS) is a condition that only affects female people that affects secondary sex characteristics (e.g., cause male-pattern hair growth/loss). It can also affect the function of primary sex characteristics (e.g., cause infertility), but it does not affect the development or appearance of primary sex characteristics. [2]

Therefore,

Women with PCOS do not have a mismatch in genotypic (chromosomal) sex and phenotypic sex (primary sex organs). That is, they have XX chromosomes without any Y-chromosome translocations and a female-typical vulva/ovaries/uterus/etc. The fact that women with PCOS have irregular periods does not negate the fact that their uterus developed normally. In other words, problems with organ function are not equivalent to problems with organ structure/development.

They also do not have ambiguous genitalia; they have female-typical sex organs at birth. Notably, female-typical has a wider range than the commonly held (and misogynistic) “ideal”, but in all cases they are clearly identifiable as a vulva rather than a penis/scrotum.

The age of onset of PCOS is anytime after puberty, and therefore, not at birth. It is an endocrine (hormonal) condition, and no more a DSD than ovarian hyperthecosis, hypothyroidism, or hyperprolactinemia which all produce similar symptoms to PCOS (among many other conditions). [3-5]

Despite claims to the contrary, women with PCOS do not have "male-typical" testosterone levels. The average testosterone level is actually well within the healthy female range and even the upper-end of the PCOS range is around half the lower-limit of the healthy male range. This makes the primary evidentiary claim for PCOS being a DSD (i.e., "testosterone levels between men and women!") invalid. (This claim is also based on the incorrect, and intersexist, belief that people with a DSD are "between" or "neither" male or female.) [6]

All other arguments I can find for PCOS being a DSD appear to be based on:

The belief that we must expand the definition of DSDs to prevent discrimination. This is both logically inconsistent (i.e., we have no evidence that increasing the size of a minority group would reduce discrimination) and philosophically concerning (i.e., this rests on the belief/assumption that we can/should do nothing to reduce discrimination of very rare minority groups).

People's feelings about having PCOS/beliefs about people's feelings about having PCOS. This is wrapped up in postmodernist worldviews, and essentially posits that if people feel they are "between" sexes they should be treated as if they are, despite no material evidence supporting this feeling. (And, again, this also rests on the incorrect and intersexist belief that people with a DSD are "between" sexes.)

A related belief that that if people identify as intersex, we must affirm this identity. Again, this is wrapped up in the same postmodernist worldview, and all the standard criticisms apply.

Conclusion

All in all, there is no medical or material evidence that PCOS is a DSD. The philosophical arguments to the contrary relies postmodernist logic that rejects reality in favor of identity and being in favor of feeling. These arguments also rely on offensive stereotypes and beliefs about people with DSDs/intersex people.

I hope this helps you, Anon!

References below the cut:

Sax, L. (2002). How common is lntersex? A response to Anne Fausto‐Sterling. Journal of sex research, 39(3), 174-178.

PCOS (Polycystic Ovary Syndrome): Symptoms & Treatment. Cleveland Clinic, https://my.clevelandclinic.org/health/diseases/8316-polycystic-ovary-syndrome-pcos.

Shah, Sanket, et al. “Diagnostic Challenges in Ovarian Hyperthecosis: Clinical Presentation with Subdiagnostic Testosterone Levels.” Case Reports in Endocrinology, vol. 2022, Jan. 2022, p. 9998807. pmc.ncbi.nlm.nih.gov, https://doi.org/10.1155/2022/9998807.

“Hypothyroidism (Underactive Thyroid).” Cleveland Clinic, https://my.clevelandclinic.org/health/diseases/12120-hypothyroidism.

“Hyperprolactinemia: What It Is, Causes, Symptoms & Treatment.” Cleveland Clinic, https://my.clevelandclinic.org/health/diseases/22284-hyperprolactinemia.

Clark, Richard V., et al. “Large Divergence in Testosterone Concentrations between Men and Women: Frame of Reference for Elite Athletes in Sex‐specific Competition in Sports, a Narrative Review.” Clinical Endocrinology, vol. 90, no. 1, Jan. 2019, pp. 15–22. DOI.org (Crossref), https://doi.org/10.1111/cen.13840.

[sunandmhoon]

Love Songs

Genre: fluff Pairing: Jeonghan X Reader “He thought about your mind, how crazy it must be, how tiring it must be. Who’s on your mind right now? Who has your time? Who have you been seeing? Why couldn’t you just be his?” w/c: 1926 a/n: Hello~~ new story hehe!! Also it’s fluff this time wooohooo. Also idk if you’ve noticed but every svt story so far has been based off a song…hmmm i wonder why that is?? (also I didn't proofread this so I'm sorry for any inconsistencies) ps: pics are from pintrest ctto :) MASTERLIST; OTHER WORKS Jeonghan was never a person that falls in love easily. 

It’s not that he’s anti-romantic, or that he hates the concept of giving love or receiving love. In fact, on some days when the rain gets too loud, the room gets too cold and the sky gets too grey, he longs for a nice warm hug from a person that he loves. 

He’s had girlfriends before, but they always end in the same way. The same, ‘it’s not you, it’s me” argument. And it is true, he can never find himself infatuated with a person for more than a month. He still finds them attractive of course but he’s never been interested in them, their goals, their big dreams or even their small ones. 

That was until he met you. 

Meeting you was like an angel appeared at his door; like a gift from cupid to cure his lonely heart. A gift in the form of a new roommate. 

Seungkwan was staying in the flat with him before he moved out to his hometown, leaving behind his room and another part of the rent he had to pay. In his absence though, Seungkwan–ever the social butterfly– recommended the place to you, and although Jeonhan was wary at first, he definitely had to thank Seungkwan now. 

When he first met you he felt as though his house was graced by a higher being. The sun flooded into the room in golden rays, shining around you, creating a halo above your head. And though he was the known heartbreaker around town, he felt his palms go sweaty and his ears turn hot. And when you spoke, he felt he got worse. Your voice sounded just like it was dipped in honey; smooth and sweet. He could listen to it forever. Your expressions were kind and gentle, you were the type of person that could lure anyone into your charm like a siren in the sea. 

He was attracted to you, so so attracted to you, but he brushed it off. It was probably just that, Attraction, nothing more. 

As the days went by you two grew closer. First it was catching each other in the kitchen at 3am for a midnight snack. From then on you started talking to each other more. You find out that he’s been living in the flat for five years, he finds out that you just moved to the city. He’s taken you around the area to get you familiar with your surroundings, you’ve cooked him dinner in exchange (and because he only eats ramen in the house). He’s introduced you to his friends, you’ve introduced him to your family.

You even go to him when you need to rant. School’s being annoying? Go to Jeonghan, Your parents are being annoying? Go to Jeonghan, the neighbour that for some reason finds the need to be up at 4am every single morning watching their soap opera at full volume with their door open is being annoying? Go to Jeonghan. Just like the new flat’s been your physical home, Jeonghan has been your emotional home. 

You tell him everything, and even though he loves it, he loves that he could be a person you can come to–can talk to and rant to about your hardships, feelings, accomplishments, he somehow hates it when you come to him for advice on love. 

“How do I get a boyfriend, Han?”, “Why don’t guys like me?” to “Han, I’ve been talking to this guy”, “what do you think of him?” to the dreaded, “He asked me out on a date!”, “How do I look?” he’s been there through it all. And he won't admit it–he can’t admit that he likes you, he can’t admit that he hates when you tell him not to wait up for you because you’ll be at Woozi’s for the night. He can’t admit that it bothers him that you come home, greet him and go to your room. He can’t admit that he’s lonely again, and that he misses when you would talk to him late at night about your dreams, inspirations, aspirations, goals or even just your shopping list. 

And most of all, he hates that you have him listening to love songs. He never used to listen to love songs on purpose, let alone with someone in mind. Love songs have plagued his playlists, and he dreads the day that spotify wraps up his year into one big lovefest. You were sea, sunshine, star and moon; you were his cocoa butter kisses; you were what comes up in his mind when he listens to Daniel Caesar, Frank Ocean and even Drake. You were his in his mind, his playlist, his heart but not his in real life. 

He started doing his work in the living room just to see your face, to see you in the kitchen, on the couch or even leaving for school or work or to your boyfriend’s house, because the longer you were with Woozi, the shorter you were in the house. 

That was until one day when he came home from work. The world seemed to mirror the same sad mood he’s been in for the past month; heavy rain, grey skies, cold air. It was the kind of weather that made him feel even more lonelier than he already was. He was just about to pass the living room to go to his room when he noticed you asleep on the sofa. 

You looked so peaceful that he didn’t want to move, afraid that even the smallest step could wake you up from your slumber. He stood there for what felt like hours but were only a couple of seconds when he was suddenly snapped back to reality with a cold rush of air down his spine. The room was getting colder, he noticed, and he saw you rustling around the couch–no doubt affected by the coolness too.

He saw that your shoulder was exposed to the cool air and quickly but quietly rushed to get a blanket. He placed the blanket over your body, gently tucking the ends to your sides, effectively blocking any coldness from reaching your skin. He froze as you moved, thinking you had woken up, but sighed as he saw you snuggling into the warm comfort of the blanket, continuing your peaceful nap. 

He cleaned the area around you, the tissues, empty soda cans, empty chips. You must’ve eaten yourself into a food coma, he thought, smiling at the thought of your well fed self falling into a deep sleep. However his smile dropped as your phone lights up. Rows and rows of notifications piled up on your lockscreen, all from your boyfriend begging you to ‘take him back’, ‘forgive him’, ‘trust him to do better’.  And then it made sense to him. The food, the tissues, your exhaustion.

Once he finished cleaning up, he just couldn’t find himself to leave you in the living room all alone. You must have been sad, angry, upset, tired and vulnerable right now, and he would hate himself if he knew he was leaving you in such a state. 

He also couldn’t get over the last notification he saw from your phone–he knows that it wasn’t the best thing to go scroll your notifications, but it was there and he couldn’t help it (pls forgive him)-- ‘I can be better than him’. 

Him? 

Is there someone new?

He sat on the ottoman, beside where your head was laying on the pillow and watched as you breathed. Your chest would rise and fall in steady patterns, showing that you’ve fallen into a deep sleep. Your eyelashes were feathered along your eye, and he couldn’t help but be charmed by it. Him, charmed by the simple sight of eyelashes? He couldn’t believe how much he changed, how much you changed him. Your lips were slightly parted, a pale pink and full. He wondered how it would feel against his own, would they be soft? By the looks of it, he thinks it would. 

You looked so peaceful and angelic and he couldn’t help but think about how much you’re going through right now. He thought about your mind, how crazy it must be, how tiring it must be. Who’s on your mind right now? Who has your time? Who have you been seeing? Why couldn’t you just be his? 

He knows that you had a boyfriend but still, despite that, why did you stop talking to him as much? You used to be texting him all the time, checking on him all the time, staying up with him all the time. But recently, your interactions were shorter than two sentences. Was it your boyfriend? Was it you? Was it him?

“If you let me,” he whispered, tucking a stray piece of hair behind your ear gently, “we could paint a perfect picture, we could even last forever.” he sighed as he feels how strong he loves you–it scares him, he’s never felt this way with anyone before. “I’ll even let you wear my sweaters, I know how you get cold so easily,” he said as his eyes traced your face, from your hairline down to your eyebrows to your eyes, to your nose to your lips. He smiled at how perfect you were. “I’m so horribly down for you, Y/N,” he said, “for the worse or the better,” he added. 

“To be honest, I hate it,” he said, surprising himself with the sudden confession, “I hate how much I feel for you because It’s so strong that it’s hurting me. But I don’t care, I will keep sticking to you, Y/n,” he breathed in, “Because I love you.”

And although you were sound asleep, he still felt as if the weight of the world has left his shoulders. The burden of keeping it trapped within his heart has finally disappeared, and even though he knew that this confession was done in vain as he knew that pouring his heart out doesn’t mean you have to reciprocate it, he still felt happy that it’s out there. 

Maybe you were asleep, but your heart was listening. 

He noticed how the sun had disappeared and the clock was moving into the double digits. He knew that your back was going to be painful if you slept there overnight, so he took you in his arms, the blanket wrapped tightly around you still; like a burrito, and carried you over to your room. There he tucked you in properly, propping your head gently a top your soft pillows, laying the comforter over your, keeping the sides snug. Before he turned off the side lamp, his self control had left his body with his confession as he bent down placing a gentle peck on your forehead. When he felt that everything was done, windows checked, you tucked in, lamp turned off, he headed out the door. 

“Jeonghan,” you called softly, your voice still groggy from your nap. He froze by the doorframe, turning to you. 

“Yeah?” 

“I love you too,” you told him, a soft smile growing on your face before you turned over and fell back to sleep. 

No amount of self control could stop the smile that was blooming on his face, his mind was fuzzy, his heart was racing. He watched you for a little bit more, the same love-struck smile on his face to see if you were still sleeping.

“Sweet dreams, love,” he whispered before leaving.

He needs to give Seungkwan a gift basket. 

-fin. 

Like, comment and reblog pls :)

[xavissky]

Magnum Opus; live blog and review

Aka Sky rambles for a bit

This card was really sweet! I hope we get more like it

Get him, girl!

W H Y

mc

please

you have the emotional constitution of a piece of paper in the rain

he's me omg but also,,,

WHY ARE THEY DOING THIS

this is giving me a headache

SYLUS PLEASE 😭 this isn't good for you

I have to wonder also if it's because he knows mc better than we do because let's be real.... as the audience I actually feel sometimes the LI's know the MC better than the audience 😅

I digress

This makes me feel like they're in an interesting spot of their relationship like wanting to see each other and do all these couple-y things like riding a high and not really knowing when to stop and rest

Cause it did seem like MC was really tired? And let alone full?

I'm sorry I just would not have gone out 😆 although, she did mention she had no idea where he was bringing her - but she also didn't communicate that she ate. Idk he was probably disappointed and so was she cause I can only imagine he was excited to finally follow-thru on that promise to his old friend on bringing a date someday and now she wasn't even going to have anything.

And I'm sure she felt that, and knows that, and you know they're pretty comfortable in each others' presence like - I've definitely been out with people and not gotten something while they're eating (merely cause I already ate or something?) and been completely fine... so maybe she is too

I'm just struggling a little bit Infold 😆

Like narratively and plot-wise, why are they expanding on this? What's up with this? It's a small thing but I really wonder

Like are they trying to highlight that they're still "figuring out" this relationship thing?

Yes they love each other but it's going to take time to tune into little things and circumstances like this so maybe this is just a small, somewhat numerous glimpse into this

also interesting that we get to MC be a tiny bit more honest and comfortable - we see the job kind of weighing her down, her job is DIFFICULT she puts her body through a lot, and it's nice to see she does eat a lot, cause she's sort of an athlete!! she needs tons to survive.

"you were that hungry?" SORRY FOR THROWING MYSELF AT WANDERERS FOR A LIVING BUT I NEED HIGH CALORIES

He's literally been saving little things to do with her that's so cute!

I find it funny he's like, trying to figure out a roundabout way to ask her. And MC is like, trying to get him to be exceptionally direct? She's vying for him to say it exactly.

When like... I'm looking at you other LI cards. some of the cards is very, very, very roundabout like... the inconsistencies alskdhsg I wonder what it is about Sylus specifically that she wanted him (even if to humor her) to say it directly when in other similar relationships she's been relatively fine COMPLETELY FINE with it being sort of up in the air. (Caleb is the exception for Reasons™️

🙃😌 it's fine i'm fine we're cool it's fine

I'M CACKLINGGGGGG

She's so funny for this

Astra sighing in the background

I desperately need him to be discovered at some point pls it needs to be Tom and Jerry style it would be so funny

He's like an expectant little kid she can't say no HAHAHAHA I feel you MC I'm allergic.....

but omg he's as bad as Xavier with the buying a ton of equipment for one thing, and that time he set up a tent in the room cause he wanted to use it so bad lakdjd

He was rolling with it for like 2 seconds lakdhd UGH MC is never beating the "I like a jealous boyfriend" allegations why is she like this

and then immediately he realizes she dishes it a lot and can't take it Philos MC is that you??

He's SOO reassuring and secure but omg one of my favorite things about Sylus from the beginning is he calls her out a lot, either for being rude, or trying to lie, or hiding her emotions. Part of it I think is because A. she's really bad at hiding her emotions (and he probably finds it endearing lbr) and B. in general he's a master at seeing through people's poker face; he's really good at not being deceived? so he can and does call her out, easily, and I think it lets them be more honest with each other ultimately

I just find it funny she got jealous for a split second and instantly stormed off and has the audacity to call him "a stinker"??? nah she deserved that sarcasm girl be so fr

but alsooo his little "Are you mad?" felt so genuine like, A+ English VA i owe you my life. The subtlety in, I'm-teasing-but-your-emotions-still-matter

impressive!

and also like, he knows she's tired. He's so attentive! Pulled a cool move and decided to buy all her clothes for her.

Shots fired!! Get her.

The shoelace thing hahahha he probably saw it in a movie somewhere he's been waiting to pull it out

I think he's so eager to actually have more of her in general, just to be in her vicinity! But I think he still respects that being a Hunter isn't something she does for the money, you know? It's who she is, it's who she always wanted to be, it's a part of her identity. I think maybe he just wishes he owned the Association ahhahaha

Like the "A moment of fleeting disappointment flashes in his eyes" is precious and ouchhh but also like! He gets it. Thats why he doesn't press. I love that!

What is it with the white haired men and carrying her on their backs-

I like how he finally said she could say no next time and she admitted she couldn't. I hope it doesn't lead to more miscommunication? Like I don't want him to not ask her because he knows she can't say no to him. But I think it's sweet idk maybe it's a learning experience. At least she isn't like, trying to hide that she's tired or making excuses she's at least being more direct with how she's feeling?

Skincare

Omg??? The way she was like, "Only if that's ok with you" and he just helplessly looks at her adoringly! I love itttt they're learninggggg

Not him paying again 🤣 then the save your gas money hahahha

The callback to the myth is sweet and you can hear the pain in his voice like, yeah it really was a cruel twist of fate and she's trying to comfort still but there's still sadness there you know? It's an open door to deeper conversations I hope we get!

And then of course the playful banter haha she really is right back to pushing his buttons.

I like the explanation of marking each others hearts with allegory and cute comparisons. Sylus the puppy is so funny to think about but like... he really kind of is hahaha.

I'm really sad we didn't get to "apply" the face mask i think that would have been a really cute feature but oh well

Awww the lines! We knew we were getting the art piece comparison line but I didn't know MC would be the one to start it! I'm really glad she does these kinds of things like, tries to at least reciprocate in the ways she can.

Yes sometimes she's rash with her words but she's also learning and growing and funny and sweet and she does try, and I think if she could she'd absolutely be doting on her man all the time!

Also the ending really cute to ask like, what things in particular she likes doing or likes in general. Yeah he knows her heart but they actually both are still getting to know each other! They're still learning each other's likes and dislikes. And she asks him right back! It's sweet!

It's really the confirmation that they're actually dating and planning things out. It's nice to see this level of micro-development and a glimpse into their everyday behavior.

I really hope we get more cards like this in the future! Like outside of lore cards, these are the sweetest to me!

[that-ari-blogger]

This Is About Relationships (Hell's Greatest Dad)

I feel like we are seeing more and more stories that draw on horror elements as of recent times, with mixed success.

Critical Role, for example, has put some heavy emphasis on body and cosmic horror in their most recent campaigns, and I think that has worked really well. They are telling a story about feeling powerful in the face of adversity, and so having villains who are either unknowable or far too knowable really works for that idea.

On the other hand, the horror elements of Doctor Strange and the Multiverse of Madness actively took me out of the story, because they didn’t fit with the rest of the franchise at all, and I found that rather jarring.

Then there is Hazbin Hotel, which isn’t scary, but it definitely draws on some of the tools of writing horror. Although it doesn't do that in the way you might expect. Specifically, it uses the character of Lucifer to both embody and subvert the very nature of Gothic horror itself.

Let me explain.

SPOILERS AHEAD: (Hazbin Hotel, Ratatouille, Paradise Lost, Frankenstein)

I have made my stance on genre extremely clear in the past. I think it exists, but I think it is bollocks, and Hazbin Hotel kind of proves my point.

Because, yes, you can boil Horror down into however many constituent parts as you would like in order to organise a bookstore, but however you spin it, Hazbin Hotel fits that, with the exception that it isn’t scary.

Then again, being scary is entirely subjective. For example, I am completely fine with ghosts and ghouls, so the only thing that gets me about games such as Phasmophobia are the jump scares, and Jump Scares aren't horror. By the same score, I am incredibly squeamish, so Hazbin Hotel itself was more difficult for me than a few of my friends.

Which leads me to gothic horror, which has a distinct aesthetic to it that isn’t actually essential at all.

The name actually comes from its aesthetic. Gothic fiction got started in the 1700s when Gothic architecture was popular but gained traction in the early 1800s when authors such as Edgar Alen Poe and Jane Austin got involved. The latter of whom wrote Northanger Abbey in 1818 to parody the overdramatization of the genre in a book that I personally despise.

Austin’s book comes across to me as incredibly insincere. I have an infinite respect for Austin’s work, but there is a deep sense of contempt in Northanger Abbey that drives me up the wall.

I want to be clear here, this is not me saying the book is bad. It is incredibly well written. I just hate it with every fibre of my being.

To me, Northanger Abbey missed the point of the gothic genre. Gothic isn't about the emotion, it's about the humanity. The fallibility, the force of will, the instability and resilience that come and go like the wind.

Gothic horror turns that into fear, specifically the fear of morality. It’s the Ratatouille genre. Any angel can sin, any demon can rise. Or in other words:

“Anyone can cook.”

Gothic horror is the fear of inconsistency. That someone you trust can betray you, or spiral into awful deeds, or that someone you despise might be right. It’s the fear of redemption, and conversely, the terror of good motives leading to bad ends.

Other subsets of horror draw on the fear of the unknown, or of not knowing. Gothic fiction is steeped in the terror of what you know being wrong.

Case and point, Frankenstein is both the archetypal science fiction book, and a phenomenal Gothic story. The terror is derived from the fact that it’s titular character can be so great and yet such an absolute monster, as well as the horror of creating a conscience.

The creature is intelligent, and its intrinsic morality is up for debate the entire time. Frankenstein calls it his "Adam", for Pete's sake. It kills multiple people, but as a reader you are unsettled by how much you agree with its motives.

Gothic horror is the fear of absence. There is no good or evil here, just people.

There’s a reason I brought up Ratatouille. The conflict of the series is derived from Skinner’s visceral fear that someone he despises as much as Linguine can actually be competent, combined with a field rat rising from the gutter to run a restaurant. “Anyone can cook” is a threat in this movie, but it gets better explained by Ego in a way that I really like.

“In the past, I have made no secret of my disdain for Chef Gusteau’s famous motto: ‘Anyone can cook.’ But I realize, only now do I truly understand what he meant. Not everyone can become a great artist, but a great artist can come from anywhere.”

According to one of the greatest fanfics ever written, Paradise Lost, Lucifer rebelled against G-d’s vision and fell, which can be taken any number of ways. It’s written so that you sympathise with the main character, who is, may I remind you, the literal devil.

Worth noting, Frankenstein's monster reads Paradise Lost. I wonder if there is any significance to that.

Lucifer from Hazbin Hotel is nominally the same character as his biblical counterpart, except that he is blissfully unaware of any of the themes surrounding him. Kinda.

He has grasped the fact that anyone can fall, but the reverse of that hasn’t quite registered to him yet.

Case and point, he doesn’t understand people at all. He has sought escapism through “stuff”. By which I mean the ducks, but I also mean his song, Hell’s Greatest Dad.

Part of the gothic theming in Hazbin Hotel is that people aren’t static, and that relationships are more important than anything else. Angel Dust and Pentious don’t become better people through trust falls, the find it through love and companionship, both platonic and more than platonic.

To demonstrate this, we contrast Lucifer with Alastor, who once again doesn’t sing his own song but steals it off someone else. Alastor’s relationship with Charlie is so obviously sinister, and that will be better explained two episodes down the line, but at least he has a relationship with her.

The agony of this is that Jeremy Jordan is a phenomenal voice actor, who, along with Lucifer’s stellar writing, endears the character to you from his first scene.

Alastor is a villain; Lucifer is an absent father. Who do you side with here? That’s gothic fiction.

“Sailors fighting in the dance hall, Oh man, look at those cavemen go. It’s the freakiest show. Take a look at the lawman Beating up the wrong guy Oh man, wonder if he’ll ever know He's in the best selling show. Is there life on Mars?”

This is the chorus of a David Bowie song called Life On Mars. It centres around someone seeking escape through television and storytelling. It points out the futility of this, but the fact that it works. It’s a stable dynamic that doesn’t go anywhere.

Remind you of anything?

“Who needs a busboy, now that you've got the chef? Michelin tasting menu, free à la carte I'll rig the game for you because I'm the ref Champagne fountains, caviar mountains, that's just to start!”

Lucifer is offering Charlie anything she could dream of. Any thing. But Charlie doesn’t need an object. She needs a father, and she needs her relationship with Lucifer.

Enter Alastor, who, up to this point, has been generally benevolent to Charlie. He’s basically the embodiment of that old Tumblr textpost that described someone as “chaotic gay. I haven’t done anything evil yet, but my general aesthetic and demeanour tell you that I will, any day now.”

Side note, I know this post exists. I have seen it, I have screenshots of it. But Tumblr’s search function is so legendarily awful that I cannot locate it. Tumblr’s search function has beaten the FBI before, and I don’t have that much patience.

In any case, Alastor offers up his own curriculum vitae in the form of this:

“Who’s been here since day one? Who’s been faithful as a nun? Makes you chuckle with an old-timey pun? Your executive producer.”

He’s pitching himself via his relationship with Charlie. But what I wanted to point out specifically was how the two characters relate to the beat of the song.

This song is inspired by Friend Like Me. I know it's subtle, but I'm onto something, and I can pick out the clues. If you look closely at his moustache in this shot...

Lucifer is clicked to the rhythm, or rather, his backing music is. The band hits ever downbeat as one, looping back to play the same thing every few bars. It is incredibly stable. The one thing that isn’t, is Lucifer.

The man misses every single beat by a fraction of a second. Not much, but when you contrast him with the entirely of the rest of the song, you notice that tiny imperfection, especially when Alastor doesn’t share it.

Alastor starts singing by matching the beat perfectly with his opening sounds, then going free within the restraints. Later, when he co-opts the song, the band begins playing along with him and matching his melody.

The Radio Demon understands people incredibly well, and he works on relationships. As such, his music has a much more symbiotic relationship between each of the parts. Lucifer’s feels like a creation, Alastor’s feels like it was created, if that makes sense. There’s a human element to Alastor’s take on this song.

Which brings me back to the gothic stuff going on here, and the relationship between Lucifer and Alastor. Alastor is, of course, a manipulator. He takes issue with Lucifer because he wants Charlie isolated. But Lucifer has no reason to get upset by Alastor, right?

Alastor shakes up Lucifer’s entire worldview, to the point where I find some of the double dad dynamic between them rather compelling. Most of it.

Alastor is risk incarnate; he stands for the idea that anyone can do anything. A radio presenter can be a cannibal, and have parenting instincts take over with Nifty and at times Charlie. But he is unsafe. Because he is such an unknown, he is untrustworthy. You don’t know where you stand.

Lucifer, meanwhile, is terrified of this fact. He likes the safety of knowing where he stands, he can protect himself there, but he can also protect others. In my eyes, that’s why he was so absent with Charlie. He found something he could understand and kept it because he didn’t want to shake up the rhythm. But that was futile, and he realises this over the course of this episode.

But you might say “wait, Alastor is ace, he can’t be with Lucifer,” and my answer is twofold. First up, I am ace too, that doesn’t prohibit relationships. I’m not even talking about romantic stuff here, Alastor is the poster boy for being aromantic, but more importantly, parenting isn’t just about the other parent.

The two can both be dads, joined by their mutual care for their daughter, rather than affection for each other. I find that compelling. Charlie needs both the security and the sign that everything is possible. She needs someone to lift her up, but she also needs someone to catch her when she falls, and Lucifer and Alastor both play different roles in that dynamic.

Any angel can sin, any demon can rise. Anyone can be a dad, anyone can cook.

Final Thoughts

Jeremy Jordan is a global treasure and even if this series doesn’t stick the landing with its next season (we will see), Lucifer will be amazing.

Do I have a crush on this man? No. No, I do not. Why do you ask?

In all seriousness, I think episode five should have been two episodes. One for this song, and one for the next. Lucifer would join the Hotel’s crew for a few days, befriending Pentious and co., being utterly disrespected by Husk, and being eased into the fact that morality isn’t binary.

I don’t even mean this from just the pacing perspective, I think the series would have so much more thematic weight if it devoted more time to the literal devil learning the thesis of the series and becoming on board with redemption. I think that would be cool.

I'm also just now realising that this is a Gothic Horror musical, so of course Alex Brightman got cast in it.

In any case, next week is More Than Anything, which is yet another case study in why Jeremy Jordan is amazing. Stick around if that interests you.

Previous - Next

[alianoralacanta]

alianora, i've read about how charles is still inconsistent in his performances compared to verstappen, but how much of it is the car really? Because i didnt see max winning when the rb20 was acting up (as opposed to claims that he can drive a sauber and still win). Based on data, should they get near equal machinery, can charles hold his own against the current strongest driver on the grid?

This is a difficult one for multiple reasons.

For one, these things always depend on what, exactly, the equal machinery is, as well as the exact circumstances in which it is being raced. Leclerc and Verstappen have similarities in their approach, but they are not the same. Leclerc, to my eye, has a larger operating window, but that window ends at a lower degree of oversteer than Max can handle. (Max also has limits on the amount of oversteer, but they're higher than other people's). If the car has any significant understeer, Verstappen is lost. Leclerc can manage a certain amount of that, and the drop in performance as understeer is added is more gentle.

Max can probably handle rain better than Charles, although this is obscured by the fact the Red Bull can definitely handle rain better than the Ferrari (in 2024, rain caused an average 6-place swing in best position, in Red Bull's favour). Also that the FIA broke its own regulations in order for the last wet race go the way it did (that almost certainly would still have been a Verstappen win due to the car advantage, but Leclerc would not have been penalised so heavily for understanding his car wouldn't be able to take the conditions that were about to be presented on intermediates).

On the other hand, it's arguable (to a lesser extent than the wet-weather argument) that Charles is better than Max in the dry… but again, that 6-place swing in how well their cars handle the conditions.

Leclerc is definitely better at overtaking than Verstappen, because he's had to do more of it due to a car that wasn't reliably the fastest, but that only helps if the car is sufficiently compatible with one's driving style and the needs of the track. (There are enough differences between Leclerc and Verstappen that they'd resonate more with a truly equal car in different parts of the circuit, and the parts immediately before and during the overtaking opportunities are the ones where the driver to prevail needs to particularly gel with the machinery. That, itself, would depend on track design. It's theoretically impossible to build a completely equal average track, if one can even define what that means in a way everyone else would consider agreeable.).

Other quirks in their individual driving styles mean that specific tracks and sectors are likely to favour one or the other, even before considering the car.

Both are consistent, both do quite a few small mistakes which become big ones if the car's not co-operating. However, the way the "big ones" reveal themselves is different: Leclerc will do a spot of lawnmowering (substitute whatever surface is outside the track as relevant), Verstappen will hit the car he's trying to race or break a regulation. (That's another thing. Equal treatment under the regulations would be required for this comparison to tell us anything useful, since a failure in this department is arguably the #1 reason this question continues to be asked).

F1 is now so close that the only way anyone's going to win with their car acting up is if some unusual circumstance prevents their rivals taking advantage of it.

It also doesn't help that the last part of the question at the end of the ask begs the question immediately before it. If Verstappen is the current strongest driver on the grid, then by definition nobody should be able to hold their own against him (at least, not on average).

Personally, I believe that Charles could more than hold his own against Verstappen in equal machinery. A partial answer may emerge if they decide to do Le Mans together (vaguely plausible, since Red Bull doesn't do Le Mans) or start doing arrive-and-drive karting together. We won't get that answer in F1, only small slivers.

More popcorn, please!

[maxwell-grant]

Thoughts on the master of fear, Scarecrow? Also, fave design, he has so many good ones (second BTAS, his trading card one, mistress of fear, Gaslight,, fear for sale, the Arkham Games etc)?

Hey so, do any of you remember Batman Live? It was this really fun, extravagant stage show that touched on a lot of Batman hallmarks and was generally a really fun time as far as I recall. I went to the São Paulo premiere with my family, and I was a little too young to really recall most of it now, but some things I definitely remember like the huge Joker hot air balloon made of performers in bodypaint, or the comedy sequences in the Iceberg Lounge. The one thing that stuck with me the most was when the Scarecrow showed up. Batman goes to Arkham Asylum and the entire comedy camp tone drops dead, as he walks in and finds all these bodies in straightjackets hanging from chains, and the doors open as The Scarecrow walks towards him in stilts, summoning loud smoke eruptions that are poisoning and weakening Batman as he leers over him. That part actually did scare me as a kid, and it was probably the first time I had any kind of feelings on Scarecrow imprinted in me.

I was introduced to The Scarecrow as this uniquely horrifying villain who could terrify through presentation alone. I didn't particularly understand what the fear gas was, I was too taken with that ungainly thing up there with the stilts and all those people turned into cadaverous decorations, lurking from the endless halls of the asylum, who towered over everyone and placed Batman into a writhing breakdown with a few gestures, and never appeared again until the cast roll, completely absent from the rogues gatherings after. Granted, of course that's because the stilts prevented him from joining the fight scenes, but that helped to reinforce his mystery. He wasn't someone Batman was going to punch back, no no, the Scarecrow simply vanished as soon as he was done with disarming Batman, and you'd just have to pray for that unfathomable creep to never show up again.

And I'd say this might be part of why I've never been too big on the fear gas, in part because I was first enraptured by a version of The Scarecrow who clearly didn't need it that much, or at least, could do much more besides it. The Scarecrow is, I'd say actually one of my top 10 DC characters, half of that on the basis of his designs, but he's a character who tends to really, really struggle under a lack of cohesion and being subordinate to his gimmick, much more so than the other rogues. The fear gas is a good gimmick, but it is just that, a gimmick, and one that's usually reliant on how far can the story push the horror and the visuals to at least make it effectively scary for us, otherwise it gets incredibly boring very fast, and it's not even a gimmick exclusive to him since so many other characters have similar mind control/illusion abilities/gadgetry at hand (and to say nothing of Hugo Strange, who first used fear gas and who quite frankly kicks the Scarecrow's ass in terms of quality storylines, although Hugo does that to most of the other Batman villains too)

The Scarecrow has become the go-to character for hallucination sequences / revisiting character traumas, which frequently makes him less of a character and more so a convenient plot device, a problem heightened by the larger issue here that is his inconsistent motivation, or lack thereof. He lacks the kind of "breakout" stories that his fellow major Batman villains have had that usually cement an ongoing characterization, and his most famous/celebrated appearences in mass media don't really do much to combat the assertion that he is shallow and weak and whose only asset is the gas (namely, his boss fights in Arkham Asylum, which are all about the fear gas hallucination scares, and his role in Nolan's Batman, which is very fun, but also purposefully plays him up for ridicule and lack of depth next to the other villains)

These days, the Scarecrow is a tedious pip-squeak. His schemes lack verve, his cruelties stir little in the way of frissons. Haunted by cliché to an even greater extent than the other rogues, he’s often brought low with a single sock to the jaw delivered by Batman, or by finding himself on the receiving end of his own fear-inducing concoctions. He often acts as a pawn in the hands of bigger, badder third parties. He’s ostensibly a stand-in for the figure of the reductive, smug and hypocritical psychologist, nicely bundled up for the audience to humiliate in effigy - TheMindlessOnes's rogue review for Scarecrow

In "Nothing to Fear" it is explained that Jonathan Crane has always had this "thing" for scaring people. (Just as Snidely Whiplash had his "thing" for tying women to railroad tracks, I suppose.) But this is a wan kind of motive. One senses sadly that the real motive for the Scarecrow's behavior lies in the writer's need for someone to do something reprehensible. At the root of the matter may be a difficulty in sorting out the Scarecrow's ends from his means, with a consequent confusion between the goals the Scarecrow intends to reach and the tactics he employs in reaching them.

As a psychologist specializing in phobic disorders, Crane knows how to induce fear and trembling in his victims. But this tells us nothing about what the Scarecrow wants to accomplish. And without a sense or statement of what those goals are, the writer will be tempted to substitute means for end and make the Scarecrow's goal simply the scaring of people. Usually his actions are woefully underexplained - Dreams in Darkness' review by Toonzone

You might think that I'd be advocating for the Scarecrow, then, to disregard a need for a motivation and become as unknowable and horrific as possible, to recapture the awe I felt at his Batman Live self, but no, not at all. For one, I don't think the best version of anything is necessarily the one that made the most impact on me as a kid. Two, there have been some attempts over the years to remove Scarecrow from the toxin or seriously amp him up as a threat, and frankly, most of those have only made the character dramatically worse and more boring (I don't remember the name, but there was a Batman story a while ago where he goes on a big scary killing spree with no toxin just to prove he can and it was fucking terrible). Three, and the big one here, is that this pretty much forces you to get rid of Dr. Jonathan Crane, and I think that does a disservice to the character's potential. I think that's giving up on trying to make him work as a character and I don't think you have to do that.

My preferred characterization for Crane is one that emphasizes his nature as a scholar turned supervillain. The cold and misanthropic and neurotic nerd professor who spent most of his salary on books and took to terrorizing the city as a costumed criminal in part because he wanted money to buy more books. Who takes off the costume mid-crime spree to school his henchmen on specifics of brain chemistry, who gets revenge on those that wrong his students or even employs them as henchmen, still the same guy who thinks there's nothing wrong with firing a loaded gun in a packed classroom as a demonstration. Far less interested in human connections than he is in human reactions, things that can surprise him or that he can catalogue or research or write about. Someone who's not a sadist for sadism's sake, but who doesn't really see you as a person so much as he sees a test subject. I like Crane as a snarky humorous heel who thinks of himself as amoral and mature while doing horribly immoral and childish things, the Herbert West or Rusty Venture of Batman villains (James Urbaniak is definitely the voice I'd pick for him).

My preferred kind of motivation for him is something along the lines of how he's portrayed in most of Kings of Fear, where he puts Batman through the wringer in part as an attempt to get to him and cure him once and for all, or issues #4-5 of The Batman Adventures where he induces city-wide illiteracy in part as a protest against the city's failing education. In Gothtopia he makes all of Gotham hallucinate their perfect ideal lives, eliminating the crime rate but causing the suicide rate to spike up in return, and yes it does turn out to be the set-up for a really generic "fear gas everyone with blimps and make everyone twice as scared" pay off when his involvement is revealed, but I always thought Scarecrow being able and willing to do that, to create these huge and even benevolent-seeming social experiments, as an idea with legs. Fear State was frustratingly halfway there, with the initial set-up of Scarecrow pursuing a theory for fear-based social upheaval, but on top of not being very good, it also wound up that he was just doing the same old thing again and had Batman call him out as someone who just wanted to gas the city and make everyone scared again and never changes and does anything different, which seemed like Tynion defeating his own purpose of trying to make a defining Scarecrow story and address his lack of one, completely failing to address the why the character has that kind of problem and upending itself for meta commentary before doing anything interesting.

Even Kings of Fear, easily the best Scarecrow story of the past decades if not outright ever, kinda ends in a bit of a cop-out where The Scarecrow has to be wrong ("Even when he's telling the truth, he's lying, and even when he's right, he's wrong", Gordon tells Batman to reassure him, to nullify the past 5 issues criticizing and tearing into Batman from every angle imaginable), and he has to be a sadist who just wanted to fuck with Batman and uncover his worst fears because it's what he does. Why does Scarecrow want to unravel people and wrench their worst fears into the surface? Because he's a sadist who gets off on it? I guess that's the canon answer most of the time, but it's such a boring, weak one. Because he wants revenge on the world / bullies? Still weak, done better by other villains even. Because of an unspeakably traumatic childhood that taught him the world was ruled by fear and therefore driving him to become it's master? Okay, but it still doesn't actually answer what he wants to get out of doing what he does.

We know that Jonathan Crane was a fragile youth routinely terrorized and abused by others and plainly traumatized by his experiences. We know that he is learned and brilliant and given to introspection and fantasy.

From this base it is not hard to imagine Crane turning into a man fiercely devoted to solitude and study and capable of a murderous rage when his privacy is violated. It is possible, in other words, to imagine him as a reactive force, in the mold of Freeze, systematically terrorizing and destroying anyone who crosses him but rarely wanting to start trouble himself.

Or we can imagine him as a mercenary, a specialist hired by others for nefarious purposes, but who is not himself strongly motivated by particular rages or desires.

But if the Scarecrow is going to remain a sadist and a sadist only—if he is going to be moved only by the psychotic desire to harm others—we ought to be made to feel the seductive power that sadism has over its practitioners; we should be made to feel and appreciate the hot and sour joy that comes from the purposeful humiliation of another - Dreams in Darkness review by Toonzone

It's kind of a frustrating pattern in a lot of his stories where he gives a reason for doing something, and it turns out to be a cover for yet another sadistic fear gas attack, but his cover reason was a more interesting motivation for him than what he actually was going for. A villain who mainly just gets a kick out of hurting people and concocts bullshit excuses and reasons to justify said hurting? The Joker does that already, but the Joker always clearly states what he wants and has all those ways to make cruelty for cruelty's sake entertaining. If that's all The Scarecrow is also, no wonder he's going to be so incredibly lacking most of the time (nevermind the fact that he's never going to be the guy most infamous for gassing Gotham City).

Yes, he may be sadistic and cruel, he may enjoy what he does too much, and maybe there really isn't any kind of realistic explanation as to why a man would dress up as a scarecrow to commit terrorism and spray innocent people with chemicals to make them terrified, but refer to the guy he's fighting. "Realistic" is the wrong term. The issue here is less "why" the Scarecrow does what he does, and more what is he hoping to get out of it. Granted, this is less of a concern if you're playing The Scarecrow as a figure of horror, someone who's not even really human underneath that outfit. But I think that locks away much of his versatility. The Scarecrow needs Jonathan Crane, and I think there's good stuff to like about that awful man.

I like Jonathan Crane the sardonic pragmatic scientist who still embraces his hopelessly ridiculous life, a guy who's not nearly as above it all as he'd like to be and has wants and needs moreso than he really likes to admit. I like him as a book lover, as a fan of horror, I like him as the kind of guy who'd send fan mail to Elvira and break out of Arkham just to catch a Halloween parade and guest star in a Scooby-Doo movie for a change. I like him as someone who'd have a decent working relationship with the other rogues and pal with the Legion of Doom and get into a physical spat with Riddler over a chess game. Someone who custom-makes his own outfits and equipment, who makes scythes out of animal bones to fight Batman with, who picked the scarecrow motif in part because it was a term of derision his colleagues used on him.

Who pours himself over his research as he records his theories in a tape recorder, the kind of guy who grouses at having to clean another cell because he's getting annoyed at his test subjects killing themselves, seriously guys the cleaning supplies for this batch were as fresh as they could be, and the iguana amygdalas I used should be stopping your neocortexes from overreacting this strongly. Subject #3 over there got over his fear of centipedes yesterday and he hasn't screamed all morning, I'm gonna need the rest of you to stop being such babies, okay?

It must be terribly liberating for Crane, to transcend mere ugliness and become inhuman. Of all the rogues, he’s easily the one who takes Batman’s “I need a disguise; I shall become a beast of the night” schtick and runs with it the farthest - TheMindlessOnes's rogue review for Scarecrow

And that's for Jonathan Crane, man of science. The Scarecrow, however, is not science, he is unreason incarnate, and to me what most makes The Scarecrow work as a Batman villain has nothing to do with "they both use fear as a weapon", I always thought that was a bit shallow of an angle to pursue (most, if not all, the villains rely on fear, it comes with the whole "crime" thing). The two have a stronger connection via the costume, the theatricality, the becoming a creature of the night angle. None of the other major Batman villains are going into their costumes the way The Scarecrow is. They have their personas and varying degrees of division between them and their "real selves", but few of them are wearing outright identity-separating Halloween Monster Costumes with separate names and personalities they can dip in and out of at their convenience.

And I'm gonna interrupt myself to answer your second question. I couldn't pick just one design, so counting the Batman Live one above, I picked 10. These are not in order and they're not necessarily how I'd design him, I'd say my actual favorite Scarecrow designs are fan-made, but if I was going to pick out of "official" material these are the ones I'd go for. It's time for:

(Left-to-right: George Pratt's Scarecrow pin-up, Phil Jimenez's Scarecrow design, Ed Natividad's concept art for Suicide Squad)

(Left-to-right: His TNBA design by Bruce Timm as drawn by Luciano Vecchio, Alex Ross's design for Justice, and Tim Sale's Scarecrow)

(Left-to-right: Kelley Jones' design for Kings of Fear, Jeremy Raapack's design for Legends of the Dark Knight #25, Scarecrow's design in Happy Halloween, Scooby-Doo!)

*cough*, anyway: Most of the other rogues with their signature suits or masks or body distortions don't tend to have closets full of different variant Batsuits and scarecrow costumes to choose and devote to their cause and ideal, that they sit at night tailoring on how to make scarier or more loaded with weapons, that they might even have conversations with, things that sit in their closets waiting because both of these brilliant men, men who have (or at least had) different civilian lives, men who could stop doing this at any time, who both decided that becoming a Halloween monster prowling the streets to inflict terror is a necessary, even productive use of their time.

And I think that's the key word I want to end here, productive. I think The Scarecrow needs to be more productive. Because even if he's not aware of it, he is achieving progress via his research, and there is one way he's proved his ideas: Batman walks out of every fight they have stronger. Every encounter they have is a test that Batman resists and walks out of more able to cope with his own traumas, or at least, better able to resist them being weaponized against him. I always wanted to explore the idea that Crane is genuinely convinced he's doing people a favor or at least achieving something via all these horrible Scarecrow campaigns, and one thing he has achieved is that Batman is never not prepared for chemical attacks or assaults on his mind, Batman resists ungodly trials of willpower and determination and courage, in part because he has to deal with the Scarecrow pumping terror juice in his brain semi-regularly.

The fact that Crane loses and gets beaten up and has to retry schemes again and again and kill people and join the costume parade just to lure Batman is fairly inconsequential to him, so long as it gets results. He's not interested in dissecting Batman's brain or being more like Batman, that's Hugo Strange's thing. Hugo Strange needs Batman to be fearless, allmighty and perfect, where as Jonathan Crane wants nothing more than to unearth and study the fears and kinks in the armor, the dead last thing he wants is a perfect man. Hugo Strange wants to crawl naked into the mask of the great and terrible fascist and never come out, where as The Scarecrow wants to crack open all the masks in the world and feast luridly on whatever seeps out.

Batman isn't just the ultimate trial against his fear-ruled worldview (or even affirmation), and he isn't just a breakthrough waiting to happen: he might be his greatest success as of yet. A case study on the success of exposure therapy, proof of potential medicinal applications for his formula, the greatest guinea pig of all time because he won't die no matter what you pump into him, you name it. So what if all those other people couldn't stomach the procedure, so what if those precious innocents are too weak and stupid and useless to not get in the way of research, it's clearly worked wonders for those who could take it.

And if the future belongs to men like Batman, if all of these superheroes and supervillains are the way things are going to be like forever, if the future is Bat-shaped and as vast and uncertain and horrible as the forces shaping it, the future needs to be prepared. The future needs to grapple with it's past and face it's greatest horrors and become stronger for it. There is no such thing as overcoming fear, there is only living with it, embracing it, bowing to the primordial instinct that knows the answer before you do. Mankind grew and developed it's intelligence and tools out of fear, fear of the bigger predators out there, fear of the other cavemen, fear of starvation and death and everything they couldn't understand and master until they learned to fear it. What better knowledge to pass along than fear? And who is better qualified to teach about fear?

Maybe Crane isn't just another monster with a grudge, maybe he isn't another costumed revenge killer, maybe he isn't just a power-tripping sadist bully out to torment others because he can, and maybe he isn't a hopeless traumatized madman who destroyed his professional and personal life in a monstrous quest to satisfy an obsession ruling his soul.

Maybe he is a sane response to an insane situation. Ever heard that one before?