#and he thinks it's all for the greater good. he has to do this. it's his father's legacy. his kingdom's goal. he is now responsible for it

[all-pacas]

OKAY. 13 AND CHASE IN AFTER HOURS THO

The fact that when 13 needs help, she calls Chase. Why does she call him? Why doesn't she call someone else? She needs someone to deliver her a portable ultrasound, and okay, you could argue Foreman is a bad call because he's her ex and would pry. That House would just refuse. Taub would have been a good pick tbh, he would drop it off and just go home no questions asked. But no, she calls Chase

(And I love that call. "You doing anything?" "Oh, yeah, I'm just about to go out," Chase lies blatantly, asleep in bed with a book on the crusades on his chest. Like the loser he is. I don't know that it was done well but I love how S7 examines his Dumb Whore tendencies: it isn't really him, it's a rebound. He does it again when he gets stabbed.)

And of course the second he shows up he immediately sees through 13's excuses and pushes his way into the apartment. Because we love Chase's observation skills triumphing over his laziness.

13 tells Chase the prison backstory. Like! It's kind of glossed over. She hasn't told this to anyone else. She doesn't hide it. I killed my brother. It wasn't murder. Chase is just pacing, you just know he's twigged as hell, he's so anxious all at once as she tries to brush past it. The idea that 13 kind of had to tell him to explain Darrien's presence but she's also — House is the only other person who knows.

CHASE: Have you talked to anybody about it? I mean, are you okay?

Like we know this immediately triggered something in Chase, but 13 doesn't, and seeing him so anxious and pacing and ignoring the bleeding dying woman as 13 works, it's just. Incredible. It's good. He cares immediately, he's relating to this immediately.

But I love seeing them work together. Like they just immediately go in sync, Chase offering suggestions and 13 doing the work. They're just. It's nice.

SIDE NOTE: House says he called everyone before he called Cuddy. We see him call 13 and Taub. Chase is off picking up drugs, we don't see House call him, but like. He had to have called Chase first, right? Did Chase not pick up? Did he blow him off because he already was dealing with someone bleeding to death in someone's apartment??

The way they fight oh my god. The way 13 just is trying to fucking murder Chase. She punches him, she claws and shoves him, and then he just clocks her and stares horrified as she falls to the floor. Like it's an actual fight, it's brutal, it's so good. They hurt one another. I can't explain it but I love how brutal it is, that they both walk away with bruises, that it isn't pretty. Incredible. Amazing scene.

CHASE: You were defending your friend beyond all rationality, granting her the right to die in your bedroom. Was it really all because of a promise? 13: That word means something to some people. CHASE: Not that much. […] CHASE: You promised your brother you'd euthanize him and you think you won't feel bad about it as long as you can blame it on the promise. That's why you have this twisted obligation to keep all promises… or your carefully constructed defense mechanism could crumble down. 13: I saved my brother from a lot of pain.

!! Chase keeps bringing it up, he keeps bringing up her brother, not out of I can't believe you did a murder or I can't believe you went to prison but: you must hate yourself. He's calling her out on her coping mechanisms, he's calling her out on her guilt, and it's so fucking clear what he means is I get it but he's not saying that part. 13 killed her brother and now has to believe she did the right thing, no matter what, no matter how she feels. She's taking away her own agency: it was for a promise, it was his decision, she had nothing to do with it, it's fine, it doesn't feel bad. Chase killed Dibala and told himself it was for the greater good, it was morally just, it was the right thing to do, it doesn't feel bad. And it nearly destroyed him. And so he's pushing and pushing at it. He never goes 13 went to prison! he never goes it's so crazy you did that! Whenever he brings it up it's only in the context of how worried he is about her. Has she spoken to someone? Is she coping? Is this healthy? Is she okay? He's so worried. He cares so much.

I adore 13 and Chase running out of ideas with Darrien and calling dad. Most sibling coded of all time. Just. And the fact that House doesn't allude to also being in the hospital, actively bleeding and in pain, just, yes, we gotta help bail you two idiots out. Beautiful moment.

Chase getting 13 ice and coffee and still feeling guilty for punching her out, and 13 not blaming him at all. Like. You know. Don't beat people up. But in this one case I totally approve. Because I love it.

13: Darrien had to shoot that kid. It was the right thing. Completely justified. But it didn't matter. She destroyed her life trying to forget. I'm afraid that's what's gonna happen to me. CHASE: You really should talk to someone. 13: I've talked to a therapist. It didn't help. CHASE: Well, maybe you should talk to someone who isn't a therapist. 13: Do you really think you have any idea what it's like to live with something like this? CHASE: Let's grab a coffee.

Since the second Chase found out, this is what it's been leading towards. I love that he doesn't answer, he doesn't say a thing, but this is what he's been thinking all episode, why he's been pushing, why he's been so worried and caring: talk to me. Tell me you're not okay. Tell me everything isn't fine. And 13 holds it back until the end of the case, until it's over and she has no distractions. It's not at all clear Chase himself has talked to someone about Dibala, btw. He probably hasn't.

And how insane is that. He never told Foreman or House; they figured it out. He told Cameron: she left him. (Imagine being 13, hearing this. Realizing the timeline. She went to their wedding. What did she think happened when Cameron just … left? How quickly does she figure it out now?) House told Chase to talk to someone, Chase tried Confessing, but whenever he's tried to tell anyone it's gone terribly for him. I don't think he has talked to anyone. But he repeats House's advice to 13: talk to someone. (Talk to me.) He's offering her what he never got. And their situations are different, hers is much more sympathetic and easy to accept than his. Chase never goes I never got help or you have nothing to feel bad about or implies he doesn't think it's a big deal: his entire reaction is just empathy. He wants 13 to get what he didn't get, he wants to help.

The song that plays over the end of the episode is Bon Iver's Flume. And as much as you can apply it to House, and Cuddy, and Wilson, and all of that — it's a song about feeling isolated, feeling alone and being afraid of letting go. Of holding on to things that stain and hurt. The lyrics that play while 13 and Chase are having their coffee in the conference room, though:

i wear my garment/so it shows now you know

And I just! I love! Them! The ways 13 and Chase are so alike and so damaged, the way Chase reacts with empathy and care and wants her to have what he didn't, the way they know one another's secrets and worst moments and rely on one another so easily. 13's secrecy is a meme, in and out of universe, but Chase is absolutely no better: he won't even admit he's Catholic when talking to a nun. They're private to faults, they mask by sleeping around and taking risks and pretending not to care, they hide their hurts and then somehow, they punch one another in the face and know everything. I'm just. I'm so obsessed with them. I want them like this always.

[cosmicjoke]

Levi is What Historia Pretended to Be

One of the things that the fairly prevalent claims I see about Levi "forcing" Historia to become Queen, or "forcing" her to accept eating Zeke, or just the general complaints I see about how Levi "treated" Historia, gets me to thinking is how Levi is everything Historia only pretended to be.

When we first meet Historia, she's going by the name Krista, and she presents a personality and image which, on its surface, appears to be exceptionally selfless and compassionate. She's constantly asking after others, going out of her way to inquire as to their well-being, standing up for them and seemingly sacrificing her own comfort and self-interest to their benefit. But, in the same way we eventually learn that Krista isn't her real name, we also come to find that Historia's personality is just as much a facade as her false name. We get our first exposure of the selfish and self-serving girl underneath during the scene between her and Ymir, during their training exercise through the mountains in winter, when Ymir calls Historia out for her secretly selfish behavior. Historia tells Ymir to go ahead by herself to base camp, while she carries Daz by herself, and Ymir points out that if Historia really wanted to save Daz, she would have asked Ymir for help, since Ymir was stronger, and thus had a greater chance of saving Daz than herself. But she doesn't ask for help, because she wants Ymir to tell people about about her selfless, final act, sacrificing her life to save another's. Here we see exposed for the first time Historia's willingness to sacrifice others for her own, selfish gain. She pretends to want to save Daz's life, but in reality, she sees him as an acceptable sacrifice for her own glorification.

Of course, this is all wrapped up in Historia's childhood trauma and the feelings of rejection she faced from her mother, tied in with what Frieda told her about how to ingratiate herself to others by being a "good person". But the fact remains, Historia is exceedingly selfish, and we get our first glimpse of that selfishness here. Something that she herself at last admits to in the scene with Eren, in the underground cavern beneath the Reiss family compound. She calls herself "the worst girl in the world" as she finally casts off all pretense in trying to win her family's approval and love, rejecting her father's offer and embracing her own, selfish desires. She tells Eren that she doesn't care if all of humanity perishes, something that we come to realize is foreshadowing, when Historia's selfishness culminates in her standing by and doing nothing to stop Eren's genocidal plans, simply because it allows her to continue living.

I think Historia and Levi are a perfect study in contrast precisely because there are some similarities between the two of them in terms of their childhood's and trauma.

Both experienced abandonment and rejection as children. Historia by her mother, Levi by Kenny. Both, I think, suffer from fear of abandonment and this pervasive sense within them that they were abandoned due to some lacking quality in themselves. We see this with Levi in him questioning Kenny about why he left him, and later, in his comment to Armin about how if he sleep's any longer than he already has, they'll all forget he even exists. We see how both Levi and Historia's sense of self-worth is wrapped up in this idea of being useful to others. How their lives will only be of worth if they're able to somehow be of benefit to others.

But while Historia's abandonment issues manifested in her pretending to be a good and selfless person who, in truth, only "helped" others so long as it benefited her somehow, and who's selfless acts served as cover for her self-serving desire to be accepted and loved, Levi's selflessness was never an act, and his desire to help others was never rooted in some secret scheme to get others to like or accept him. While Levi might feel he's of no worth to others unless he's useful to them in some way, that was never the actual motivation behind his selfless actions, never the motivating drive. I think Levi's low sense of self-worth, in fact, only serves to highlight the genuine quality of his selflessness, because he never uses his actions to win himself praise, even as, surely, he feels bereft of love or acceptance, the same as Historia.

I think this is most clearly demonstrated by the fact that Levi, in sharp contrast to Historia, never engaged in behavior that was designed to ingratiate him to others, and in fact, is markedly the opposite of that, often behaving in ways that serve only to win him people's ire and, at times, even repulses people from him. People see Levi as rude and cold-hearted and without feeling. They see him as uncharismatic and crude, and often display lowly opinions of him, or even disappointment upon meeting him. Zeke even comments on this, accusing Levi of being "unpopular" because of his blunt assertions about what sort of person Zeke is, accusing him of being a "know-it-all". We see other soldiers accuse Levi of being heartless, accuse him of getting other scouts killed, accuse him of being insane and a bad person, and Levi never fights these accusations, never defends himself. He accepts all of this criticism without complaint or personal offense, and without ever trying to convince anyone otherwise about his character. He's never tries to convince anyone he's a good person.

Where Historia had pretty much made an art of ingratiating herself to others, of wearing a mask of humility and generosity and kindness, fooling people into believing her to be all of those things, Levi has never been able to do the same, and further, he never tried, because, unlike Historia, whether he was well-liked or not was never something that mattered to him. It was never the underlying motivation of his selflessness or compassion. It doesn't matter to him what people think of him. What actually matters to him is helping them.

The fundamental difference between the two, then, is that Historia's selflessness was always an act, always a ruse to win her approval and acceptance, whereas Levi's selflessness always just was what it appeared to be. Actual selflessness, acts committed for no reason beyond the benefit they would have for others.

And we see that fundamental difference between the two demonstrated, also, by the fact that Historia is willing to let harm befall others, particularly, other people who never did her any harm or posed her any threat, so long as it benefits her in some way, (i.e. Daz, and the entire human population on earth) while Levi has never been willing to let harm befall anyone for any sort of self-gain, again, particularly, anyone who wasn't already threatening his life or the lives of others, and, in fact, often sacrifices his own well-being for the benefit of others.

It's just amusing to me how often people will criticize Levi for being "mean" to Historia, or how many people make the false claim that Levi forced Historia into any sort of position or burden that she hadn't already committed herself to previously, because Levi is everything Historia only ever pretended to be. He's selfless to an extreme fault, not only not seeking recognition or acknowledgment for his selfless acts, but outright rejecting it when he does receive it (i.e. Erwin trying to thank him for helping capture the Female Titan, Hitch trying to accuse Levi of thinking he's a hero, his disdain for his title as "Humanity's Strongest"). His compassion is such that he'll sacrifice his own comfort and peace of mind if it means easing the burden placed on the shoulders of others (letting Erwin die, giving Petra's patch to Dieter, torturing Sannes, killing for the sake of saving others lives...), his belief in the worth of other people's lives so powerful, that he actively seeks ways to ensure those lives are proven to have value by imbuing their loss with meaning, and is absolutely unable to abide the thought of anyone dying a meaningless death, his care for his comrades so immense, that he would destroy his own body to protect theirs. He has no dreams of his own, but instead dedicates himself fully to the dreams of others, fighting with all his strength toward that end, not to win acceptance or praise, but simply for the fact that he feels it's his obligation to help, a sense of obligation born out of a deep, inborn compassion.

Historia was always purely motivated by people liking her and seeing her as "good", her altruistic behavior and actions designed to garner her that image and acceptance, never out of any, genuine desire to help, and we see that core truth about her eventually manifest in her willingness to let so many innocent people die for her own life.

Levi, by contrast, was always okay with people hating him, with people thinking he's a lunatic or a monster, as long as it meant those same people would be okay, would be protected from having to experience the same horrors he had.

[chefwhatnot]

A Too-Close Analysis of the Double Exposure Treatments from Duskmourn (2/2)

We return to the Double Exposure cards from Duskmourn! This post will be going over all the cards I didn't talk about in the first part, which is all the legends that don't appear in the main story (not including Altanak, Norin, and Arabella since they're all at uncommon so none of them got Double Exposure printings). Now, because we don't know much about most of these characters, this part will include a lot more educated guesses. Quick shoutout to wotc for posting the "Legends of Duskmourn" article a little bit earlier than they usually do so I have a little bit more to go off of. Away we go!

(Oh, and if you missed Part 1, you can find it here)

Toby, Beastie Befriender-

A creepy Jack-in-the-Box looms behind Toby's profile. Could simply be that kids are afraid of clowns, or perhaps something more? A Jack-in-the-Box is startling, and even though Toby says he has his Beastie friends to protect him, that would not make him immune to a brief startle, would it?

The Mindskinner-

A hand. Who is its owner? Unclear, but the clawed motif on the gloves make it almost look like it belongs to a Razorkin. From the Legends article, the Mindskinner is the fear of Razorkin, and employs a much more gradual and insidious methodology compared to the rest of the nightmares in the House. Based on this double exposure, it seems that not even Razorkin are immune to being targeted by its cruel whims. Plus, the only way to drive off the Mindskinner is to have your glimmer nearby, meaning Razorkin, who've already given themselves in to maddening pain make for easy prey. It might have enough intelligence to find this delightfully ironic, to torture that which first gave it form.

Kona, Rescue Beastie-

Overlaid on Kona’s profile is a set of canine jaws, facing the same direction as her. Two interpretations: one, that the prey instincts that were within whatever animal later mutated into Kona are still active and alive, that she still fears being snatched up by the jaws of some greater creature and devoured. Or, alternatively: those are Kona’s teeth. Beasties are, at the end of the day, as monstrous as anything else in the House, their masks being their attempt to conceal that fact. A beastie knows that if a survivor sees its true face, they will immediately flee in terror. The biggest fear of a Beastie is that its monstrous nature will be revealed, that for all its efforts it will terrify and lose those it seeks to protect. Or worse, that it will be the one to take them away, slipping back into bestial instincts.

The Jolly Balloon Man-

I've spent so fucking long staring at this one trying to figure out what the fuck that even is and I honestly have nothing. A kinda fucked up looking balloon animal? Some kinda I got nothin’. I will say, though, that I think the JBM's rictus grin is a very good demonstration of the way Razorkin have fully fucked up senses of pain/pleasure and such. But yeah I don’t like this one. Pass.

Rip, Spawn Hunter-

A skeletal hand, reaching upwards towards Rip, who has her back turned towards the viewer. Rip used to be a member of the Doorblades, the group of survivors who dedicate themselves to fighting back and eliminating as many of the House’s monsters as possible. Which, we know from the planeswalkers guide, is a group with a very high fatality rate. Turn your attention now to the flavor text on Came Back Wrong and the Duskmourn printing of Pyroclasm. Rip has a practice of burning bodies of those who fell in the line of duty. The skeletal hand is that of one of her former comrades, whose body she had to burn and leave behind. It represents doubt, doubt that she’s doing the right thing by cutting off any chance of grim revival for those who’ve passed, doubt that the human toll of spawn hunting is worth it. No wonder she prefers to work alone.

The Swarmweaver-

Ahh! The Bees! Not the Bees!! A living scarecrow beehive, with a giant bee layered on top. Insects, crawling within its being, beneath its wooden skin and throughout its spindly form. The Swarmweaver is a wickerfolk: maybe in life they feared what they now wholly consist of? Not a huge amount to go off of here- is what I would say if the Legends article didn’t confirm that the Swarmweaver can indeed still feel the corpse bees crawling around beneath its wooden skin, that they are constantly in pain and the only way they have to relieve that is to send the bees to attack others. Do you think they’re still aware enough to feel regret, for sending the source if their pain towards others?

Victor, Valgavoth’s Seneschal-

In front of his face is a moth, symbolizing his total devotion to Valgavoth. In the flavor text for the Special Guests printing of Sacrifice, they describe a ritual where cultists allow their fears to be fully consumed by the house, allowing themselves to be reborn. Victor has apparently undergone this process dozens of times, no trace of his original self remaining. The chain of eye-marks on the moth’s wings connect to Victor’s glasses. His fears are now inseparable from Valgavoth’s being: in a way he has made himself part of the house.

Marvin, Murderous Mimic- Another hand! Now, originally I assumed that this was the hand of the Razorkin who used Marvin as an intimidation tactic and possessed him, but according to the Legends article, Marvin isn’t possessed at all, and merely “quickened” when the Razorkin grabbed him by coincidence. Which is… not what I expected from the Chucky analogue and makes it a lot harder for me to explain what the skeleton hand means. Cool. I do still think the hand might represent a lack of agency, a vague memory of being used as a puppet by whatever ventriloquist originally owned him. Beneath all of Marvin’s psychotic behaviors is the fear that he might still be no better than a puppet after all.

And that’s all folks! I hope you enjoyed this writing exercise and all my philosophical wankery about this silly card game. I’m literally in the middle of my prerelease event so I gotta go now. Also plz read my magic the gathering fanfiction i have a lot of it and crave comments

[russilton]

Sorry but it's obvious Mercedes wants George to be above Lewis in wdc and is doing everything to achieve this. I don't know why you justify this team so much.

I honestly loved your account and your opinion but I just can't agree with you here. Ferrari does stupid things but at least they don't play with showy priorities.

Why would they want that though- genuinely, why would they want that, it makes them no extra money, it gets people yelling at them, and they have had multiple DNF’s for George this year that sure seem like a bad look if they’re trying to master mind this shit. In this race that masterminding would lose them points and money, Merc never, ever, want a situation where they lose money. They are a business.

Merc suffer from successful idiot syndrome- when they do a risky thing and it works out they look like geniuses, but sometimes you do a risky thing, it doesn’t work out, and to everyone you look like morons. Look at Oscar passing George now when he started 5th. George also would have come out behind Lewis had he not ran long with yuki— but as shown ultimately Merc’s strategy was safer than McLaren’s, but makes them look bland when mclarens risk works out. If there has been an early safety car like there usually is, or if he had made overtakes on the start, Lewis would have looked clever as hell for going soft

Tire picks are not uniquely up to the driver, but they are also not decided arbitrarily by the team either- they are made in combination with strategy and lewis’ engineers Mike and Bono, there’s a reason Lewis Bono and Mike will have seperate meetings on Saturday to Lewis Marcus and Chris. They are working in combination but still racing each other, look at SPA— that was not them deciding not to do for Lewis what they did for George, that was lewis’ team playing it safe, and not accounting for George’s team having nothing to lose and playing risky.

All of this is really boring, it doesn’t sound as compelling or spicy as some great conspiricy theory about fucking one driver or the other over as we have had FOR THREE LONG YEARS, but it’s just what’s happening when you don’t have the quickest car and you’re trying to claw ahead of the quicker guy ahead. I would love some great silver bullet that if we pulled would fix everything but it doesn’t work like that. Sometimes you gamble on something with your best assumption as to what might happen, and you don’t get it, racing is boring like that, because you can’t will your way to being be a bit faster like in a foot race, you are limited by the car you have.

I know this is annoying and it feels extra shitty because you can’t do anything about it, and if there’s a greater plot then you can justify that feeling easier, “I can’t get by because they are out to get me” is easier than “I can’t get by bc we just don’t have a good enough car”

But that’s the reality of this sport. And it’s so fucking annoying I get it, you think I don’t frequently partake in “McLaren’s are cheating and redbull is evil and my special guys deserve more” ? Of course I do, that’s also part of the sport. If I had had my way Lewis would have won today I wanted it so badly, but as evidenced by McLaren and ferrari getting by us we just didn’t get it right today. It sucks whole ass but that’s what it is.

Grit your teeth, kick a wall, curse the heavens, move on.

[girlfatherfigure]

What actually happened during the cell saga was not a matter of goku misunderstanding gohan or thinking gohan was exactly like him it was actually goku knowingly setting gohan up at the centre of the conflict with the understanding that gohan would not want to willingly fight and making that choice all the same. It is actually goku making himself into the bad guy because he’s prioritizing victory over what he knows gohan wants—which he is aware is awful from his point of view as a father, but it’s a sacrifice he’s willing to make for the greater good

When goku says this:

He’s really saying “if you want to be able to accomplish these things in the future, then you have to be able to push whatever you’re feeling to the side right now and fight.” He actually cares a lot about Gohan’s preferences and what gohan wants to do with his life—but at this point, he’s telling gohan the battle takes precedence over it all. He’s keeping his composure as he basically sends gohan in blind, because this plan was always his secret weapon; chi chi even tells goku before they leave in front of gohan to make sure gohan doesn’t fight, and goku jokingly brushes her off, neither confirming nor denying it. It’s his calculated final ace, and although he acts like everything is going to plan while his son is literally being beat to death before his eyes it’s piccolo who snaps him out of it:

When he has this entire speech. This is where goku kind of Breaks and freaks out because first of all this entire thing is a gamble—he’s betting the entire world on gohan bringing out this potential that he’s never fully brought out before, and if goku is wrong and that potential was never there to begin with, it’s just going to spell death for his son. Goku ends up being correct about gohan’s strength, but this leads to people saying piccolo was the one who misunderstood gohan—which is also incorrect. Gohan’s thoughts in those moments before he managed to break through the wall and go full power were definitely full of confusion and hurt; after all, he had no idea his father was going to put him up to this. Piccolo tells goku “gohan doesn’t like to fight” which gohan literally confirms here:

And ultimately, while goku does know his son, he overestimated how easily gohan would be able to harness his strength against cell massively. It’s a detrimental mistake that leads to gohan being injured gravely before he transforms, and after gohan finally breaks through that wall, the ego that comes with the power boost and just how mentally broken he’s been with the fight is all wrong—and goku sees that. Which is why he steps in to help for the final time, and… we all know how that ends up, even though again, it is gohan who defeats cell the way goku predicted he would. It just came at a cost much larger than goku was imagining, or maybe he was aware of it and didn’t fully realize the ramifications until it was happening in front of him in the flesh. It’s a big reason goku stays dead—he says he’s the one who keeps bringing danger to earth because of how often he’s targeted, and he never wants to have to see gohan like that again.

[bibibbon]

Hi, so I was thinking about and as much I think shig and Izu are underveloped as fuck...I was thinking...what if the saving arc thing was in reverse?

Shig sees how the heroes mistreat Izu, who in his eyes must be the most innocent person in all this mess, and decides to save him?

Sure sure it would need some tweaks as Shig needs to stop being all destruction and be afo's bootlicker.

But imagine the idea

Shiga, a villain, is set to save a hero.

Imagine of the possibilities. And if we want a war...why not Izu and Shig against the hero society and the status quo?

Hi @mikeellee 👋

This is an interesting route to take shigaraki and izukus characters and dynamics in.

While I do perfer the idea that both izuku and shigaraki want to save each other believing that the other needs to be saved and that their method is the best.

This is an equally interesting scenario that would add more development and interest to just izuku wanting to save shigaraki because he saw a crying kid.

For this scenario to occur there will be some adjustments required such as shigaraki coming to the conclusion that he wants to actually save something or someone instead of destroying everything. This can be easily achieved by having izuku and shigaraki interact more with shigaraki coming to know and understand izuku better as a person and vice versa. Shigaraki needs to understand izuku to a deep core level to even understand just how mistreated izuku was in the past and is kind of now.

You can start with shigaraki in the mall going to izuku for advice and have the interactions build up from there. Izuku won't tell anyone due to a variety of factors like not fully trusting adults and believing that its better if he were the one to talk to shigaraki since he isn't being harmed by him.

Ultimately, the closer they grow the more they share to each other and the more they see each others lives in different lenses which has shigaraki helping izuku see that the way he is being treated by bakugo is wrong and that all for one is just manipulating shigaraki.

Obviously, it would take a lot of development to even come to this point and it would be interesting to add obstacles within their paths whether that be the downfall of all for one and all might, the overhaul arc and the rise of the MVA , etc.

Finally, moving back to the first point the series would have an interesting irony in where a villain wants to and is willing to save a hero. Where a villain manipulated for the means of evil breaks that structure because he wants to save a hero, where a villain becomes more humane and heroic than the others, where a villain understands and develops helping change society for the greater good with the resources he has due to the MVA.

The same can apply to izuku but in the opposite way.

[aithemeisterr]

what keeps me up at night? (spoilers ahead for aot and jjk)

the parallels of levi and gojo. and how people lack comprehension skills and mischaracterize both characters to attractive older men.

now i’ve always seen the similarity but was never able to put it to words so shoutout to @/lauravpvp on tiktok. they talked about levi and gojo having to bear the title of ‘the strongest’ but not the chosen one. In both of their respective worlds they were treated like weapon, the solution to all the problems, they weren’t allowed to show their weakness even in grief because they were the hope the world relied on. But neither Levi or Gojo are the main characters, even in the end their strength, abilities, skills, could not save their worlds alone. Quite tragic and ironic that these heros aren’t able to save their worlds. So you would think they would do everything to protect their closest friend? NOPE! they know their role in the world they know they have to make sacrifices for the greater good. Did Levi want to choose armin over erwin? No, but he had to. Did Gojo want to kill sugeru? No, again he had to. All for the greater good. So you would think maybe they would get a little grace from their universe, WRONG AGAIN. time and time again they are faced with death and loss. over and over again. death of children and adults they cannot mourn over all of them but they keep living to fight for them and not let their deaths be in vein. even after all the hell their universe has put them through they still protect the kids who were put under their wing.

and to really top it off, levi and gojo saw the potential a kid could have to change the world. only to get betrayed by them and nearly get killed/killed (sorry gojo may he rest) by them. (yuji did nawt kill gojo but it was his body that sukuna that did blow off our blue eyed kings torso so i can’t imagine the pain he felt knowing the body of the kid he had faith in was the one to end him)

they are my roman empire. thank u for my late night ted talk

[luna-rainbow]

Hi

Like your posts especially your Bucky posts. He is my precious cinnamon roll, and a character whose popularity makes sense.

Can you explain to me why T*ny Stark though is so popular? I just... cannot see the appeal of him. He's self-righteous, self-centred, reckless, irresponsible and very likely narcissistic.

Also, for all his fans go on about how "sacrificial" he is I do not see it. Or rather, its not actually that admirable to have to sacrifce yourself to solve the problems you created in the first place! That's just... being a decent human.

Now Cap, there's a guy. Resisting authortarinism and fighting for freedom all his life. T*ny though? He's like "yeah kill myself to kill he villain my father/me created". Nope. Not a hero.

Even in Endgame, he's selfish because he's not willing to even give his backing to the Time Heist if it might negatively impact him/his family.

Why do people see him as such again?

Thanks for the ask!

I think most people like characters for a few reasons: a) they think they are their blorbo, b) they want to be like their blorbo, and c) they want to have sex with their blorbo.

Tony, especially with RDJ's portrayal, is exactly the kind of guy that appeals to the intended audience of the comics-loving (mostly male) fanbase: who identify with Tony's "intellectual and pragmatic" over sentimental (ala Pepper) or moralistic (ala Steve), and who wishes they could be the playboy billionaire who has all the sex and buys all the toys and shrugs off all the accountability. Tony is 40 but RDJ plays him like he's 14, he's misogynist and self-centered, cocky and reckless, who won't listen to anyone else's advice because he genuinely believes he knows better until real life proves him wrong (...so many socialised males are like this...)

To be honest, on the one hand, I can see why Tony appeals to the audience. He's at once a a reassurance and a fantasy. If you take away his billionaire status, he's an extremely flawed (all the ones you've listed and more) middle-aged guy who struggles to maintain human relations and makes frequent mistakes but does strive, at least in the earlier movies, to try and do the right thing. I think a lot of people relate to that, because most of us are lonely and messed up and likely misunderstood to some degree. But he's also very much a power fantasy -- he's swimming in money (if you forget where it comes from), surrounded by fawning hot women, he has fast cars and a man cave to tinker with his hobby while his girlfriend/secretary does the real work of running the company. He then gets the ideal redemption story where he proves all the accusations of immorality wrong by doing A Good Deed, and all the fame and glory that comes with it. Yeah, some fans like to lean into how he's still ""misunderstood", but his critics in universe are the minority, and his new hero status has enabled him greater access to what is essentially political power and intelligence networks.

To me, Tony's appeal lies in his struggles and the redemption. He is a morally grey character just learning to look beyond his own needs and still occasionally relapsing into self-centered recklessness. His story was never one about sacrifice - because as you say, doing the bare minimum of fixing your own mistakes isn't sacrifice, it's being a grown up.

And I ignore Endgame XD

[kurithedweeb]

I just learned why Shad hates Irene in canon and knowing what I do now about everyone’s favorite the Matron, I can say with my whole heart,

What the hell, Irene

[bumblingbabooshka]

[Tuvok & Janeway: Control, Distance, Duty & Connection.] Sources: St Voyager Transcripts / Mitski 'First Love Late Spring' / Disco Elysium

[rmbunnie]

Red Hood Characterization

This is really long so I'm putting a cut here, I've been thinking about Jason Todd's character motivations and the question of whether or not his actions are based in a Moral Code (I don't think so, not to say he's without any morality) and I talk about that in more depth here.

I saw someone say on here that Titans: Beast World: Gotham City was some of the best Jason Todd internal writing they'd seen in a while, and I've been a Red Hood fan for 8 years or so now? pretty much since I read comics for the first time, so I went and checked out and I thought it was good! The way the person I saw talking about it as if it was rare and unusual made me wonder though, because as well-written as i thought his stances on crime were, there wasn't really anything in it that went against the way I conceptualize Jason?

This kinda plays into a larger question I've been thinking about for a while with Jason though, which is that, do people think that the killing is part of a fundamental worldview that motivates him a la batman, and that worldview is the reason he does the things he does?? Because 8 years ago i was a middle schooler engaging with fiction on the level that a middle schooler does, so I simply did not put much thought into it beyond "poor guy :(" but ever since I actually started trying to understand consistent characterization, I don't really see Jason as someone who's motivated by a moral code in his actions the way batman or superman is!

tbh my personal read is that he's a very socially-motivated guy, his actions from resurrection to his Joker-Batman ultimatum in utrh always seemed to me like every choice made leading up to his identity reveal was either a. to give him the leverage and skill necessary to pull off his identity reveal successfully, or b. to twist the knife that little bit more when he does let Bruce find out who he is. Like iirc there's a Judd Winick tweet like "yeah tldr he chose Red Hood as his identity because it's the lowest blow he could think of." And I think that's awesome, I think character motivations rooted so deeply in character's relationships and emotions are really fun to read! I also think it's where the stagnation/flatness of his character comes from in certain comics, because if his main motivation is one event in one relationship that passes, and he is not particularly attached to anything in his life or the world by the time that comes to pass, it's a little harder to come up with a direction to go with the character after that, because there isn't much of a direction that aligns with something the character would reasonably want? But I do think solving this by saying "all of the morally-off emotionally driven cruelty he did on his way to spite Batman was actually reflective of his own version of Batman's stance that's exactly the same except he thinks it's GOOD to kill people" isn't ideal. To be fully honest, it seems to me like he never particularly cared one way or the other about killing people to "clean Gotham of crime," he just did everything he could to get the power necessary to pull off his personal plans, and took out any particularly heinous people he encountered along the way (like in Lost Days.) Not to say I think the fact he killed people keeps him up at night anymore than everything else in his life events, I just never really thought he was out there wholeheartedly kneecapping some dude selling weed or random guy robbing a tv store for justice.

Looping wayyy back to my question, Is this (^) contradictory to the way he's written/the overall average perception of the character? Because like I enjoyed his writing in Beast World i have zero significant issue with anything there, I just didn't believe it would be a hot take, like yeah, that is Jason. It's been a while since I've read utrh and lost days, but I don't think my takeaway directly contradicts either of those too bad iirc. Idk all this to say I think Jason killing and being alright with killing is an obvious and objective fact, but i guess i've always seen it as more of a practical tactic than a moral belief, and I think taking the actions made during the lowest points of a character's life where he is obsessively focused on this ONEEEE thing and trying to apply it as a Motivating Stance to everything he's done after that, doesn't really follow logically for me.

[monty-glasses-roxy]

Hold on something's just hit me.

If everyone in the Plex were to believe that Gregory dropped Cassie at the end of Ruin to keep himself from being found, whether he did it or not, wouldn't that make Roxy to one most able to understand him?

As Mimic's guard dog, surely she would know the lengths you have to go through to keep that fucker trapped. A whole team of Raceway construction workers went straight to their deaths down there. Roxy won't let the Raceway be repaired and re-opened in order to keep people safe. She's probably been able to see Mimic and its victims through the floor this entire time, she knows what it can do and what it's done, even if she doesn't know the full extent of it.

She's willing to sacrifice her Raceway and Salon to keep people from finding Mimic. Her pride and joys, basically her whole reason for being built in the first place. They're not worth the risk to her.

Whether Gregory sacrificed Cassie to keep Mimic trapped or not, surely Roxy would realise some sort of similarity. She may think doing that to Cassie was too far, she may think he's a monster for even considering it and she may feel as though nothing could justify what he did... But there's a part of her that gets it. The absolute terror that comes at the slightest possibility that Mimic could escape. She gets that sacrifices have to made, fuck she's made those sacrifices herself. She would never have sacrificed someone for this, that's why she ran headfirst at Mimic instead of just sealing the exits again, but there could be that tiny little part of her that feels the need to constantly to remind her that Gregory was trying to do the same thing she was.

The key difference here, is that if Gregory had done it, it would fall in line with almost everything else we've seen him do. The sacrifices he makes, are of other people, and not himself. He sacrificed Roxy, Chica and Monty to upgrade Freddy for his safety and possibly the safety of Vanessa. If he also dropped Cassie, then he's once again sacrificing someone else for the sake of his own safety. Not like he has that much else to lose, but I'm drawing comparisons here.

Roxy on the other hand, sacrifices herself. She sacrificed her Raceway and her Salon for the benefit of both herself and others. Unlike Gregory finding himself in a hopeless situation and hurting others to get out of it, Roxy was given this job (probably) and chose to give up what little she has in the world to keep the situation from happening. Even when Cassie deactivates her and ends up face to face with Mimic, Roxy jumps straight at it to buy her time to escape which could have easily killed her.

So now you have Roxy, who unfortunately does understand Gregory's choice to drop Cassie (if she believes he did it which yeah she probably does) but has absolutely no sympathy for him. She couldn't care less about him. There's potentially a fearful little voice in her head that she's the same as Gregory that fuels her anger towards him even more. She hasn't ever sacrificed someone else to keep the Mimic at bay and she's been doing it for fuck knows how long, what gives Gregory a free pass? Maybe if he hadn't stolen her fucking eyes she would have been able to stop the whole thing from getting that far anyway!

I'm not saying this to frame Gregory as a villain or anything. I don't think he dropped Cassie and I still think it was entirely Freddy's fault for what happened to the others in SB. I just think this is interesting from a character stand point. The one person that could understand the choices they've made to keep Mimic from escaping is each other, but they're both too hateful of each other for it to affect anything... If they were ever to settle their differences, I think it would have to start here. The only common ground they share, is the one thing no one else does.

But Gregory didn't even fucking do it so I bet that goes well lmao

[gomzdrawfr]

If u see me descend into madness or the sad in these few days it’s either because of my fever + cold that has made my brain fuzzy (and thus, susceptible to rollercoaster rides of emotions) or the way im knees deep in elden ring lores (which are both magnificent and also depressing)

[shizukais]

[stairset]

Love the idea here that the other rebels' problem with Saw is just that he blows shit up and not the whole "torturing prisoners and endangering civilians" thing

[bullagit]

i think a not-insignificant amount of the heartbreak crowley’s feeling in the end is  because he’s finally truly understanding that what’s happening with aziraphale (as he perceives it) isn’t something that he can save him from.