#and wanting to meta or write a thing

[aparticularbandit]

In which I spent forty minutes stuck in the snow in the driveway and am now safely not halfway in the road anymore and, uh. Hey, look, I have suddenly some free time, LET'S DO THE 2-4 CASE TRIAL.

[aphel1on]

AURGH auwarghh the autistic parental trauma... the epi was wacky hijinks then dropped this on us out of nowhere... (sobs) laios... laiiiiooooos

[antiqua-lugar]

I love that hickey is trying to insert himself into some kind of relationship with crozier but like every niche he tries is already filled by someone else. us irish should stick together - no, crozier's colonial parallel is silna. let me be the little guy on the captain's shoulder - no, that's jopson. surely the flogging will change something - yeah, for thomas hartnell. well he hates me now but he'll surely see my inner depths - no, that's fitzjames.

and then hickey finally technically succeeds at becoming like the only man crozier wouldn't forgive - he kills a whole family! he massacred the men! he makes him eat goodsir! he loots fitzjames' boots from his grave! he leads them to doom and worse doom! - and when he is giving his villain monologue crozier only reaction is just. you could have joined up.

[moongothic]

Crocodad AU where immidiately after having left Dragon and his baby boy Crocodile finds an 11 year old Robin. And while he's 100% only recruiting her so they can make a beeline for the Poneglyph and Pluton in Alabasta by the two of them... Crocodile accidentally sorta kinda adopts Robin.

At this point Robin's been running for her life from the Government for three years so her deep trust issues and fear of betrayal are starting to take root in her little heart. Like perhaps they haven't taken fully over yet, and being still a child I'm sure Robin might've still had that genuine hope that she could find a safe place to stay in. But I'm sure the though of "what'll he'll do with me once he gets what he wants?" would be nagging at her at the back of her mind. Meanwhile Crocodile's struggling between the pain and hurt he's already gone through and given him his trademark trust issues, as well as the aftermath of The Dragodile Divorce. But he also has his Fresh Paternal Instincts and probably misses his baby. So when given a small, scared child who is running for her life, being chased by the very same Government that'll want his son dead if they ever find out about him... Yeah that might fuck with your brain a little

You know this post was supposed to be just that first paragraph and just a few footnotes from the following two paragraphs. And then I kept on Having Thoughts. And I kept on writing them down. And oh no what happened when did this post get so long (Look I was going to either kept on writing my Additional Thoughts in the tags or I just put them in the actual fucking post)

Like considder this: based on this one SBS, we can kinda tell that if Crocodile was given a chance to raise a child, that child would be a spoiled little shit, right

So in this scenario, where Crocodile's looking after lil Robin, would he be kind of torn? Unsure how to feel about her?

Because on one hand, this strange child would have the potential to not only ruin his plans, strip him of his Shichibukai Privileges by outing him and his plans to the World Government, but also put his son in grave danger by extension (if she found out about him having been involved with the Revolutionaries and/or having a child). But on the other hand, his paternal instincts could make him want to spoil this poor little girl rotten. But only because he needs to (perhaps literally) buy her trust so she'll behave. No other reason, he doesn't feel sorry for her one bit, no sirree. (But maybe he did feel sorry for her, since his son could very well end up exactly like her. Poor little thing) (Which is why he needs to nuke Marijoa out of orbit as soon as possible, no matter the cost, and this child can't get in the way of Crocodile protecting his son) (But also this is a child. Like how bad could she be. Besides all he really needs to do to win her trust is be nice and make her feel safe, right?)

Of course, while I'm suggesting Crocodile could have some parental instincts, realistically, he hasn't actually spent any time being, you know, a father to a child (looking after his newborn for an unknown though short amount of time aside), so it's possible he wouldn't even know how to parent Robin even if he wanted to, would he? (Like taking care of a newborn and an 11 year old kid aren't the same either) So if he was kind of just emotionally flipflopping between No Trusting Ever and It's Just A Kid for God's Sake, Crocodile trying to be nice to Robin to make her feel safe and then telling himself to stop being so soft and vunerable... Yeah that would make for an absolute mess of a relationship. (Not to mention, let's be real, dude's a scary motherfucker too, and a bloody giant compared to itty bitty baby Robin. He could keep on accidentally scaring the shit out of Robin (who would be On Fucking Edge To Begin With) by just Being Himself. Like for example, can you fucking imagine if he caught Robin trying to cheer herself up with a little "dereshishishi" only to tell her to stop because "it was stupid"? 'Cause I can imagine him doing that, and boy howdy would that make Robin feel bad)

Or who knows, maybe Crocodile was just Born To Be A Dad, maybe he just Fucking Gets It. Like Crocodile is canonically pretty good at manipulating people to do what he wants them to do (see: how he played Vivi like a fiddle), so knowing Robin's position and understanding how she feels, maybe he COULD completely nail how she needed to be treated. Not being too familiar but still making her feel safe and happy, knowing exactly when to be stern and when to spoil her, etc. Dude just goes off and wins the Dad of the Year Award while being a deadbeat dad himself. The only thing Crocodile would have to worry about then would be making sure HE doesn't get too fond of her. And certainly that could never happen, he's so in-touch with his own feelings and so grounded, he's not a softie, get outta here. Or maybe he does but never realizes until it's too late and good luck backpedalling on those emotions now dumbass

Alright so, the reason I went on that whole rmble is just that like. I'm so interested in the relationship Robin and Crocodile already have in canon. I'm so facinated and curious about how the two feel about each other, considdering they did spend 4 whole years of their lives together as criminal business partners, though neither ever trusted the other. A partnership that was only ended because Robin betrayed Crocodile, out of her own trauma. (God, I want to see these two "reunite" so bad, I want to know how they feel about each other now after the timeskip and Robin joining the idiot in flipflops who foiled Croc's plans)

My question here is just that... if they had met 13 years earlier, would things have been different? Especially if Crocodad Real? Because as I mentioned in the begining, Robin would've been on the run for only 3 years by this point, as opposed to 16 years before running into Crocodile. Simultaneously, this would be before Crocodile went onto spend an entire decade all alone, slowly losing his marbles in his emotional solitude. They'd both be emotionally traumatized, yes, but would it have been as bad in this scenario? Like I did start this post kind of joking about Crocodile adopting Robin, and for clarity's sake I don't think they'd have like a father-daughter relationship nececarily. But it would be a strange relationship still, because we'd have two broken people, both struggling to trust anyone. One who had lost her mother and her only friends, leaving her all alone and afraid while running for her life. The other a father who had just given up his son whom he probably missed dearly. Both having these holes in their hearts from loss of family, holes that could not be filled with replacements. But could they find comfort in each other anyway, because they still as people occupy similar roles to their respective loved ones? If they both could just get over those trust issues?

Okay I've been going off on the Emotional Side Of Things for this AU Concept, THERE'S PLOT TOO

So if Crocodile did pick Robin up like 19 years ago, that should be before he set up base in Alabasta, long before he had built is homebase and financial empire etc.

Now the thing is, while we don't know when, where and how Crocodile learned about the Ancient Weapons, Pluton specifically and how the lead on it would be in Alabasta... Considdering Crocodile did once upon a time aim to become Pirate King, it would make perfect sense if he had learned about Poneglyphs during his past adventures, as he would have needed to get the Road Poneglyphs to find One Piece. And while the World Government did bury the truth about why Ohara had been burned down and why Robin had been given her bounty (remember, the WG claimed it was because she had sunken a fleet of battleships, which she had not, it was because she could read the Poneglyphs), considdering this is a Crocodad AU specifically, you could totally make an argument Crocodile could've learned about what actually happened to Ohara from Dragon and co. So, just to make this AU work, you could just assume Crocodile learned about the concept of the Ancient Weapons from Dragon. And who knows, maybe he overheard the truth about why Robin had been given her bounty from Dragon too (maybe Dragon was able to get intel from Garp in secret) or while going to Marijoa himself to attend a Shichibukai meeting or something IDK.

Maybe he learned about Pluton being in Alabasta before finding Robin by accident, and maybe they made a beeline for Alabasta the second Croc recruited Robin. Travelling takes time and the guy would've most likely had to find an Eternal Pose to Alabasta just to get there (also canonically Robin didn't enter the Grand Line until her 20s so they should've met in West Blue probably, since that's where Ohara was) Or maybe Crocodile had to haul Robin around for a few months while looking for That Missing Piece of Information that would lead him to Alabasta. (Imagine the two travelling from like island to island, library to library, Crocodile trying to find that leads while Robin's just so excited about ALL THESE BOOKS (she's helping too with the research) (but to her, research is playtime, so she's just having the time of her life) (Also, notice how Crocodile's Theoretical Child is a fucking loser ass nerd? Yeah Crocodile would encourage Robin reading and studying, surely. And that would be fucking cute))

But like, once they set sail to Alabasta...

Sure, Crocodile could try to do it The Slow Way that we know he tried in canon, building trust and creating his little empire etc. But also, in canon, Crocodile couldn't have jumped into action head first because without Robin, even if he had found the Poneglyph he couldn't have read it and found the location of Pluton. Crocodile choosing to do it the slow way may have been partially because he didn't have much of a choise and it could've felt like the smarter move long-term.

But in this scenario, he already has Robin. Yes, he could do it the slow, secure way.

But what'd be there stopping him from infiltrating Cobra's palace and kidnapping him (in the night, when nobody suspects a thing), demanding Cobra to spill the beans lest Crocodile kills him and/or his pregnant wife* (*Vivi was born 10 months after Luffy so depending on how long it's been between Crocodad leaving Luffy behind and this scenario... Yeah either the wife is there, still pregnant, or there's a newborn Baby Vivi)

Like it'd be a risky move but depending on how ballsy Croc's feeling and how confident he feels in being able to kidnap the king without being noticed... Yeah he could probably do it. And I'm sure he'd have no problem killing Cobra either, if anything it'd be required if he didn't want the Government to find out he was out to find Pluton, and god knows Cobra would tell on Crocodile if left alive. I could see Crocodad being maybe a little iffy about killing Baby Vivi though (it's not like the newborn baby could report him to the WG anyways), but if nothing else, he just needs to be able to pull off the bluff of his life to convince Cobra to do as he's told. And we all know Crocodile's good at convincing people.

The only question is, how would Robin take that?

Watching Crocodile go into Full Murder Mode, hearing him say he'd kill a pregnant woman/a newborn baby if he didn't get what he wanted? Like yeah, I'm sure 11 year old Robin would be fine with that, that wouldn't make any alarm bells go off in her head at all, it'd be fiiiine. IT WOULD NOT BE FINE, SHE'D BE SCARED SHITLESS. That fear of "what will he do with me when he gets what he wants"? Well, Robin may not have found the answer to that question in particular, but she certainly found the answer to the opposite question, and it's not good

So say Cobra, kidnapped (perhaps with Baby Vivi) by Crocodile in the night, guides the two to the Poneglyph under the tombs. Crocodile puts Cobra out of his misery because he's not needed anymore. And he asks Robin to read the Poneglyph for him.

Robin, who has spent the last little while, be it weeks or months with Crocodile, him having become her "guardian", the thing keeping her safe. Crocodile, who has now shown how cold blooded and cruel he can be. Robin, who might be scared out of her mind. Of him.

And the Poneglyph says Pluton, the thing Crocodile wants, isn't there. It's in Wano.

What's she going to do?

EDIT: I wrote a sequel post, enjoy

[luxaofhesperides]

Soulmate AU: First Words + End of the World ; requested by @justwannabecat!

Duke has long since accepted that he doesn’t have great luck. Most things in his life tend to go wrong very quickly, or complicate situations he was already struggling in (see: being a meta and getting his powers in the middle of a fight). Having an incomprehensible soulmark is an unpleasant discovery on the morning of his nineteenth birthday, but not entirely unexpected.

He had been hoping for something simple, a common one like hi it’s nice to meet you or sorry, didn’t mean to bump into you.

What Duke gets instead isn’t even words. 

Scrawled across his left hipbone is a string of symbols glowing a faint green. They’re not in a language he recognizes, and the symbols seem to move, shifting ever so slightly so they look different every time he blinks.

“Well,” he says after a solid five minutes of staring into the mirror, unable to rip his eyes off his soulmate’s words, “I hope theirs looks nicer than mine.”

He spends his birthday in a bit of a daze, enjoying time spent with the Waynes and his friends. It’s hard to be fully present when he’s all too aware of the soreness on his hipbone flaring up each time he moves. It’s hard to keep his mind off of it, wanting nothing more than to search for answers, unravel the mystery of his soulmate’s first words.

“Something on your mind?” Jason asks, as the attention shifts off of him for a brief moment as Harper and Cullen get ready to leave and everyone rushes to give their goodbyes,

Duke shrugs, carefully keeping his hands still so they don’t drift to where his soulmark is hidden beneath his clothes. “Yeah. Nothing you need to worry about, though.”

Jason looks him over critically, then nods. 

Duke resigns himself to being investigated by the rest of the Bats. If he’s off enough that Jason had to comment on it, then that means everyone’s noticed and are trying to figure out what’s happened. They’re not going to ask him, because they think he needs space to work through whatever’s got him so distracted, but they’re also not going to just do nothing. 

This won’t be the first time they’ve done this. Duke expects it. Frankly, it would be stranger and much more concerning if they didn’t try to dig up all his secrets the moment they caught wind of him hiding something.

He’ll tell them about getting his soulmark soon. Soulmarks can appear on any birthday between the ages of thirteen to twenty five; they might suspect he got his, but they won’t be able to confirm.

For now, Duke can keep his soulmate’s first words (whatever that gibberish means) to himself.

He makes the decision then and there, as his birthday party winds down, to tell them in a week.

And because his luck is abysmal, a world ending threat hits five days later and suddenly there is no time for soulmarks and first words.

Duke is the last to arrive at the Fortress of Solitude, hitching a ride from Superboy to get there. The biting cold and the harsh winds keep the place far from the reaches of the rest of humanity, surrounded by nothing but deadly white. 

Desolate as the landscape is, it’s still in better shape than the rest of the world.

Things would be better if it was alien invaders. It would be more bearable if some sort of cosmic colossus tried to eat their solar system. At least then there would be something physical that they could fight.

Instead, the world is breaking apart, the sky and earth both fracturing to reveal glowing green faultlines. Timelines are getting mixed up and muddled; just yesterday, Duke had to evacuate a building that had been demolished forty years ago, then stop a gang leader who wouldn’t be born for another eight years from taking over a neighborhood block and holding the residents hostage. Strange creatures are appearing out of nowhere, crawling out of shadows and tide pools and from beneath the roots of trees, all horrible, monstrous things that go after people with teeth and claws. 

The Flashes and the rest of the speedsters are nowhere to be found. The last time anyone get communication from them, it had been Impulse sending Red Robin a glitchy, barely audible video chat saying something along the lines of “trying to fix—unstable—keep us here—never been alive before.” All things that are very concerning to hear, made worse by the fact that no one had been able to contact them at all. 

The quiet loneliness of the Fortress of Solitude is a welcome change from the constant screaming, death, and destruction that’s taken over Gotham as well as the rest of the world. Last he heard, even Justice League China was at the end of their rope. 

“In here,” Superboy instructs, guiding Duke through the halls. There’s no time to look around at Superman’s secret base. All his focus is stuck on staying conscious for another few hours to see if this gathering of heroes is able to find a solution to the world breaking apart.

Batman stands besides Superman. Both nod at Duke when he enters the room. Wonder Woman is watching over John Constantine as he writes something on the floor, muttering under his breath. The rest of the Justice League lean against each other, visibly exhausted as they wait for Constantine to finish up what he’s doing. A few other heroes are here too, and Duke goes to join them where they lean against a wall, fighting to keep their eyes open.

“Hey,” he greets, voice low. “Hanging in there?”

Wonder Girl sighs. “Somehow. I don’t know how much longer we can do this. There’s just too much…”

“We’ll get through this. I mean, even without us out there, plenty of civilians have formed rescue and relief groups to help with keeping things under control,” Speedy says, gently knocking her arm against Wonder Girl’s. “We just gotta keep going. No giving up.”

“What’s this plan, anyways? I just heard that they needed me here to some attempt to fix things.”

“Well, without the speedsters, you’re kind of the only one who can help with time and power related stuff,” Speedy says.

“That’s definitely a stretch. My powers don’t really have anything to do with time. It’s all just light and shadow.”

Speedy shrugs. “Well, you’re here, aren’t you? Too late to complain about it now.”

Duke doesn’t get a chance to say anything else when a loud clap catches his attention. The entire room goes still and silent as Constantine stands up and surveys the circle and symbols he’s written, taking up an entire corner of the large room. 

“Alright,” he says. “Time to get started. Remember, let me do the talking. If you have to speak, it’s only to back me up or when a question is directed to you.”

Batman nods to the other Justice Leaguers, and suddenly everyone is falling into formation behind Constantine. Duke hurries to join them with Wonder Girl and Speedy, taking a place on the edge of the group where he’s a little closer to the circle than the others. 

Constantine begins chanting. His voice is steady though none of the sounds make any sense, refusing to form themselves into recognizable words, and the air the in the room feels heavier. The chalk circle glows a blinding white and Duke can see magic swirling through the air, his power kicking in the let him watch as reality tears and a glowing star in the shape of a boy comes out of it.

Duke blinks, forcing his power down. The hypnotic swirls of magic fade from sight, but the boy still glows, bright and terrible as he floats above the circle and surveys them all. A crown engulfed in blue flame hovers above his head and the fabric of the cosmos is draped over his shoulders as a cape. 

Just from presence alone, Duke can tell that this figure is now the strongest existence in this universe. He hopes this boy king is kind; no one, not even Superman, would be able to beat him in a fight.

The boy king opens his mouth and speaks, but it’s not words than comes out. A strange static like sound emerges, but light and almost melodic. 

His left hipbone burns.

Duke gasps, hand flying down to it, and the boy king’s gaze snaps to meet his.

The world stands still. No one moves. No one dares to breathe.

And then the boy king drops to the floor and walks out of the circle.

“I thought you said that would hold him!” Batman hisses at Constantine, who is looking more and more distressed.

“It was supposed to! I wrote it specifically to hold the King of the Infinite Realms!”

The boy king glances at Constantine. This time, when he speaks, it’s in smooth English. “Did you name the king in your circle?”

“Yeah, I named Pariah Dark… Bloody hell, you ain’t him, are ya?”

“No,” the boy king smiles, “I’m Phantom.”

The cape and crown fade away, and suddenly it’s not an all powerful, terrifying king standing before them, but a young man with white hair and green eyes who looks Duke’s age. Like he could be any other new generation hero in the room. 

“Phantom,” Duke repeats lightly, just under his breath, but it makes Phantom look at him again.

He walks forward, ignoring the other heroes’ aborted attempts to stop him, coupled with Constantine’s frantic back off motion happening behind him. Phantom leaves the circle and the Justice Leaguers behind to stand before Duke, a soft smile on his face.

“Hi,” he says softly, “I dreamed of you.”

“You—what?”

“I dreamed of you. I have for years now. To think that being summoned was what made us meet—” Phantom breaks off into a breathless laugh.

Duke swallows, then drops his had from where it had been pressed against his hip. “So we’re really—? You have my first words too?”

In the corner of his eye, he sees Batman stiffen up. Maybe he should have just told them the day after his birthday, but in Duke’s defense, this is the definition of extenuation circumstances. 

“First words?” Phantom repeats, “Is that… Do we have different soulmate connections?”

“I think so. Here, everyone gets the first words their soulmates say to them appearing somewhere on their body.”

Phantom’s gaze darts down to Duke’s hip, then back up. “Oh. I get dreams. Where I’m from, we dream of our soulmates, and the closer we get to meeting them, the more we remember the dreams.”

“And you dreamed of me.”

“I did.”

“As touching as this is,” Constantine interrupts, and Duke gets to watch as Phantom rolls his eyes, “We summoned you here for a reason. Our world is falling apart at the seams and we need someone powerful, from the Realms, to help us fix it.”

“Okay.”

“...What do you mean ‘okay’?”

“I’ll help,” Phantom says.

“Just like that? No deal to be made, no price to be paid?”

“Just like that. I’m not one for deals anyways. If I can help, then I will. But I do want to see what the problem is with my soulmate by my side, if you don’t mind.”

Batman steps in, fixing Duke with a steady gaze, a barely noticeable tilt of his head. “Signal?”

“Yeah I’ll go with him. Of course I will. The sooner the better, in fact, because everything’s gone to shit.” Duke turns to Phantom, taking hold of one of his hands. “It is really bad out there,” he warns, “If you need help—”

“I’ll ask for help from others in the Realms,” Phantom says. “No offense or anything, but if it’s really that bad, I doubt living mortals will be able to do much to fix things. It’s why I was summoned, right?”

“Right. Let’s get to it, then.”

There’s a flash of mischief in Phantom’s eyes, and cheeky grin stealing across his face for a moment, before he says, “Aye aye, captain!” and picks Duke up like he weighs nothing and flies up through the ceiling.

Duke is able to hear everyone’s surprised, panicked shouts before they’re outside the Fortress of Solitude and Phantom is flying them away. He only needs a few directions from Duke before he finds the first of the large fractures in the sky.

“Yikes,” is all he says, which is not a great thing to hear. “I think I know how to fix it, though. We’ll need to do a little investigating as to who, exactly, started messing around with reality, but once we find the source, it’ll be an easy fix.”

“That’s the best news I’ve heard all week.”

“Even better than meeting your soulmate?”

“I haven’t slept for more than four hours all week. Knowing there’s an end in sight beats everything else.”

Phantom laughs, throwing his head back and Duke can’t help but drink in the sight of him, so ethereal and bright and full of life. “Fair enough! Got any ideas as to where we should start?”

“I’ve got an entire crew of detective vigilantes,” Duke replies. He’s not taking any more chances. No more waiting to talk about important things; he messed up by keeping his soulmark to himself, so he needs to make sure everyone meets his soulmate before shit goes south again. 

“Let’s go find them, then!”

They take off again, soaring through the skies that are barely holding themselves together. 

The world is still ending, and every hero is being stretched thin, but held carefully in Phantom’s arms, racing head first into a solution, Duke can’t help but feel that everything’s going to be alright now. 

He’s had enough bad luck. Now, his soulmate with him, bearing the title of King with grace, things are finally starting to look up.

[obsidianbit]

I love this gay ass show with its literally life ending injuries that heal immediately, but only when convenient to the plot, and its ridiculous use of modern phrases, and its laughing in the face of historical accuracy, and its kissing the face of the fans instead of trying to outwit them, and the way everyone involved in the show seem to go 'I KNOW RIGHT! I'M EXCITED TOO!' instead of mocking the fans

[bidonicart]

Lyanna Stark and ser Gerold Hightower at the Tower of Joy.

A scenario conceived by @seaworthit, scripted by @nobodysuspectsthebutterfly and adapted into a comic by me.

where else to find me

[jyndor]

rebelcaptain week | day one: rebel

for today's prompt (significant moments/rebel) I decided to use newton's third law of motion to highlight two things: 1. how jyn and cassian are radicalized by how fascism and imperialism impacts them personally; and 2. how jyn and cassian's actions spark reactions in the other.

[youchangedmedestiel]

Friend: What are you doing right now?

Me: I have a lot of projects.

Friend: Oh so cool, what are those? New job, new business, new home, new relationship?

Me: Ok, I have a lot of SPN/Destiel projects.

[its-your-mind]

*deep breath in*

the fears 👏 have always 👏 been (in one way or another) 👏 parallel 👏 to 👏 desire 👏

let me explain.

so many of the statements given by actual avatars center around some sort of need that was met by their entity. Lots of them even had a positive relationship with the fear that drove them.

Jane Prentiss is an excellent example - the Corruption has always been about a form of toxic and possessive love, but she personally has a deep desire to be “fully consumed by what loves her,” and finds a perverse joy and relief at allowing herself to be a home

Jude Perry is another - she fucking loved watching people’s lives be utterly destroyed. The Desolation only offered her a power of destruction on a grander scale, and then gave her a more intense rush of joy as she did its work. When she tells Jon that he needs to feed the Eye before it feeds on him, it’s almost as an afterthought; she was happily feeding the Desolation long before it burned her into a new existence.

Simon Fairchild. Every time that old loose bag of bones wanders into the picture, he is having a fucking EXCELLENT time playing with the Vast. He loves showing people their own insignificance, and he loves luring them into situations where he can throw them into the void as he smiles and waves.

Peter Lukas (hell, the whole Lukas family (except Evan. RIP Evan.)) hated. people. all he wanted was for them all to go away, to leave him alone. The Lonely only fulfilled that desire.

Daisy, Trevor, and Julia, all devoted to hunting those things they deemed monstrous.

Melanie, holding tight to that bullet in her leg because on some level, she wanted it. It felt good, it felt right, it felt like it fit right alongside the anger and spite that drove her to success.

Annabelle Cane first encountered the Web when she was a child, running away from home in order to tug on her parents’ heartstrings in just the right way to have them wrapped around her little finger. Later on she volunteered to be the subject of an ESP study. Hell, she’s the one who dangled the “Is it really You that wants this?” question over Jon’s head in S4.

And that brings us to Jon, beloved Jarchivist, the Voice that Opened the Door. Ever since he was a child targeted by the Web, he was looking for answers. He joined the Magnus Institute’s Research Department looking for them, he stalked his coworkers in search for them, he broke into Gertrude’s flat and laptop out of desperation for them. And when he realized that all he had to do was Ask to get truthful answers to his questions? It was only natural for him to jump at that opportunity.

Elias told S3 Jon that he did want this, that he chose it, that at every crossroads he kept pushing onwards, and the inner turmoil that caused was one of the focal points for Jon’s character through the rest of the podcast.

There’s a certain line of thinking in many circles about the power of the Devil: he’s not able to create anything new. All he’s able to do is twist and warp that which was already present, making it something ugly and profane while still maintaining the facade of something desirable.

Jon didn’t choose the Eye. But he did wander into its realm of power, exhibiting exactly the qualities it was most capable of hijacking and warping to its own ends. Jon didn’t choose the Apocalypse. But Jonah picked at him little by little, pointing him towards each Fear individually. Jon didn’t want to release the Fears. But the Web tugged on his strings just so and laid a pretty trail for him to follow until he reached its desired conclusion.

Jon didn’t choose ultimate power, or omniscience, or even his own role as Head Archivist. But he said “yes” to the right (wrong?) orders and kept on pushing for the right (wrong?) answers. He wanted to succeed at the work he had been assigned. He wanted to protect his friends. He wanted to rescue them when they were lost. He wanted to prevent the apocalypse, to save the world. He wanted to know why he was still alive, when so many had died right in front of him.

The Great Wheel of Evil Color that is the Entities might not fit as neatly into categories in this universe - maybe there was no Robert Smirke trying to impose strict categories on emotional experiences, or maybe the ways they manifest in the world has turned on its head (goodness knows many of them have been showcased and blended in some very fun and new and horrifying ways so far) - but their fundamental foundations seem to be the same. Hell, in episode one we learned that there had been enough individual incidents to create a distinction between “dolls, watching” and “dolls, human skin.”

Smirke’s Fourteen isn’t going to be relevant as common parlance, RQ said that already, but I don’t think that means the Fears themselves (and their Dream Logic-based rules) are different - I think it means that the levels of understanding, language used, and personal connections among people “in the know” are going to be entirely unfamiliar

[pokimoko]

The fact that Main-verse Ooo is as good and as kind as it is (relative to the other universes shown so far, at least, it's obviously not perfect) all because of the same character that starts off as the OG series' antagonist, the person we were made to see as the bad guy (albeit an often ineffectual one) for several seasons, is making me lose my mind.

Imagine finding out the guy you spent your childhood beating up and saving princesses from is in fact a driving catalyst behind you being able to exist, and not only exist but also live in a world that knows what kindness is. All because that man, the same man who you've witnessed do terrible things, once met a little girl and taught her how to be good.

Simon's story really shows us that even if you lose your way and forget how it is to be good yourself, the world keeps the memory for you. That act of love Simon showed Marcy by protecting her and seeing her as more than the monster she thought herself to be created ripples upon ripples, small at first but eventually enough to help give their wreckage of a world—a world that easily could have been forsaken, its goodness overlooked because of its inhospitable remains—a chance to grow into something beautiful. Because of those very same ripples Simon created, the people of Ooo grew up in a world where they know enough about kindness that they were able and willing to spare the 'bad guy' some, to see beyond the wreckage and allow him to grow too.

In saving Marceline, Simon helped to not only to save the world, but also himself.

[necrotic-nephilim]

@profandomhopper i was going to reblog the original post this comment was left on but i felt it divorced itself from the original topic so much, you get your own post for giving me delightful permission to ramble about this. buckle in people this is long.

so, DC is a big fandom that expanses a lot of different types of content, and like anything, is subject to crossovers. the obvious ones like Marvel are for the reason of being a similar and equally popular superhero world, so it's easy to transpose the worlds onto each other and overlap the characters. both of these worlds deal with multiverses and endless, endless heroes. it makes sense and there's no real stretch to think Batman and Spider-Man could co-exist. i mean, there have been canon crossover comics. and even some more random crossovers like White Collar have pretty easy to trace origins, being an actor in WC was a popular Dick fancast back in the day so there was some bleeding over that led to a well-loved niche crossover space.

but Danny Phantom and Miraculous Ladybug are where it gets interesting. because at a surface, MLB sort of makes sense. it's a superhero world, you're following a teen girl superhero and sure the mechanics are pretty contained, but the crossover should make sense. but when you compare it to the crossover numbers of other superhero media like say My Hero Academia, Ladybug takes the *crown* with such a bizarre popularity. and of course, DP feels like it makes even less sense. sure, you *could* lump it into at the very least, superhero-adjacent media, but it's not a true hero world like MLB or DC is.

but, the thing to always understand about DC, *especially* the Batfamily (which is where the crossover content propagates the most) is this: a *very* good chunk of fans don't interact with the comics. i would venture to say even most Batfamily fans don't read the comics and actively talk about it. we've all read a very fandom big Batfam fanfic where the author's note mentions the writer has never touched a comic in their life. typically, these fans are either cobbling together their understanding from fandom content, or by frankensteining unrelated DC adaptations to understand each character. you take Bruce from Batman: TAS, you take Dick from the animated Young Justice, you take Jason from Batman: Under The Red Hood animated movie, you take Damian from the DCAMU Batman vs Robin, and you read some fandom metas to fill in the rest and well, you've got some sort of an understanding of these characters. read enough incorrect quotes, some genfic, a couple of character metas, and boom, you understand the Batfamily fandom enough to start creating your own content. and of course now. now you have Wayne Family Adventures so it's even *easier*. a pretty easy to pick up webtoon that's filling in all the gaps for you. but i've been in this fandom long enough to remember before we had WFA and even then, this was still a common, if not the most popular way, to ween yourself into the DC fandom space. you cherry-picked the canon you liked and then plunged into the depths of fanon.

i'm not here to make in depth commentary on if i think this is a good or bad thing. trust me i have that commentary in my head, but that would need it's own post. i'm very split on it and my feelings are complicated. my feelings on WFA are even *more* complicated. because oftentimes, the attitude expressed by these fans who are frankensteining this version of the Batfamily/DC world they have in their head is they don't *want* to read the comics. the comics don't contain the content they're after. and to an extent, i understand that. if you're looking for light-hearted vibes of the Batfamily all getting along and having the occasional hurt/comfort moments but in the end, they hug and make up, you're right. largely, you won't find that in canon. of course there are so many comics to recommend for Batfamily interactions, but you have to get specific. you'll find them interacting in small groups, Tim and Dick bonding here, Duke and Cass bonding there, but largely, the comics don't care to balance the ridiculously large cast they've given themselves. but fandom does. it's easy to toss them all in a blender and ignore the parts you don't like. the default argument to ignoring the comics or writing something OOC is always "well the comics are OOC and inconsistent too" which, while a flawed argument that massively misunderstand how comics work as a medium, isn't an entirely incorrect one. you could serve on a silver platter to these fans, an easy and accessible way to get into comics and they wouldn't be interested. it's not what they're here for. fandom is always character-driven above all else. it's driven by character relationships and dynamics. if someone wants to consume content where Tim idolized and stalked Jason as 'his Robin' and now is trying to help him rehabilitate and they're super complicated but have this long epic forgiveness arc, why *would* they read the comics? because they're sure as shit not going to find that dynamic in the comics. it's laughably OOC and not canon at all, but that doesn't matter. what matters is the sandbox. most Batfamily fans care *far* more about the sandbox canon gives them than the actual canon itself. feel how you feel about that, this really isn't being negative toward that attitude, but it is a common attitude.

so, you have Batfamily fans playing in the sandbox and building their own narrative. common fandom headcanons are so common, you could practically write a guide on how the fanon Batfamily works with how consistent people are about it. or you could just read WFA, which is practically the new manifesto of it. even now, with this sudden spike in people talking about canon accuracy and "actually this happening in the comics", they don't actually care about the comics, just what they can cherry-pick for fodder. (even if they rob it of so much context they're just as OOC as they were before. see specifically: the recent phenomena with Tim Drake going from the woobified weakest member of the Batfam who everyone needs to save constantly and he's the smart boy but he's also the one with a sad tragic neglectful past who gets overlooked being the way Batfamily fandom played with Tim for years. but recently, people seem to be pushing this idea of a ridiculously badass Tim, Tim who *totally* has a kill count because of his actions in RR (2009) if you take them completely out of context, Tim who bested Ra's and is even more badass than Jason and he's the 17 yr old CEO of Wayne Industries being cool and flawless it becoming the new fandom zeitgeist. neither of these versions of Tim are canon, and the second fundamentally misunderstands his arc in RR (2009) but the shift has undeniably happened and it's been fascinating to watch. the same thing happened with people suddenly deciding Jason isn't the "angry violent Robin", he was a sunshine sweet boy who was perfect as Robin. neither of these are true, but the second feels more transgressive and new to fandom from cherry-picked panels.) the point is largely, Batfamily fans would rather build their own canon than play with the actual canon.

and then, you have Danny Phantom. i'm not into DP and have no interest to get into it, but what i know about it via fandom osmosis is this: DP fans sort of also don't give a fuck about canon. once again, the canon of DP is a sandbox, not a rulebook. the concepts and the characters are the draw, not the plot itself. i've seen DP posts explaining characters who are essentially OCs, but have become so dominant in the fandom via fandom osmosis. there are concepts and ideas about how Danny's powers work and potential concepts with his ghost nature that either aren't in canon or only happened once in canon and fans decided to expand on that and doesn't care about it's own in-universe logic. i've seen a lot of DP fans also express they haven't seen the show and they don't have plans to see the show. because the show is just some children's cartoon with some inconsistencies and a simple plot, as you'd expect from CN. the show isn't the point. no one cares about it's plot, they care about it's characters. they care about pushing the concept of half ghost boy to a logical extreme and seeing what you can get out of that. can you make it weird and fucked up. how much can you highlight on his trauma and body horror. what identity crisis can you give him and how can you build his interactions with other characters in his world around that and also make those characters fun and unique on their own. sure, the skeleton of canon is there, but the meat lies all in the fanon.

Miraculous Ladybug also exists in this similar vein. the characters, the concepts, those hold intrigue. and not even mentioning the fact the original concept for this show was supposed to be aimed to an older audience, so you can see the bones of something a bit more mature and nuanced under this typical, villain of the week magical girl transformation show. the show itself is a bit shallow and that's not a *bad* thing, it's just the medium it exists within being aimed towards children. but the concepts of a teen girl who's basically a sort of chosen one, a boy who doesn't know his father is the big bad of the show, and their weird identity porn love... square thing. those dynamics are *so* complicated and such a fun sandbox to play in with character-driven fandom.

so, at the core, you have three fandoms that care more about the culturally accepted fanon than the canon, with a good chunk of people often not even consuming the original canon content. and well, DC is an *easy* world to transpose just about anything onto. a boy who's half ghost and fighting supernatural threats? that makes sense, DC has ghost heroes like Deadman already. a girl who has this magical item that gives her animal themed superpowers? i mean that's practically the same thing as Vixen's Totem so that one makes sense too. they fit in pretty easy, no needing to change the world to accommodate them. and of course, if you're a fan of *one* fandom where you don't care for the canon content and only like the fandom sandbox, chances are, you'll get drawn in pretty easily to another fandom with similar mechanics. if you can teach yourself the DP fandom rules/concepts, you can teach yourself the Batfamily fandom rules/concepts. and well, since there's so much crossover in fandom members, why not write the fanfiction? crossover fics will always exist, but with such a shared member base, you have a really big boom.

it's why the characters you see DP interact with in DC are *always* characters who are far more driven by fanon than canon. Danny and John Constantine is a *massive* concept. for people who don't read Hellblazer comics. my poor partner, @divine-dominion has lamented to me pretty often about finding DP content in the Hellblazer tag that is essentially turning Constantine into an OC. because whatever version of Constantine is being written about isn't one bit comics accurate, and really, isn't trying to be. and the same thing happens with Shazam. you watch Young Justice and understand him well enough, you get drawn in by the character concept that you just run with it. people put their favorite blorbos in the same place because hey, wouldn't ghost boy be pretty cool in a city like *Gotham*. how would Batman even react to him. and then, the shipping. because ages for the Batfamily can be easily hand-waved and moved around based on where you plop Danny into the timeline, you have your pick of the litter with him, and same with Ladybug. of course there are the most popular ships but largely, the world is your oyster.

i don't think this is the worst thing in the world for either fandom. it's not hard to filter out the crossover tags and scroll past content i don't like. and sure, i see the appeal of making your blorbos from two different places meet. i've got my drafts *full* of DC/MHA crossover ideas because well, i like them both and think that would be cool. i think my only gripe with it is when DP or MLB crossover content seeps it's way into the wrong tags. using the above example, if you're writing about Danny and Constantine but there's zero content of the actual Hellblazer comics, i don't think you need the Hellblazer tag, just the Constantine character tag. tbh i wish this extended onto Ao3 and people utilized fandom tags better. if you're writing Batfamily fanfiction that is very clearly and obviously WFA driven in characterization and concepts, i would far prefer those fics be tagged with the WFA fandom tag rather than the Batman (comics) fandom tag. because well, you're not writing about the Batman comics. and there's nothing wrong with that, but it helps if you don't confuse yourself for content striving to interact with canon more. (this especially extends to Young Justice, by the way. if you're writing for the Young Justice tv show please, please stop using the Young Justice (comics) fandom tag. i'm at my wit's end- /lh)

the whole thing is fascinating. i've got zero interest in entering DP or MLB as fandoms because that's not my speed, but witnessing it as an outsider is my favorite pastime. i see a *lot* of posts going around the DC x DP space that are helping explain to people who's who, what's what, and understanding the canon/fanon of both of these properties so others can better enter the space. which is not something you'd need in a fandom driven only by it's canon content, but it is sweet watching others try to help newbies enter the space. it's a very inviting fandom space, i think, whether you lament it's existence or not. they're just sitting in their corner with their blorbos, and i gotta respect that. the posts explaining the Batfamily to DP fans are always fun for me to read, even if i disagree with some of the characterizations in them because it helps shine a light on what the fans of this crossover regard as "important" enough about each fandom to be worth including those sorts of primers. very fascinating stuff.

[magnoliasandbeardedtooth]

thinking about the relationship between sif and the universe, and related theories / headcanons aka I listened to a song and I need to get these feefees out of me

this is a lot of prelude for something that can be shown with just the video clip, but I want to include all the strings that make up this knot

Its not explicitly stated, but I believe it's pretty clear that whenever sif repeats something three times while hoping for something (sharpening the keyknife, carving in general, praying to the change god statue in dormont), he is performing wish craft.

however, he doesnt repeat anything three times when getting the keyknife. he doesnt even need to pray to get it at all, the change god just gives it to him. they say themselves that they dont care for rituals. they never even take credit for the stat buff, they only take credit for the keyknife

when sif changes how they pray at the change god statue, their method more strongly resembles the ritual to make a wish at the favor tree (picking the one you like best), and as a result the buff gets better. it is the wish craft ritual that is the important part of the prayer to that statue, not the change god

one thing that IS explicitly stated is just how powerful wish craft is for those who know the rituals, and how dangerous it is in the wrong hands. between the disappearance of colors (Im pretty sure that was the result of a wish, I may be misremembering), the disappearance of the country, and the king being nearly successful in freezing all of vaugarde in time, it only takes one wish to take out massive chunks of the world at a time

we know that wish craft is very entwined in the culture of the country (the story written about in the journal is told as a cautionary fairy tale, the rituals themselves are so deeply ingrained in sif that the wish to forget the country did not restrict his memory of the rituals, and he can perform wish craft without even being fully aware he is doing it)

it seems reasonable to me that the reason for the country's disappearance was to hide the existence of wish craft and the rituals to access that power from the rest of the world. considering sif didnt even remember his culture AND had good intentions, and still nearly ended the world, seems like that concern is pretty well founded. however, thats not the important theory Im making this post about

the country has knowledge of wish craft in conjunction with worship of the universe. "the universe leads, we can only follow," "the universe willed it," seems pretty safe to say that sif's Universe is the "entity" that is granting wishes

the way wishes are described, they dont seem like something the universe grants based on who worships it. as long as you know the ritual, you get the wish. everyone is part of the universe, after all, worshiper or not

Admittedly, its a bit of a stretch to say that the universe as a collective force has any sense of empathy for human struggles. but using the change god as an example, as spiteful as they are to sif, and unsympathetic to anything other than a human's role in the concept of change, they still show a great deal of care and favor to mira, someone who loves them. it is possible for a deity to care for those that care about it

sif, despite no longer having access to his culture or why he cares about the universe, still loves the universe, very very deeply, just as much as mira loves change. the change god says that sif's deity will never answer him, but I dont think thats the case

and this is the important headcanon that I am making this post for

sif is performing the rituals, so he gets the wishes, simple as. but I feel strongly that his wishes getting granted in very small but noticeable ways, despite not knowing how or why hes doing it, is the presence of his universe helping him, caring for him, even when he doesnt remember it

the strongest evidence for this, and the basis for this whole thing, is exactly how euphrasie breaks down in act 5

at first I only really noticed when she laughs, it reminded me very much of how the change god, a being who uses sprites of other characters and has done a whole possession, laughed during their encounter. they and euphrasie are the only two that use anything other than "ha," and right after this laugh is when her breakdown pauses and she says the lines

"... Soon you'll be able to go back to your normal lives. Away from battle and strife. Finally, you'll all be able to go home!!!"

which, knowing the end of the game is coming, is incredibly relevant. very deliberate

before this pause, her breakdown seems pretty chaotic. the characters and the player are just coming out of one harrowing experience, and are clearly headed for another. the cohesiveness of this glitchy breakdown amongst a mess of the rest of the world doing the same isnt really high up on the list of priorities. none of the characters notice anything beyond the fact that reality is breaking, not even sif. it just sounds like scary nonsense.

but with the context of euphrasie being possessed to talk to sif, every single one of her lines makes perfect sense

(footage from Zhain Gaming on yt)

the universe is there its talking directly to him, it was there the whole time

the Universe loves Sif so much

[caeslxys]

Something I think is extremely interesting thematically when it comes to connecting what Downfall and the ideas it tackled to the overarching narrative of campaign three is that the things Downfall made a point to showcase of Aeor—Cassida, Hallis, the visual of an aeormaton proposing to her partner, the specific and intentional decision to shed light on a far from insignificant amount of the population being civilians or refugees—is that it plays in perfect parallel across from what is happening (and, really, has been happening) to the ruidusborn on Exandria in present.

Bear with me for a moment. Aeor is ultimately a city that was collectively punished for the decisions of its leadership. We could (and, judging by the amount of discourse around this particular topic already, probably will) argue about what the Gods’ motivation for all of this was—whether it be that they could not, in the end, bear to kill their siblings or that they were terrified at the prospect of mortality—for me it is a very healthy dose of both—but for this I am much more interested in the latter. They were scared. That, really, is the driving force behind both this arc and their role in c3 as a whole.

Why I point this out is: It is far more interesting to me, especially as we go back to Bells Hells this week, to dissect the Gods and their decisions not purely on sympathetic motivation alone but as beings in the highest seat of power in the highest social class in Exandria.

So, having established that the Gods (in relation to mortals) are more a higher social class than anything we could compare to our real life understanding of divinity and that Aeor was eviscerated largely because of their fear—what is the difference between those innocents in Aeor caught in the trappings of their autocratic government leadership and a divine war on the ground, and those of the ruidusborn being manipulated both by Ludinus and by the very thing that inspired such visceral fear in the Gods to start with. I would argue very little.

I think of Cassida, doing what she genuinely thought was right and good and would save people, her son, and the object of her worship—and how that did not matter enough to any of them to spare her because of the fear they held at the very concept of mortality. I think of Liliana and Imogen, one of which we know begged for the gods to help her or send her a sign for years on years, and how every single one of their largest struggles could have been avoided had the gods loved them, their supposed children, as much as they feared what they could be. I think of how the thing that did save Imogen, in the end, was a woman who herself existed in direct defiance of the gods will. I think of that young boy, sixteen years old, that Laudna exalted on Ruidus.

I think it’s completely fair to judge Aeor’s overall society as deeply corrupt—it was!—but its leadership and police force are not a reflection of every one of its citizens. Similarly, it is fair to judge the Ruby Vanguard as corrupt—it is!—but its multiple heads of leadership and even the god-eater further are not a reflection of every one of its members.

Notably, and what I think the Hells will latch onto, this did not matter to the Gods. It did not matter that Cassida was trying to help. She was still too much of a risk. Will it matter, what Imogen does? Will it matter, if that young boy is in the blast radius when they decide to take no further chances?

I’ve seen a lot of people say that the Hells will side with the gods and I don’t think I agree. Especially as Imogen has been scolded and villainized over and over for daring to try and save her mother—who herself has been seen by some as an irredeemable evil in spite of her drive being the exact same—her family—but when it’s the Gods it’s justified? When it’s the Gods, it’s sympathetic? Too sympathetic to criticize further than “they’re family”?

I obviously do not think the Gods should die or be eaten or what have you, and I certainly don’t agree with Ludinus (though I find him much more compelling than just a variation of hubris wizard), but when talking about the Gods in Aeor and in present it isn’t really at all about their motivation or their family. It can’t be. Too many people, including our active protagonists, lives have been effected for it to be as cut and dry as “they’re family”. These are your children. They are your family, too.

[fictionadventurer]

I'm fascinated by the ways in which the things a creator is good at making don't necessarily line up with the kind of art that they respect or even enjoy.

This has haunted me ever since I saw a Youtube video about the downfall of The Band Perry, a country band that I had liked until their music got weird and they kind of fell off the face of the earth. Well, it turns out that they tried to reinvent their image and their style of music several times before the band finally fell apart. When they started, they had this weird Southern Gothic homeschooler style that really worked for them and was reasonably popular, but then they tried to switch to a cooler type of pop music--a style they supposedly admired and enjoyed--and it just did not work at all. They failed because they chased what they wanted to make instead of sticking with the style that they were good at.

It's a tension that's present in all creative work. At one point does "going outside the box" go too far? Can one be happy making good work even if it's not the kind of stuff they like or admire? Are the techniques and styles that are most appealing to us appealing because they're things that we can't create ourselves? As in, our minds don't work that way, so seeing these things from other creators is exciting, but the fact that our minds don't work that way is exactly why we can't imitate those things. Where's the line between creative integrity--pushing yourself to make better things--and pride--wanting to make something more prestigious and impressive instead of humbly making the type of art you're best suited to make? Can one even clearly see what they're best at making, and appreciate the good that's there rather than chasing after styles and techniques that seem better? There are no solid answers, which is why I'm going to be endlessly thinking about this.

[aphel1on]

another thing i love about laios:

HE IS GENUINELY A REALLY GOOD LEADER!!

despite struggling with the finer points of socializing, he has all the qualities necessary to be a good leader.

(i refer to the manga a lot in this post as someone who's read most of the manga at this point, but i avoided any specific spoilers)

He cares about all his teammates' well-being

He is extremely level-headed in a crisis

He is excellent at strategizing (within his areas of expertise; in the manga someone eventually points out he's pretty much useless at fighting other humans, lol)

If a plan fails, he is immediately thinking up a fallback plan - he doesn't give up

He is acutely aware of his teammates' strength and weaknesses, and accurately assigns them tasks suited to them in times of need.

He is perhaps not innately a 'leader-type'; he's fine deferring to the rest of the party most of the time, even when he doesn't understand why. (Just going along with the blindfold in the sauna for example, lol.) He was ready to head back into the dungeon by himself before Chilchuck and Marcille volunteered to come along. He doesn't think of himself as particularly smart or special. And when the party meets others (such as the old gnome couple) they don't tend to assume Laios is the leader.

But he has an unwavering vision (during the story it's rescuing Falin), and, you see it again and again: when they enter difficult combat, or any time things fall apart and everyone is panicking, Laios steps up and takes charge. His calmness helps everyone else calm down, and they generally follow his lead. They intuitively look to him in a crisis, to the point they're shocked the few times he doesn't have any ideas.

It kind of ties into another thought I have; he is repeatedly seen as "having no interest in other people" by other characters, but this isn't really true! He struggles to understand people and he is aware that they struggle to understand him. This leads to him mostly focusing on the things he IS good at understanding, such as monsters. But he genuinely makes a big effort to understand the people he cares about. In the manga, there are times you see him think deeply about his friends' struggles and motivations. For much of the early arcs, he understands Chilchuck better than Marcille or Senshi do. He and Marcille don't get each other that well at the start of the story, but by the end they have a very strong reciprocal friendship.

I could go on about it honestly but this post is already very long. Tl;dr laios one of the characters of all time to me and i think people should appreciate his leadership skills more!!