#have some fucking kindness

[cubot]

Coworker comes into the staffroom on my 15 and then turns her phone on speaker, stands by the door, closes the door, leans on the door, talks loudly annoyed to the robot receptionist on the phone.

I must have been blistering my vehemence because she left after a minute with a friendly laugh ("what can you do about these robots"), but I was about to rip my face off in front of her.

[vmkhoneyy]

“People are inherently terrible” no!!! Have you ever seen a child wait for their friend while they tie their shoelaces? Have you ever known someone who would bring hurt squirrels and rabbits and mice to the nearest vet just so it doesn’t suffer? Have you seen someone grieve? Have you ever read something that hit your heart like a freight train? Have you looked at the stars and felt an unexplainable joy? Have you ever baked bread? Have you shared a meal with a friend? Have you not seen it? All the love? All the good? I know it’s hard to see sometimes, I know there’s pain everywhere. But look, there’s a child helping another up after a hard fall. Look, there’s someone giving their umbrella to a stranger. Look, there’s someone admiring the spring flowers. Look, there’s good, there’s good, there’s good. Look!!!!

[bixels]

Learning that fans hated Applejack and called her "boring" is crazyyy to me because I genuinely, unironically believe AJ's the most complex character in the main six.

Backstory-wise, she was born into a family of famers/blue collar workers who helped found the town she lives in. She grew up a habitual liar until she had the bad habit traumatized outta her. She lost both her parents and was orphaned at a young age, having to step up as her baby sister's mother figure. She's the only person in the main gang who's experienced this level of loss and grief (A Royal Problem reveals that AJ dreams about memories of being held by her parents as a baby). She moved to Manhattan to live with her wealthy family members, only to realize she'll never fit in or be accepted, even amongst her own family. The earlier seasons imply she and her family had money problems too (In The Ticket Master, AJ wants to go to the gala to earn money to buy new farm equipment and afford hip surgery for her grandma).

Personality-wise, she's a total people-pleaser/steamroller (with an occasional savior complex) who places her self worth on her independence and usefulness for other people, causing her to become a complete workaholic. In Applebuck Season, AJ stops taking care of herself because of her obsessive responsibilities for others and becomes completely dysfunctional. In Apple Family Reunion, AJ has a tearful breakdown because in she thinks she dishonored her family and tarnished her reputation as a potential leader –– an expectation and anxiety that's directly tied to her deceased parents, as shown in the episode's ending scene. In The Last Roundup, AJ abandons her family and friends out of shame because believes she failed them by not earning 1st place in a rodeo competition. She completely spirals emotionally when she isn't able to fulfill her duties toward others. Her need to be the best manifests in intense pride and competitiveness when others challenge her. And when her pride's broken, she cowers and physically hides herself.

Moreover, it's strongly implied that AJ has a deep-seated anger. The comics explore her ranting outbursts more. EQG also obviously has AJ yelling at and insulting Rarity in a jealous fit just to hurt her feelings (with a line that I could write a whole dissection on). And I'm certain I read in a post somewhere that in a Gameloft event, AJ's negative traits are listed as anger.

Subtextually, a lot of these flaws and anxieties can be (retroactively) linked to her parents' death, forcing her to grow up too quickly to become the adult/caregiver of the family (especially after her big brother becomes semiverbal). Notice how throughout the series, she's constantly acting as the "mom friend" of the group (despite everything, she manages to be the most emotionally mature of the bunch). Notice how AJ'll switch to a quieter, calmer tone when her friends are panicking and use soothing prompts and questions to talk them through their emotions/problems; something she'd definitely pick up while raising a child. Same with her stoicism and reluctance at crying or releasing emotions (something Pinkie explicitly points out). She also had a childhood relationship with Rara (which, if you were to give a queer reading, could easy be interpreted as her first 'aha' crush), who eventually left her life. (Interestingly enough, AJ also has an angry outburst with Rara for the same exact reasons as with EQG Rarity; jealous, upset that someone else is using and changing her). It's not hard to imagine an AJ with separation anxiety stemming from her mother and childhood friend/crush leaving. I'm also not above reading into AJ's relationship with her little sister (Y'all ever think about how AB never got to know her parents, even though she shares her father's colors and her mother's curly hair?).

AJ's stubbornness is a symptom of growing up too quickly as well. Who else to play with your baby sister when your brother goes nonverbal (not to discount Big Mac's role in raising AB)? Who else to wake up in the middle of the night to care for your crying baby sister when your grandma needs her rest? When you need to be 100% all the time for your family, you tend to become hard-stuck with a sense of moral superiority. You know what's best because you have to be your best because if you're aren't your best, then everything'll inevitably fall apart and it'll be your fault. And if you don't know what's best –– if you've been wrong the whole time –– that means you haven't been your best, which means you've failed the people who rely on you, which means you can't fulfill your role in the family/society, which makes you worthless . We've seen time and time again how this compulsive need to be right for the sake of others becomes self-destructive (Apple Family Reunion, Sound of Silence, all competitions against RD). We've seen in The Last Roundup how, when no longer at her best, AJ would rather remove herself from her community than confront them because she no longer feels of use to them.

But I guess it is kinda weird that AJ has "masculine" traits and isn't interested in men at all. It's totally justified that an aggressively straight, misogynistic male fandom would characterize her as a "boring background character." /s

At the time of writing this, it's 4:46AM.

[inkskinned]

at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"

like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.

"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."

... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.

and i'd still keep writing.

i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.

i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley

"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"

and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.

it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.

you create because you're greedy.

[gunstellations]

safety first! 🏍️🏍️

[puppyeared]

horrible truth bomb dropped on my head 20 min ago

[emberglowfox]

fuck all cis people except for the guy who dmed me on instagram to ask about my new name and, upon me explaining the concept of transgenderism, said, “interesting strat. i like it.”

[poppy-metal]

MARRIAGE COUNSELING W ART PLEASEEEEEEEE GOD THE DEVASTATION THAT TAKES PLACE ON THAT COUCH

i think about it alot. tashi staying with patrick, her injury never happening. your arts college girlfriend and now you're married and it feels fucking stagnant, your relationship. but neither of you wants to give up. neither of you wants to reveal to the other true feelings.

under the cut because this got long and i have a whole au in my hear around this concept

you're only in counseling because of tashi. because shes still in your lives, her and patrick. and she recommended it to art when they were having one of their 'friend' lunches. and now here you are, because of course art took her advice.

he hasn't said anything, though. despite pleading for this. saying he wanted to save your marriage, that he wanted to love you how you should be loved but he didn't know how.

so here you are, on opposite ends of the couch, with the counselor staring at the empty space between you like that in itself is very telling. you suppose it is, in a way. couples who want to stay together should be unified, shouldn't they? you imagine how it would feel, if art had sat next to you. put an arm around you. squeezed you to his side. would you even be able to relax into him? its been so long since you touched eachother that way.

"so im picking up on some distance here," your therapist says. shes a small woman. almost swallowed by her chair. her glasses are perched on her nose as she gazes imperiously at empty space separating you and art. "not just physical either, though thats rather obviously there. but emotional distance. do either of you wanna comment on that?"

you cut a glance at art, expecting him to speak up since this was his idea - well. tashi's. but he just looks down at his lap, quiet. spins his wedding band around his finger.

you feel an anger so intense it pricks your eyes with tears.

"well, i guess you could start with the fact that coming here wasn't even either of our idea. it was his friends."

and now. here art speaks. his head jerks up and she shoots you an annoyed look. "you don't have to say it like that. you always say it like that. her name is tashi and she is my friend. and it was her suggestion, yeah, but it was a good one."

you look at the therapist - janet. raise your eyebrows in arts direction like, get a load of this guy. your legs cross and you start picking at a stray string from the couch.

"first words of the session and its to talk about another woman."

arts inhale is sharp and you can feel his eyes on you but you dont look at him. you can't. you wont. you're right, anyway. he can try to deny it all he wants but you know - you know what you are to him. you know where all your problems stem. you dont need to be here to make any grand discoveries over a fact you've resigned yourself too.

"i see." janet says. "and art having a relationship with this other woman upsets you."

"everything upsets her." art cuts in, sounding tired. his elbow is braced on the arm of the couch and hes chewing on his thumb in one of his nervous gestures. he always did that, as long as you've known him. he was a nail biter, he'd chew his lips raw, he'd nibble on straws, the ends of his pens. he was either lost in thought or agitated. your guess was the latter. "nothing i do makes her happy."

"is this true? are you unhappy with art?"

your skin feels hot. you shift around in your seat. the attention is all on you, and it feels like you've done something wrong, even though you know its literally janets job to ask questions.

"more like i know I'm not what he wants and that makes me...... really fucking sad."

art knees almost knock against yours as he turns his body to face you, giving you his full attention the first time today. you cant meet his eyes still, so you look at the faded spot on his jeans. light blue, like his eyes. you wonder how hes looking at you. cant make yourself look up to see.

"what." he stops. seems to gather some thoughts. tries again, with a steadier tone. "what are you talking about."

you try not to roll your eyes. your arm flings out limply.

"just that this whole thing is a joke, art." and you let out an exasperated laugh, even though nothing is funny. nothing has been funny or light between you two in a long time. "we're only here because the girl you really wanted to marry, told you to get your fucking shit together. you didn't ask us to come here because you wanted to mend something, you're here to please tashi. because if playing a good husband is a role she wants for you - well, you want to play it right, dont you?"

its quiet after that. in the silence you cant help but think about those early days. when you'd been full of love and light and art seemed to be really happy with you. you'd go on dates to the movies, walk through the park together with your hands swinging between you. laugh together and steal kisses whenever you could. you felt high back then.

it didn't even matter that art had a crush on tashi, because hell, you had one too, at the time. but she'd started dating patrick, and they seemed to mesh well together. they were both so intense and passionate. back then, you'd been alot closer to tashi yourself. patrick too. you remember the way she'd rant about how much she fucking hated him, pacing around your room and calling him every name under the sun. and you'd sit there with eager curiosity, and ask her why she didn't end it then. if he makes you so angry, why stay?

and she'd get this faraway look in her eyes. kind of wistful. kind of sad. kind of happy.

"because he makes me feel fucking alive. hes like a - like a drug or something. i cant quit. its addictive, you know?"

that stuck with you. it still sticks with you. you remember being envious of that kind of passion. youe relationship with art had always been so easy. you dont think you'd ever fought by that point. you loved art. you felt safe with art. but were you addicted to him? if you broke up - would you feel withdrawal symptoms?

sometimes you layed awake at night and thought about starting a fight - breaking up for no reason. just to see if he'd fight for you back, if the missing of eachother would be so intense one of you would cave.

but somehow you knew that wouldn't be the case. thats just not how you and art operated. if you got angry, he wouldn't rise to meet you, he'd back down. if you ended things, he wouldn't chase you, he'd let you go.

patrick and tashi were fire and brimstone and you and art was ice and you were....... dirt. solid. walked upon. dependable and not at all exciting.

when art had proposed to you after college graduation it wasn't spur of the moment as it had been with patrick when he'd swept tashi up with a ring and a elopement to vegas. it was talked about and agreed upon and you knew it was coming.

you still said yes.

"you think," and arts voice has a barely concealed tremble to it that makes you look up, finally. you're shocked to see he looks wounded. so many of his expressions you can count on one hand - and this - this wasn't one of them. his eyes are dark, stormy. "you think i dont care about our marriage beyond what someone else has to say about it? you really think that?"

you hate the sliver of guilt you feel, because its not a crazy thing to feel.

"yeah, i really do."

because well, that's the truth of the matter isn't it? you and your husband stare at eachother. and it feels like you're looking at a stranger. not the man who's freckles you used to kiss. who's fears you knew. who's hands you know every callous of, every divot and fingerprint.

"it seems you two have very different views of how the other views this marriage." janet cuts in, sounding curious. she taps her pen against the open notepad on her lap. "art, would you like to chime in on why you wanted to come here? even at the suggestion of someone else?"

art stares at you for a long moment. his face is unreadable to you. his jaw works before his chest expands on an exhale and he looks away.

"i guess i - i just didn't realize how..... stagnant things had gotten until it was pointed out to me. harshly." he winces, and you wonder exactly what tashi had to say to him. you haven't talked to the other woman for some time. contact fizzling out after your marriage to art. he flicks a glance to you, then away again. "im not the best at being aware of shit going on around me." his hand comes up to rub nervously at his neck. "i guess you could say im good at brushing things under the rug. going through the motions. that sort of thing."

janet nods like this makes sense to her. well, great, you think. you know my husband more than i do.

"you're not a fan of confrontation, are you?"

art actually laughs. a genuine one. one that brings a dimple to his cheek and flashes his teeth. you stare at it, like its an exotic animal, and you wont see it again. quickly you catalog the expression in your memory, so you dont forget what he looks like when hes happy.

"yeah, no." he shakes his head. "but I think thats part of the problem. I've obviously let too much shit get put under the rug and now its so full other people are noticing."

you look down at your hands, lips pressed together. your face burns at the knowledge that tashi and by extension - patrick - know your marriage is in shambles. how embarrassing, to be caught lacking in such a momentous way. to come up short and have your husbands friends know about it. you wonder - does he talk about all the ways you make him miserable with them? does patrick shake his head, say, "she's sucking the life out of you, man." does tashi look at him with pity? like hes some poor abused cat that needs to be let in from the rain?

the rain of your marriage.

the rain of you.

you're the storm. you're the problem. you're not enough. art needs fire. you're not even dirt, you're glass. and you can feel yourself breaking.

"that clearly hit a nerve, my dear." janets voice is soft. soothing. she hands you a tissue and you realize you'd begun to cry. "do you want to explain what you're feeling about what art said?"

"i...."

you dab dab dab at your eyes. sniffle. look around the room, trying to collect your thoughts. they feel like flyaway dandelions. you dont know which of them to grasp.

a warm hand settles over yours in your lap and you startle. its arts hand. warm and calloused and tan, covering yours. the gold glint of his wedding ring winks at you, the engraved words etched into them, "my soft epilogue". a shortened version of your favorite qoute i think we deserve a soft epilogue, my love.

at the time, that's what art was to you. your life before him hadn't been easy. being with art had felt like coming home from a long day and falling into a soft bed. it had felt like being able to land after weeks of being made to fly.

you turned your palm up, so he could slide his fingers between yours. he squeezed your hand.

"i think, i. i think i just think - I'm a failure." your bottom lip wobbles. you look at your enterwoven fingers and it makes you so sad that you haven't done the simple gesture of holding your husbands hand in months. "the two most important people in your life are. are so passionate and loud. and i see. i see how happy they make you - and i cant - i cant b-be that for you. we aren't - im not - you dont need me. im not a limb for you how they are. you could extract yourself from me and be. be happier."

your breath shudders out of you.

"you don't need me." you echo.

you wait for him to pull his hand away. this is more than you thought you'd share. some of it you weren't even aware of till the words were spilling from your lips. but they ring true.

without patrick and tashi art would drown. without you..... he'd float just fine.

"and that's important to you." janet says. a statement not a question. "you want to feel needed by art, and you feel as though you aren't. that his needs are met better with his friends than with you."

you nod slowly.

"baby." the word sends a shock through you. not the word itself but how its said. art calls you baby all the time, in a monotonous kind of way. routine. now he says it softly. with feeling. he lets go of your hand in favor of cupping your cheek, still damp with tears, turning your face to his. he looks pained. "of course i need you. i know i haven't been good at showing it. i just - you shut down - after we got married. you've been like a fucking ghost. like you dont want me to touch you. like i could dissappear for all you care and you'd just carry on. i don't know. but i need you, okay? i. need. you."

both hands cup your face, he makes you stare right into him. the conviction in his voice takes your breath away. theres a fire burning there you've thought long put out.

"obviously we have shit to sort out, and we will. but you've got to. you've got to know that. tashi only pushed me to do this because she how - how desperate i was. that's all."

you inhale deeply. exhale. swallow hard. tears cling to your lashes. you reach a hand up to clutch at one of arts wrists. eyes fluttering automatically when you do. you feel grounded again. less like you might float away.

"okay."

"yeah?"

"yeah...." and you smile. it trembles across your lips. but its there. "we'll sort our shit."

art lets out a relieved breath. kisses your forehead, lingering there. the gesture so tender you get emotional again. you want to crawl into his lap, have him wrap you in his arms. you want to feel held by him, like you used to.

"our time is up." janet sets her pen down. smiles. "but i think that was a wonderful first session. i can see the love between you hasn't faded, and that's more i can say for alot of couples who come to see me. keep your chin up."

[starry-bi-sky]

Out of Context Stuff for a Danyal Al Ghul au i haven't posted - Pit Beast Danyal

Damian, 13: Look, Danyal, -- I am so sorry for everything that happened between us in the League, I hope you can forgive me.

Danny, 10 (allegedly): (has been secretly plotting to murder Damian this whole time, is still gonna do it obvs, but is going to make it significantly less painful now)

Danny: I-- of course, older brother. :]

--------

Bruce: what do you have there, Damian?

Damian:

Danny: (a hulking 10ft pit beast standing beside him, growling idly with ram horns gouging out his eyes and a second set of horns jutting into the air, spines down his back, and a long, spiked tail with an animalistic, skull-like face)

Damian, who smuggled him in (they've made amends): a smoothie, father

----------

Damian: this is my little brother Danyal, i murdered him when he was five. He festered in rage for the last half-a decade, took over a League mountain base in Switzerland, murdered everyone inside and then tried to murder me when I went to investigate with Drake.

Danny: hello!

Damian: we're cool now

----------

Damian: thoughts on resurrection

Danny, (a full ghost): i will succeed in murdering you if you try it

Damian: we'll put a pin in it then

----------

Danny (still instilled with League values): why don't we just murder him??

Damian, on patrol (Danny followed him): we don't murder people, Danyal

Danyal:,,,,are you sick, Dami?? Have you been possessed? Why not!?

(There is raucous laughing through the comms)

----------

Danny, five, pre-death: Dami! :D

Danny, dead, vengeful: Older brother (:

Danny, post-forgiveness: Dami! :]

-------

For some actual context: Danny is fully dead in this au, its a result of the classic DPxDC Demon Twins "death duel" trope but instead of Danny getting revived, he stays fully dead. Danny was five, Damian was seven. His ghost lingered though, and due to the proximity of the pits his ghost steadily absorbed the ambient energy it was letting off. The pits are not corrupted ectoplasm in this au, it's just liquid ecto.

Which means Danny's corruption from an angry and hurt little ghost boy to an unrecognizable monster is from his own doing. It's a result of him stewing in his hurt and anger for years, it physically warped him. He's very powerful. Danny can travel between League Bases but chose a small, out-of-the-way base in the Swiss mountains to fester in and then just. Never Left.

His influence steeped into the very foundations of the building, allowing him to transform and warp the rooms and hallways for his own bidding, Meaning he could turn it into a seemingly unending labyrinth if he so wished to, and block the entrance.

Eventually, blinded (both metaphorically and physically) by his own rage, Danny grew powerful enough to appear physically in the living realm and attacked everyone in the base, slaughtering them all and leaving the base abandoned. He attacks anyone who dares enter -- whether that be other league members, or the unfortunate hiker who stumbled across the base. His conscious is steeped into every nook and cranny of the building, there is nowhere you can hide where he can't find. Nobody leaves without his explicit say so. Nobody ever does.

Him appearing as ten years old before Damian in the skits above is his own physical doing. First it was to prevent Damian from being suspicious of him. Damian initially thought Danny was revived with the pits, he was too busy with his own training afterwards to notice that Danny never showed up again, and when he did notice, he assumed it was because Danny was too ashamed of his loss to face him. He'd always forget to ask about him.

Then it becomes a personal choice to appear as ten. It's how old he would've been had he been alive.

danny forgiving Damian is kinda for an offshoot branch of the main au. Whereas the main au takes the form of a ps4 first person horror game where Damian and Tim are investigating the Base for Plot Reasons. There's no sign of the rumored "monster" living inside until the end, where Danny, who was found inside the Base and has been happily "helping" them look around, manages to persuade Damian into splitting off from Tim in order to "show him something."

This something turns out to be Danny revealing that he never really forgave Damian for that fight, and he reveals through a horrifying transformation, that he was the monster the whole time. Which the game subtly hints at throughout as Danny's strange behavior becomes harder to ignore.

First from his insistence to only refer to Damian as "older brother" (when before the duel he always called him Damian or Dami), to him right off the bat denying the existence of a monster when questioned. ("There's no monster here, older brother. It's just me.") To other various things, like his knowledge of the outside world not matching up to modern times or things going on with the league outside of the base, or what happened to the other league members.

This whole idea was inspired by the song "Scylla" from Epic the Musical, with Danyal being the voice of Scylla as well as Odysseus, while Damian stands as Eurylochus. The instrumentals after Scylla says "hello" is him turning into the pit beast, and Scylla's "drown in your sorrow and fears" part is danny, as the pit beast, snarling at Damian while he attacks him.

There's a Good Ending, a Bad Ending, and a True Ending. The Bad Ending results in Damian being killed by Danny, it happens when Damian decides not to question or suspect Danny and treats him kindly. The Bad Ending is a cutscene, where Danny kills Damian quick and painlessly.

Meanwhile the Good Ending is Damian killing Danny. This is a boss fight, and it happens when Damian treats Danny coldly and suspiciously the whole time. Danny as a result, decides to make Damian's death painful as he had planned to, which is why it's a boss fight because it only causes him to double down on his anger.

The True Ending is Damian escapes with Tim. It happens when you treat Danny warmly up until the last minute, where when Danny proposes to Damian that he wants to show him something, Damian goes to talk to Tim and finally, reluctantly agrees that something is off with Danny, and that he'll be careful going in. It starts off with the boss fight until a third through, where it then changes to a cutscene where Tim manages to get the door open and Damian escapes out. It's then a chase scene down a never-ending hallway as the building actively works to keep you trapped inside. But you eventually make it to the exit so long as you avoid all the projectiles and doors.

Remember when I mentioned that Danny only lets people leave when he wants them to? That's where the treating Danny kindly throughout the game comes into play. It causes him to second guess himself and, eventually, reawaken and strengthen the love and admiration he had for Damian prior to his murder. It's why in the Bad Ending he kills Damian quickly -- because by then, he loves him enough that he doesn't want him to suffer, but is still so consumed by his rage and need for vengeance that he kills him anyways. That quiet part is what allows Damian (and Tim) to find the exit, because some part of Danny still loves Damian enough that he wants him to live.

The True Ending ends with a cutscene of Damian and Tim tumbling out into the snow/grass outside of the base. Damian looks up back to the entrance to see Danny standing there. But rather than a ten year old boy, there's a little five year old Danyal Al Ghul instead. He stares at Damian emotionlessly, blood seeping from his chest, staining his clothes, and little, bloody sword in his hands and tearstains on his cheeks, before he turns away and disappears back into the building.

[parkerstorms]

im sorry i dont usually do this but this post pissed me off so fucking bad and op has replies turned off (because of course they do)

fellas. is it gay to wear pink and have long hair and sing and dance? cause i didn’t realize we were using bioessentialism in movie analysis now that’s crazy

sarcasm aside this is literally why i don’t go in tags anymore because none of you are media literate. not a single one of you. longlegs is not wearing makeup in the movie. it’s shitty plastic surgery; that’s why his lips are red. you can literally tell by just looking at him that it’s not lipstick. the clothes he wears are all off-white or white. the falsetto he’s doing is very obviously meant to mimic that sort of “goochie goo” baby talk a lot of adults unironically use towards children. also coding? ‘coding’ is not when you interpret something from a movie as anything you want because you feel like it. coding is an intentional act committed by creatives to further their story and allude to specific real life things for a specific narrative purpose. it is an intentional act of storytelling. it is not you looking at a movie and assuming something as fact based off slight vibes

and i’m just gonna say it. if you see a male character with long hair that’s acting generally creepy in the vicinity of a child and automatically assume that that character is being coded as a transwoman, YOU ARE THE ONE BEING TRANSPHOBIC.

like holy fuck some of y’all have never actually looked inwards once in your life and it shows

[deoidesign]

Happy pride from Adam and Steve, my t4t gay vampire and werewolf!!!

They're from my webcomic. It's good. I'm not biased. It's funny and gentle and they time travel to a new location every full moon, where there's a new little mystery to solve!

[whosectype]

I watched the new Spider-Man across the spiderverse

[spitblaze]

If you’re gonna care about prison abolition and justice you are necessarily going to have to care about the people who DID do those crimes and just want to reintegrate and live a normal life without hurting anyone. You're gonna have to be cool with the fact that the guy scanning your groceries might’ve raped someone. You're gonna have to relax about the possibility that your bank teller used to be a career criminal. The person sitting next to you on the bus might’ve committed three different murders, and as long as he's not about to commit a fourth right now, that's not your fuckin' problem. People don't disappear from society after they commit crimes, and most of them really just want to live a normal, stable life instead of going back to that. And the best way to make sure they don't relapse is to ensure they're able to live that peaceful life instead of freaking out because the guy next door used to run a dogfighting ring. You don’t have to be friends with them, you don't even have to like them, but you're gonna need to be okay with them existing in society. Sorry.

[inkskinned]

there are a lot of posts out there that are positive and healthy coping mechanisms for handling the holidays. this is not one of them :)

i think there's like. going to be times in your life you will be stuck in a social situation that you cannot escape from gracefully. i do not know why the internet doesn't believe these times exist. it's not always just that your physical safety is at risk - sometimes it's legit like "i just don't currently have the energy or time to put in the effort of responding to this." sometimes it's a coworker you hate so much. sometimes it's just like, fine, you know? like you know you can handle your aunt when she's cheerily horrible, but if you actually set a boundary around her, it's going to be weeks of fallout with your father.

i don't know why people think the answer is always just "cut them out!" or "don't let them get away with that!" because ... the real world is tricky and complicated. i think kind of a lot of us have an internal "radiation poisoning" meter for certain people. like - i'm talking about the ones who are absolutely giving you gradual ick damage. like, you can handle them, but you'll be exhausted.

and yes. you absolutely should listen to your therapist and the good posts about handling others and set good boundaries and take care of yourself. prioritize peace.

HOWEVER :) ...... since im often in a situation with a Gradual Sense of Ick person i cannot just "cut out" of my life (without losing someone else precious to me) - i have sort of developed the most. maladaptive form of mischief possible. because like, if i'm going to have to listen to this shit again, i like to have a little bit of private fun with it.

now! again, i am physically safe, just mentally drained by this man. you should only do this with people you are not in danger with. which leads me to my suggestions for when your Unfortunate Acquaintance shows up and says oh everyone pay attention to me.

my favorite word is "maybe!" said as brightly and happily as possible. whenever the Horrible Person starts in on a topic you do not want to go further with, particularly if they make a claim that you know to be inaccurate, do not respond to it. you and i have both tried to actually argue with this person, and it hasn't gone well, because this person just wants the drama of an argument. however, "maybe!" gives them literally nothing to go on. it is incredibly disarming. they are used to people having some response. they know they can't prove what they're saying, and maybe! treats them like the child they are. it dismisses them in the politest way possible.

i like to say maybe! and then, in their stunned silence, immediately change the subject. this is because i have adhd and i will have something unrelated to talk about, but if you can't think of topics fast enough, i recommend just pointing to something and saying, "isn't that lovely?" because fuck you let's bring in some positivity.

by the way. that second trick - of pointing to something and stating an opinion about it? - that just works on its own, like, 70% of the time. i picked it up from teaching preschoolers. it's an intentional "redirect". it stops children crying and it also stops grown adults from finishing their explanation on why women belong in kitchens. dual wielding!

keep it silly for yourself. i absolutely do not care if people think i'm fucking stupid (it's more fun if they do) and as a result i will purposefully misunderstand things just to see how long it takes them to realize i've completely removed them from the subject at hand. when they say "women aren't funny" i get to be like. "which women." "all women." "all women in america?" "no in the world." "like the mole people? the people in the world?" "what? no. like, alive." "oh are we not counting the mole people?" "what the fuck are you talking about." "you don't believe in the mole people?"

similarly, i play a personal game called "one up me." my Evil Acquaintance literally knows this game exists (my family & friends caught onto it and now also play it) and it always fucking gets him. i don't know why. you have to be willing to be a little free-spirited on this one, though. the trick is that when they make one of those horrible little bigoted or annoying comments they are always making, you need to go one unit weirder. not more intense, mind you - just more weird. "you don't look good in that dress." "yeah, actually, my other dress was covered in squid ink due to a mishap at the soup store." "you shouldn't wear such revealing clothes." "wait, what? oh shit. sorry, your son tears off strips when no one is looking and eats them. i swear it was longer before we left the building."

the point of "one up me" is to completely upend this person's narrative. we both know this person likes setting up situations where you cannot "win" and then they really like telling other people how badly you handled it. in a usual situation, if you respond "please don't say something that rude", you're a bitch. but if you let it happen, you're letting yourself be debased. they are not usually expecting door number three: unflappably odd. because what are they going to say when they're telling everyone how badly you behaved? "she said my son eats her dresses" ".... okay?"

if you can, form an allyship with someone whomst you can tagteam with. where they can pick up on your weird "soup store" story and run with it.

the following phrase is amazing and can be deployed for any situation: "oh, be nice :) it's the holidays!" i do not know why this works as often as it does. i'll say it for the most random shit. i think this is bc most of the time these people know they're being impolite, they just like to fight.

godbless. when in doubt, remember that you could always start stealing their pens.

the whole point of this is - if you can't escape. maybe see how long you can just be. like. a horrible little menace.

[s0fter-sin]

soap's whole deal being sniper and demolitions gets me going bc on the surface they sound so different but when you get into it, you realise it's bc soap's smart

sniping is all math; calculating distances and wind interference and bullet drop. something i think people overlook is he was listed as a sniper first so it can be implied that he's better at it than demolitions. he does more sniping in both campaigns than demolitions work; in capture or kill, ghost specifically calls on him to take down the aq snipers

and demolitions is math with a hit of chemistry; knowing what mixes with what, knowing how much to use, recognising environmental factors and adjusting accordingly. it's not just about the boom; so much work goes into contained/ planned explosions. especially when having enough power for a breacher charge and not bringing down the whole building is the difference between mission success and failure

the chemical bombs he makes in alone can't just be any old cleaners, they have to have the correct reaction to each other; he just knew off the top of his head what would mix with what to create what reaction. he would also potentially have to recognise them by sight/smell bc they would’ve been written in spanish

soap would also have to know architecture; recognising structural integrity and weak points so he knows exactly where to plant a charge to bring it down and how it'll come down

he has an incredible soldier's mind people just forget that bc he's sociable which itself is a skill

we know he tends to buck against orders he doesn't agree with like when he pushes back against ghost in capture or kill and shepherd when he tells them to release hassan

he gets closer to people and sees if he can trust them and that's when he follows them without question. really think about how he talks to alejandro and rudy; he asks about their home and alejandro's family and rudy's relationship with him. those aren't questions you ask a stranger after a few hours of knowing them. that's not even touching on his relationship with ghost

he also deliberately brings people of higher ranks down to his level; talking informally with ghost and giving him a shoulder punch, addressing alejandro (a colonel!!) by his first name and rudy by his nickname despite literally just meeting them. he personalises all of them and it’s in direct opposition to the reason most characters do that; it’s not due to insubordination or lack of respect, the more he respects and trusts someone, the more casual he is with them

he digs into people; he wants to know what makes them tick and that determines if he can one, trust them and two, follow their orders. once he decides that, he's the ultimate soldier; he bleeds loyalty which makes him vicious when that loyalty is taken for granted

he isn't naive or bubbly or insecure; he's an incredibly smart and aware soldier. he's aggressive and bloodthirsty and loyal and intuitive and i love him so much

[spielzeugkaiser]

Georg Janny - Summer Night, 1926 After a certain point I had quite the fun with this, but rip to all the details you can't see because they don't show up on my shitty phone camera- maybe I can get my hands on a scanner soon. I'm still open for prompts for this series :)