#humanity is saved by its worst example

[noonslullabies]

the only reason i haven't jumped into the stampede fun is that I'll probably turn the old man into knive's uncle figure.

[captainmera]

Was evelyn ever ALMOST caught by witch hunters?

I WROTE IT, BECAUSE DRAWING IT TAKES TOO LONG.

For some reason, I forgot I could just...... Write these little shorts with little illustrations alongside it, instead of drawing out the whole thing and it takes forever. So... here ya go! Two more little drawings beneath the cut with some text!

Roger growled through the gap amongst his ivory. He could not wrap his head around why his rival was standing there with bow and arrow, willing to.. What? Shoot him? For this woman. Barely a Christian woman, even. "What are you going to do?" Roger gestured at Caleb's homemade weaponry. "You're going to shoot me if I don't leave?" "Maybe." Caleb said, still not tensing the bow. "My brother's a real clever guy, he knows a lot about the body. Did you know that arterial bleeding is the most fatal?" "Uh-" "Looks the most accidental, too." Roger furrowed his brows. Caleb's brown eyes were void of warmth. "What are you saying?" "I'm saying I'm holding a bow. I'm saying I'm pretty good at using it. I'm saying I'm a woodsman, you're not. I'm saying that if I wanted to accidentally shoot you and hide your body, I could. And if you were discovered, it's an arrow in you, not an English pistol wound, or a knife. And nobody knows you were ever here." "...You're not serious." "You can always find out." "You're bluffing, I've never seen you use a bow and-" "Leave my property." Caleb repeated. "And if you are going to accuse my friend of witchcraft, you better have more than suggestive or spectral evidence." Roger glowered back, held his hands up in peace, and backed away. "Fine, I will." And left the way he came through the woods. Caleb waited until he couldn't see him any more, before locking the door and pulling the curtains. Roger had never liked Caleb, but before his rival took a break from witch hunting, Roger had at least had a competitors respect for the man. But respect turned to suspicion. Caleb had been acting strange for awhile... Glum and a lot more quiet. Then that woman showed up. And now the cove were against spectral evidences? Caleb had been the most frequent and outspoken about how witches found a lawful loophole by using supernatural means to get away with their crimes. As it was difficult to prove that a witch had tormented someone in their dreams, for example. And Roger agreed! Sure, Caleb was annoying, but they had both been amongst the best and the worst of hunters, being the same age only meant the two lads butted head to stay in their spot as head of a patrol. Being a witch hunter was a competitive sport, almost, it was hard to explain unless you participated. They were not friends, but Roger was sure if the roles had been reversed, Caleb would've been suspicious too and, honestly? Caleb would've tried to save Roger. It was just good sportsmanship. And this whole thing smelled wicked. Caleb turned to Evelyn. "Are you alright?" "I don't know.." She said and looked at her hands. Artemis had crawled out onto her shoulder to give her a comforting little spider hug. "My magic.. It didn't work." "What?" Caleb abandoned his bow by its place next to the backdoor. "It's not working?" "I don't- I was trying to make it work, he saw me. I'm sorry." Caleb lift her chin up. "Hey no, it's alright. Maybe.. You've just been here too long?" "No that's not it. I know it isn't." "Maybe you're ill?" She smiled up at the crease of worry on his forehead. He was trying to sound calm and proper, and she knew that tone of his. That rougher, almost demanding, serious tone. That tone he used with Philip and his friends when they were turning to him for leadership and give them orders - even if he was just as anxious as them.

His eyes flickered away, noticing that she had caught him spiralling with worries. He shook his head to get out of it and straightened his back. "Are you ill?" He repeated with a softer tone "No, I dont think so." "Not witch-ill, human-ill?" "No... I don't have any symptoms." "Hm.." Caleb thought back at when she had visited him at his job. "Oh, was it the sprig of dill tea?" Evelyn's eyes lit up. "Oh! Oh right that did taste awful!" Caleb couldn't help but break out into a soft scoff. "Well, good to know that folktale is true." "Huh?" "It's said sprig of dill keeps witches and evil away. That's why we drink it at the morrow' meeting." Evelyn's lips pressed into a line, feeling a little silly that she had so readily accepted tea from a bunch of woodsmen-slash-witch hunters. Of course they would be drinking things like that out of superstition.

"Right." She brushed her vest. Caleb snorted. "Stop it! I was afraid!" "Sorry, sorry. I'm sure it's only temporary." Evelyn looked at her hands. "You think so?" "Yeah. But.. Why don't you stay here, just in case, until it comes back. Yeah?" "Appreciated." "Of course." Evelyn swayed her skirt bashfully. "Caleb?" "Mh?" "Thank you." She pulled him in so she could plant a kiss on his cheek. "You've been my hero today." Caleb's limbs were full of pink and red butterflies. He laughed nervously and swatted his hand around in the air. "Oh! PFSH! O-Of course! I can't just- You're a maiden in distress! It's only the right thing-! Anytime, milady." And theatrically rolled his hand before bowing to her. And that got him in the right height for both of her hands to cup his face. "I think you deserve one more then." And kissed him on the side of his nose, his forehead, and when his smile spread his lips wide across his face, she kissed the dimple by his side. And that was enough. Caleb crumbled, and turned away from her with an incoherent sputtering of words. She smiled. Caleb put his face in his hands to cool, stroked them through his hair and coughed. "TEA?" He offered, gesturing at the stove. "Er- not, that tea, better tea." "Sure." And took a seat nearby him.

[graysoncritic]

A (Negative) Analysis of Tom Taylor's Nightwing Run - Who is Dick Grayson?

Introduction Who is Dick Grayson? What Went Wrong? Dick's Characterization What Went Wrong? Barbara Gordon What Went Wrong? Bludhaven (Part 1, Part 2) What Went Wrong? Melinda Lin Grayson What Went Wrong? Bea Bennett What Went Wrong? Villains Conclusion Bibliography

When asked to describe Dick Grayson’s character, many will say he is good. He is Bruce Wayne’s light, the person he could have been had someone offered Bruce understanding and guidance after his trauma. Dick is a leader. A big brother. A mentor. He is someone people can look up to, someone others can trust. He is “The Heart of the DCU.”

(Williamson, Joshua, writer. Sampere, Daniel; Herbert, Jack; Camuncoli, Giuseppe; Sandoval, Rafa, illustrators. Dawn of the DCU. Dark Crisis on Infinite Earth no. 7, e-book ed. DC Comics, 2022. pp. 28)

Characters, much like real people, are more than just a trait. Jason Todd is more than “angry.” Bruce Wayne is more than just “brooding.” Tim Drake is more than just “smart.” Characters are multidimensional. They have multiple facets, some of which may contradict one another because characters, just like people, are not created out of mathematical equations where two plus two always equals four. Humans are emotional. Their being is informed by past experiences, biology, culture. The intricate combination of these vastly different factors leads to inconsistency in rationality that may not always be logical. Dick being “good” does not mean that Dick can’t be angry, that he can’t make mistakes, or that he can’t lash out or be unreasonable, especially when stressed. Dick being “good” does not mean he can’t brood, does not mean he can’t be suspicious, nor does it mean he will always like everyone. Dick being “good” does not mean he can’t be his own worst enemy, that he can’t be calculative and strategic, that he always needs to be upbeat, or that he can’t be the most intelligent person in the room.

(Grayson, Devin, writer. Zircher, Patch, illustrator. Slow Burn. Nightwing no 93, e-book ed. DC Comics, 2004. pp. 10-11)

Sam Humphries also demonstrated this during his brilliant story, The Untouchable. There, Dick’s relentless determination to save people from the Judge’s machinations grows so intense that it becomes self-destructive. The story demonstrates how Dick’s “goodness” comes from a form of toxic perfectionism that has been with him since he was a child — a perfectionism born of a low self-worth that eats at him from the inside out

(Humphries, Sam, writer. Janson, Klaus; Campbell, Jamal, illustrators. Ruthless. Nightwing: Rebirth no. 37, e-book ed. DC Comics, 2018. pp. 08)

Even the 2003 animated series Teen Titans understood that in trying to catch the bad guy — almost always Slade Wilson in the case of that show — Dick could sometimes go too far.

Dick’s goodness causes him to see himself as a danger to not just his loved ones, but everyone who stands near him. He carries the world on his shoulders, taking the blame for every tragedy and seeing every death as a personal failure. When pushed to its worst, Dick’s goodness becomes an obsession which pushes others away, leading to isolation as Dick’s entire existence narrows down to accomplishing one specific goal. 

It is this reductive characterization of Dick – the idea that his one defining trait is that he is “good” – that leads many to misunderstand the appeal of his character. As I mentioned above, characters are multi-facet, and Dick is no exception. However, the ways in which Dick is multi-facet are very different from the ways in which most characters are multi-facet.

Please do not mistake what I am about to say by claiming these other characters are not complex. Or even that some of them might not subvert popular tropes. What I mean saying is that Dick’s complexity is demonstrated differently than what I believe most people are accustomed to.

For example, everyone knows Bruce Wayne keeps his feelings locked up inside. He compartmentalizes his emotions and his trauma in order to solve the puzzle put ahead of him. But everyone – characters and readers alike – understands Bruce is doing this. Everyone can tell that he is hiding something from others and keeping them at a distance. The reader is always aware of how Bruce’s trauma informs his actions, his interactions, and his thought process. 

(Grayson, Devin; Barr, Mike W., writers. Davis, Alan; Robinson, Roger, illustrator. Procedure. Batman: Gotham Knights  no. 25, e-book ed. DC Comics, 2002. pp. 20)

Take, for instance, Part One of Murderer/Fugitive. Although a major source of tension from the story surrounds the question of Bruce’s innocence, there’s never any question in the minds of the reader and the character that Bruce is hiding something. Tim Drake questions whether Bruce truly did kill Vesper Child and is hiding his motive, while Dick is certain of Bruce’s innocence and instead believes Bruce is hiding his alibi or the clues that would help them find the real murderer. Barbara Gordon, for her part, wavers between the two, but like Tim, Dick, and the reader, she is certain of one thing: Bruce Wayne is hiding something from her, from them… From us.

Similarly, Jason Todd’s anger comes from a place of hurt and a place of love, from insecurities and a need to prove himself. But like Bruce, all of that is clear to see. His anger and his hurt are simple to understand. Please, do not mistake this for me claiming that Jason is not a complex character — instead, I’m stating that his temperament, his trauma, and his actions are so interlinked that they are clear for the reader to see. His character, while rich, is more accessible. It does not take a lot of effort to know that Jason is angry because of what was done to him. It is easy to see that he is hurt because he equates Bruce’s love to the Joker’s death, and therefore sees Bruce’s failure to avenge him “proof” that Bruce does not love him as a son. 

(Winick, Judd, writer. Battle, Eric, illustrator. All They Do is Watch Us Kill: Part 3: It Only Hurts When I Laugh. Batman no. 650, e-book ed. DC Comics, 2006. pp. 13) Dick, on the other hand, does not wear his emotions, his motivations, or his goals on his sleeve. Dick keeps his secrets not by constructing an impenetrable wall like Bruce, but through misdirection. This is why those who are unfamiliar with Dick misinterpret him so much. They take what is on the surface at face value because they do not have the character history to serve as context to understand what lies beneath As a Dick Grayson fan (From this moment forward will be referred to as Dick Grayson Fan A) said “good Dick writers teach readers how to read him and bad Dick writers just have that surface level interpretation.” (I was actually talking to her about this idea and how I’m presenting it in this essay. The example I gave was one she suggested after I asked if she could think of good moments that exemplified this idea.)

As an example, we can look at this moment from Grayson, in which Dick sucks a lollipop while receiving a mission assignment. Someone who is not familiar with Dick and is looking at Dick and Helena’s interaction might be easily fooled into thinking that Dick is the pretty, strong, but annoyingly childish and slightly dumb male character who contrasts the serious, intelligent, and highly competent woman. The characters’ expressions, actions, and the onomatopoeias are certainly leaning into that familiar trope.

(King, Tom; Seeley, Tim, writers. Janin, Mikel, illustrator. The Raid. Grayson no. 04, e-book ed. DC Comics, 2014. pp. 02) However, Dick Grayson fans know that when it comes to the mission, Dick is as serious as Batman himself. Highly intelligent, Dick is considered to by many the world’s second greatest detective (there are many instances in canon when he is referred to as such), making him more than just a pretty face who knows how to fight (It should be noted that in this tweet, writer Tom King also ranks Dick as the second best fighter in the Bat Family). Furthermore, context matters. Dick is deep undercover throughout the duration of Grayson, and this scene is set shortly after the death of one of the agents of the organization Dick has infiltrated. In other words, Dick is in a highly stressful situation without allies to provide him with back-up or emotional support. 

His posturing in this scene, then, can be seen as an attempt to misguide and misdirect. He does not wish to let those around him – people he is not sure yet if he can trust – know the full extent of his capabilities or perceive any potential weaknesses in his value of human life. Positioning himself as the annoying and childish pretty boy who does not pay much attention to serious matters is a strategic choice that his fans readily pick up on.  

That is not to say that Dick’s smiles are all lies. Rather, Dick’s upbeat nature is a natural aspect of his personality that he will exaggerate depending on the setting in order to keep his privacy. He is a natural performer, a showman, and so he utilizes misdirection to his advantage. 

A classic example of Dick’s misdirection and how he is misinterpreted by others is how some would characterize him as an “attention seeker.” However, the term “attention seeker” has negative connotations as it implies someone who seeks the spotlight at the expense of others. 

That is the opposite of who Dick is. But that’s not Dick is. As a mentor, a leader, and an older brother, Dick will often invite others to join the conversation. He pays attention to what they say, he strategizes based on their needs. 

(Johns, Geoff; Wolfman, Marv, writers. Nauck, Todd, illustrator.  The Brave and the Bold. Teen Titans no. 33, e-book ed. DC Comics, 2006. pp. 15)

Simply put, Dick is incredibly empathetic and always in tune with those around him. This is why he works so well as both a Bat and a Titan, and why his personality in each team is so distinct. As a Bat, Dick is often portrayed as cheerful, his bad puns are meant to cut the tension, the is the shoulder for his family to cry one; as a Titan, Dick is a leader, he is a strategist, he demands others take things seriously and will not tolerate slacking off, he is trying to instill good work ethics and ensure that the team dynamic stays in top shape. 

As JL Bell writes in their essay Success in Stasis: Dick Grayson’s Thirty Years as a Boy Wonder for the book Dick Grayson, Boy Wonder: Scholars and Creators on 75 years of Robin, Nightwing, and Batman explains, “in contrast to how Robin behaved with Batman. [Dick] is usually [the Titans’] serious leader.” (Bells, JL “Success in Stasis: Dick Grayson’s Thirty Years as a Boy Wonder.”Dick Grayson, Boy Wonder: Scholars and Creators on 75 years of Robin, Nightwing, and Batman edited by Kristen L. Geaman, McFarland & Company, Inc., Publishers, 2015, pp. 22)

That is because Dick knows that when he is with his family, he needs to play one role, and when he is with his friends, he needs to play another. The Bats have their strengths, so Dick adjusts himself to play up on those strengths while also making up for its weakness. Same thing with the Titans. 

Mark Waid perfectly exemplifies Dick’s adaptability when portraying him in his World’s Finest (2022) and World’s Finest: Teen Titans (2023). There, Dick brings levity to his work with Batman and Superman, keeping an upbeat attitude while still taking the job seriously.

(Waid, Mark, writer. Mora, Dan, illustrator. Manhunt. Batman/Superman: World’s Finest no. 14, e-book ed. DC Comics, 2023. pp. 07)

Yet, when he is with the Titans and feels the weight of leadership on his shoulders, he is more serious, being the one to get the Titans to focus on their objective, getting them to look at the big picture, while also making the most of their abilities as individuals and as a team.

(Waid, Mark, writer. Mora, Dan, illustrator. Team Spirit. Batman/Superman: World’s Finest no. 08, e-book ed. DC Comics, 2022. pp. 05)

So yes, Dick is a performer, a showman, but he is not “attention seeking.” In fact, his use of misdirection illustrates that Dick is a very private person. And how could he not be? While it is true that Dick grew up in the circus, after his parents’ death, he went to live with Bruce, and in doing so, was put into an intense amount of public scrutiny. The murders of John and Mary Grayson happened on a literal stage with dozens of people watching. As a result, Dick’s very private tragedy became a spectacle.

After the death of Dick’s parents, Dick isn’t allowed to disappear into anonymity. He is not afforded privacy to grieve. He is taken in by Bruce Wayne, Gotham’s most famous playboy, billionaire, philanthropic who is also a bit of a selfish airhead (at least, that is how the public perceives him), and as a result, Dick is subjected to an immense amount of public scrutiny, not just from the media, but also from Gotham’s elites, and even his peers at school. Not only that, as Robin, the Boy Wonder and the first ever sidekick, Dick also is put on the spotlight while also being aware of the necessity of keeping secrets. 

As a result of having his tragedy broadcasted and having a new mission that requires secrecy, Dick becomes a very private person. He is not an open book; instead, he is meticulous about what he shares and he prevents people from looking at what is not of their business by using his showmanship.

Furthermore, Dick’s role as a performer who, as Joshua R Pangborn describes in his essay about the Robin costume, “experiences […] the full spectrum of emotions, each and every night, for the catharsis of others,” transforms him into a literal vehicle for emotional catharsis and empathy. (Pangborn, Joshua R “Fashioning Himself a Hero: Robin’s Costume and its Role in Shaping His Identity”Dick Grayson, Boy Wonder: Scholars and Creators on 75 years of Robin, Nightwing, and Batman edited by Kristen L. Geaman, McFarland & Company, Inc., Publishers, 2015, pp. 42) In their essay, Bell argues that while Bruce Wayne embodied “the mid-century ideal of the American male,” who is always “in control of his feelings, not letting them overcome his judgment nor displaying them broadly,” Dick Grayson “can express deep emotions, not only his own but Bruce’s.” As such, Dick often acts as a sounding board for his family, friends, team, and romantic partners. As a performer, Dick embodies whatever persona is necessary to create a safe environment where others can process their emotions and achieve catharsis. (Bells, JL “Success in Stasis: Dick Grayson’s Thirty Years as a Boy Wonder.”Dick Grayson, Boy Wonder: Scholars and Creators on 75 years of Robin, Nightwing, and Batman edited by Kristen L. Geaman, McFarland & Company, Inc., Publishers, 2015, pp. 12)

Dick's performance, then, comes not just from a desire for privacy but also from a deep place of empathy. It comes from a desire to help others work through their own stories. This is why he can step into other's narratives without overshadowing them. In fact, he’ll often elevate those characters by complimenting them and creating the circumstances needed for them to shine. As a performer, Dick is naturally adaptable and always willing to fill the role necessary to create the space required for others to work through their emotional needs.

But, as with everything, Dick’s performance is also a result of his destructive perfectionism. Dick equates “good” to “perfect.” He believes that he can only be wanted by Bruce if he is the perfect Robin, he can only be wanted by his friends if he is the perfect leader, he can only be wanted by his siblings if he is the perfect older brother, he can only be wanted by his partners if he is the perfect boyfriend. As Humphries’s The Untouchable demonstrates, because Dick was raised in an environment where failure could be fatal, he internalized these stakes to every aspect of his life. 

(Humphries, Sam, writer. Janson, Klaus; Campbell, Jamal, illustrators. Ruthless. Nightwing: Rebirth no. 37, e-book ed. DC Comics, 2018.pp 20

And it doesn’t help that all of the people in Dick’s life do prove that assertion right. Everyone holds “the Heart of the DCU” to an impossible standard that, when Dick fails to live up to it, he is crucified and punished for it. If he tries to be perfect, he's told off for being the Golden Boy, but if he fails to be the Golden Boy, then he is told off because he let people down when they were relying on him. Ironically, this is done by characters in-universe real-world fans. As Dick Grayson Fan A pointed out in a discussion about depiction of Batman Family members killing their antagonists, “there's always this pressure to have Dick ~fall from grace~ and I do lowkey resent that. Dick should be allowed to be good, not punished for it.”  

This creates an environment where Dick constantly needs to maintain perfection in order to be in everyone’s good graces. Failure is not met with understanding and comfort, but with punishment. No one expects him to fail, no one likes when he fails, no one forgives him when he fails. That also means that Dick doesn’t feel safe opening up about his insecurities because to do so would mean “proving” he cannot stay on the pedestal he’s been put on. And so, he is forced to perform the role of a “perfect good guy” by using misdirection so people won’t abandon him for being human (this was said during a very interesting discussion and addressed both canon and fanfic writers. There’s a lot that can be said about Dick’s parentification and how that is viewed in the context of fandom. This is not the essay for it, and, to be perfectly honest, I’m not entirely sure I’m the best person to open said discussion).

Taylor does not portray Dick as someone with this many layers. Taylor’s Dick is perfect simply because he is good. He is the perfect friend, who is always happy to support others. He is Barbara Gordon’s perfect boyfriend. Dick is the perfect older brother, the perfect son, perfect model citizen. 

But by equating being “good” with being “perfect” without exploring the negative consequences that come from such pressures, Taylor robs Dick of the emotions that humanize him. In Taylor’s run, a good person will not be angry at their friends, will not be frustrated with their siblings, will never disagree with their romantic partner. This strips Dick of all of his nuances, and instead reduces him to a non-descriptive “everyman hero” with a limited emotional range whose only narrative purpose is to serve as a blank canvas for readers to project themselves into. 

Simply put, Taylor is uninterested in writing Dick as a character because he does not see value in Dick for who he is. Nightwing #105, which removes Dick from its story in order to allow its readers to “be Nightwing” illustrates how Taylor and DC at large only value Dick his connections, not for who he is.   

(Chen, Jess [jesswchen]. “Tweet Message.” 18 March 2023, https://twitter.com/jesswchen/status/1636971185782259716?s=20.)

Be Dick, and you can be good friends with Superman! You can be Batman’s son! You can be Batgirl’s boyfriend! Robin’s big brother! Flash’s best friend! 

As a Dick Grayson fan, this feels insulting. I’m not saying Dick needs to be anyone’s favorite character, or that anyone even needs to like him. I’m not interested in dictating anyone’s taste. But to someone who loves Dick Grayson, it is insulting to think that those responsible for his stories fail to see his value. To Taylor, the person who, as the writer for both Nightwing and Titans, has the most control over Dick’s portrayal, Dick is nothing but a tool that will soon wear off its use. 

In treating Dick as such, Taylor and DC send a clear message to those of who love Dick, and that message is that the things that make Dick special, the things that made us love him, do not matter. 

For his near century long existence, Dick served as a stand in for those who feel othered in society. While I do not have the time to go into a gender studies and queer reading of Dick, it is notable that his character often spoke to many people who felt different. As Mary Borsellino’s 2006 essay “A lot like Robin if you close your eyes” Displacement of meaning in the Post-Modern Age explains:

The things which a Robin-like figure can contain, but which are cut off from being embodied by Robin himself, lose none of their importance simply because they are rejected by a restrictive, corporate-controlled status quo […] It's worth inspecting what was excised from Robin, and charting where these elements instead found articulation: in those from lower socioeconomic backgrounds; non-White people; young single parents; and HIV positive people. And, especially, girls and women (Borsellino, Mary “‘A lot like Robin if you close your eyes.’ Displacement of meaning in the Post-Modern Age,  2006)

While Borsellio’s essay focuses on the Robin mantle, as the creator of said mantle, such assertions can also be applied to Dick. In fact, Bell concurs with the idea that those who were othered have always took a preference to Dick when stating that “Robin’s status as the littlest guy in the fight increases the character’s appeal for some children, especially the ‘youngest and weakest.’” In other words, it is crucial to Dick’s character that he is not an “everyman hero.” He is not the hero of or beloved by the average individual, but rather by those who were ostracized by society.

Taylor’s writing exemplifies the “restrictive, corporate-controlled status quo” imposed by DC that Borsellino speaks of. His characterization is the manufactured image that removes Dick’s “socially deviant/rejected” qualities his fans loved about him so that he can be palatable to a more mainstream audience.  (Bells, JL “Success in Stasis: Dick Grayson’s Thirty Years as a Boy Wonder.”Dick Grayson, Boy Wonder: Scholars and Creators on 75 years of Robin, Nightwing, and Batman edited by Kristen L. Geaman, McFarland & Company, Inc., Publishers, 2015, pp. 11)

This, of course, is not necessarily new. As Mason Downey argues in their 2015 essay In Defense of Dick Grayson: Objectification, Sexuality, and Subtext, DC has often struggled between leaning into the audience Dick has and wanting to erase any “othering” elements from his character. As they point out:

The more sexual and idealized Dick was allowed to become, the more attention he got from female and queer fans, the more the industry had to work to combat the past anxieties revolving around the character. This resulted in more and more heteronormative romances for Dick on the page. We can’t grant Wertham’s fears any legitimacy, we can’t make these stories “for girls.” Writers did so in a few ways, some obvious, some less so. On the page, we had Dick’s deflection of female sexuality that he was not in control of, and we had a level of emotional posturing with relationships he was in control of. We had moments where we saw him manipulating with or being manipulated by sex. There were editorial pushes to lean into Dick’s popularity with women and queer men coupled with the simultaneous desire to not acknowledge or grant legitimacy to the fanbase he found in those demographics. This translated to more sexualized poses. More pin-up style spreads. Multiple bait-and-switch wedding, marriage, and relationship teases which turned out to be fakeouts or got written out. Long strings of female side characters were introduced exclusively to be love interests. Off the page, we had more concrete examples. We saw a lack of merchandise and lack of representation of him in other forms of media. There was a pervasive hesitancy in broaching his existence outside of the spheres of already established fans. For example, Nolan’s The Dark Knight Rises featured Joseph Gordon-Levitt playing a character literally named Robin, who was invented for the film franchise rather than allowing Dick himself to exist in that cinematic universe. Dick Grayson is a character built upon one repeated mantra aimed at what eventually become two of his largest demographics, “Remember, this is not for you.”

(Downey, Mason “In Defense of Dick Grayson: Objectification, Sexuality, and Subtext” Women Write About Comics. December 2015)

What makes Taylor’s run unique is that in trying to have Dick tackle social issues such as homelessness and in trying to create a class commentary, Taylor attempts to create a progressive, albeit simplistic, veneer while erasing the important and “other-ing” aspects of Dick’s character that was so beloved by his fans. 

This, I believe, is one of the many explanations why many of those who praise Taylor run claim that this is the first Nightwing run they ever enjoyed, while many (though admittedly, not all) those who have been longtime Dick Grayson fans feel betrayed and frustrated by the way their beloved character is being handled. Dick is currently being appropriated into a more mainstream, palatable hero. He is being taken from those who loved him and being scrubbed clean to be suitable for an audience who could not appreciate him for what he was, only for how his connections could give them a wish fulfillment fantasy. As another Dick Grayson fan expressed:

I see no heart in [Taylor’s] work, only soulless marketing. He sells himself as something good and work on his perfect public image and everyone who disagrees is wrong and it gets on my nerves like nothing else. […] I wouldn't be as salt[y] if Taylor was genuinely trying to writing something good. I don't have the heart to [be salty] at someone working with passion, even if I don't like it.

(Henceforth referred to as Dick Grayson Fan B... This was actually said during a discussion in which we expressed how we wish we could be as excited about Taylor’s run as many others are.)

[psychedelic-ink]

𝐂𝐎𝐃𝐄𝐁𝐎𝐑𝐍.

DAY FOUR OF HAUNTED HOEDOWN

prompt: artificial intelligence au + "here, you are. you tiny thing."

pairing: ai-enhanced!miguel o’hara x f!reader

genre: explicit smut, minors dni, sci-fi, enemies to lovers

summary: there are codeborns and codebreakers. In this world ruled by ai and the people who want to keep it that way, codebreakers fight for freedom while the feared codeborns (ai-enchanced humans) do everything to keep the so-called 'peace'. You are one of the codebreakers, hunted by one of the most menacing codeborn yet, miguel o'hara.

word count: 3k

warnings: hunter/prey, chase kink, size kink, power imbalance, fear kink, dancing on the line of dubcon due to the power imbalance, but reader very much wants miguel, hate sex, piv, possessive!miguel, biting (it has a slight aphrodisiac effect because why not), some blood, dystopian, bondage with mechanical arms, double penetration thanks to said mechanical arms, dirty talk, degradation kink if you squint,

a/n: i don't know with this is, it kinda sorta happened and, honestly, i don't hate it.

In a city perpetually cloaked in gray, oppression is an unrelenting weight. Surveillance cameras leer from every corner, tracking your steps and every muttered word.

This city used to thrive, alive with energy. Now, it's stifled by a regime that rules with an iron fist. Holographic banners hang in the air, projecting sanitized slogans that mask the truth. Rain splashes onto pixelated cobblestones, the wet ground echoing the neon lights into your eyes. 

Heart pounding, you dart through the alleyways, every step echoing. You hear them chasing you, the CodeBorns, they were the AI-enhanced sentinels of this world. Their purpose; bring order to the intricate dark web of the city. You scoff as you run, what a load of bullshit. The sentinels are nothing more than mindless robots that have a barely working human heart—and brain—for that matter. 

Very fittingly, you’re part of a group called CodeBreakers, a group of dedicated people trying to dismantle the regime and censorship. You just recently hacked into the cinema, which might seem not like a big deal, but you just had to save those poor people from watching the same damn thing over and over again. 

Making people watch something else that wasn’t handpicked by the goverment might’ve not been a big deal, but breaking into the system certainly was, and something not everyone could do. 

“Shit,” you hiss, accidentally tripping over a loose cobblestone. “Shit shit shit—” 

The worst thing about the CodeBorns is the fact that they can do a lot that regular folk like you can’t. For example, they’re all ridiculously fast, they can see in the dark, they can hear exceptionally well, they have superhuman strength—

You hear a wall shattering behind you and heavy steps grow closer, you’re relieved when you realize it’s only one set of steps, but as you realize who those steps probably belong to, your chest caves. 

Fucking, Miguel O’Hara. 

You hear the familiar creak of mechanical limbs and the familiar sound of your name falling from his lips. Another thing about the AI-enhanced sentinels, they have body upgrades they can take off whenever they want to. 

“You can’t unrun me!” he roars. “You know you can’t!”

He’s right, you can’t run a beast of a man like him. 

You need to be smarter. 

Ducking into another alleyway, you thank whatever god is left in this world overrun by technology for the web of light the neon signs provide. You quickly spot a string of utility boxes, It’s dangerous, but you manage to squeeze yourself between them and the hard stone wall. Heat radiates from the boxes. If Miguel doesn’t lose track of you soon, the damn thing might heat up enough to burn you. 

The clatter of mechanical limbs echoes closer.

And then you see him. 

The neon light reflects off his holographic suit, its dynamic red details reminiscent of flickering pixels. He's a towering figure. Spider-like limbs protrude from his back, their gleaming metal glistening with the moisture of the rain-soaked air. They move slightly as if looking around, trying to sense her. With panic, you hold your breath, the small hairs on the back of your neck standing with attention. 

His brow is slightly furrowed, something you recognize he does when he’s either angry or annoyed—or both.  His lips, however, curve into a faint, almost menacing smile, revealing a glimmer of satisfaction in this pursuit.

The alleyway seems to shrink around you as his steps grow nearer. Your pulse quickens, synchronized with the flickering lights around you. This isn’t your first run-in with Miguel, and you doubt it will be the last. 

You squeeze your eyes shut. The fear you feel poisons you, making your stomach churn and your mouth taste of death. He’s captured you before but never actually handed you in. 

Arousal rears its head among the fear, coating you in a sheer sweat. You can’t help it. It’s a Pavlovian response at this point, you see him and your body starts leaking like a damn faucet. Miguel had captured you twice, and in both of them, you ended up with his cock deep between your legs. 

You just never know with him. He never contacted you outside of this, never acted in a way that would indicate that something had happened between you two. 

All he gave you is this, the chase, the fear, the wondering if this might be the time he throws you in a needlessly futuristic cell—

"Here, you are. You tiny thing."

Shit. 

It’s comical really; the way you look up with wide eyes as his red ones peer down at you. His smirk is non-existent, yet you can still feel his satisfaction in finding you. Your chest heaves painfully, you can move, struck with uncharacteristic fear. He might not be an animal you get the sense that he smells the horror sticking to your skin. 

You’re about to make a run for it when the mechanical arm’s sinewy grace coils around your ankles. Miguel pulls you out of your hiding place. All the blood rushes to your face as you hang upside down. 

“Dammit, Miguel!” you hiss. “Put me down!” 

He raises a sole brow elegantly, his eyes moving up and down your body, his gaze almost predatory. “Rather bold for a criminal,” he answers, voice nonchalant. The limbs tighten around your ankles, just a shy away from being painful. The arm draws you nearer, your breath mingling with his in the dewy air. “I’m starting to think you enjoy getting caught.” 

“Does it look like I have a death wish?” you ask. His lips twitch and you quickly add. “You know what, never mind, don’t answer that.” 

“What if it was one of the others who found you first? Were you going to spread your legs for them too? ” he snarls. “Is that how you’ve been getting away from hacking our systems for this long?” 

This time when the limb squeezes harder around your flesh and bone, you scream. The sound is drowned by the constant buzz of the world. “I should just take you in,” he murmurs. “Be less trouble.” 

Due to the blood gathering in your skull, you might be imagining things but you swear you saw a hint of actual worry instead of anger in those crimson eyes. But that shouldn’t be possible. Codeborns didn’t feel; sure they felt anger, but they were programmed sentinels made not to care about anyone who went into their criminal system. 

“Careful, your emotion is showing.” 

Maybe you do have a death wish, after all. 

“Bitch.” 

His sudden anger chokes the air from out of your lungs. You’re suffocated. The limb around you suddenly scorching hot, his eyes redder than normal, bright enough to match the neon raining from above. He bares his teeth at you, sharp and venomous, when he wants them to be. Miguel leans further into your personal space, his scowl deep—you begin to shake all over, your heart begging for your body to move away but you can’t. All you fear and think is fear. 

Arousal sneaks between the sinews of emotions. You taste it on your tongue, the scent of it searing as you take quick, sharp breaths. 

Miguel’s nose brushes the tender skin right under your ear, the sound of his inhale deafening “Afraid?” he rolls his tongue, his voice nothing but gravel. Before you can answer, a chuckle halts your tongue. His breath dans over your damp skin, goosebumps rising across your skin. “Or aroused? Or perhaps both?” 

You say nothing and it’s not for a lack of trying. You’re stunned into it, your tongue feeling limp and big in your mouth. The sharp edges of his teeth nip at your upside-down cheek, and despite yourself, a whimper escapes. 

“No seas tímida ahora. Where’s all that bite from before? Cat got your tongue?” you joly at the sudden feel of his warm tongue, your nipples hardening under the fabric of your shirt. “Beg for it.” again, a darkness curls around each and every word. 

This situation shouldn’t be getting you this hot and bothered. The want between your legs pulses so bad that it hurts. 

“P—Please, Miguel,” you say barely above a whisper. “I. . . I want it.” 

“Want what?” 

Fucking asshole. “Your cock. I want. . . you to fuck me.” 

His smile does nothing to quell the fear, “Good girl,” he rasps, the words echoing in your ear. 

The rest happens in a blur. 

Suddenly you’re not hovering upside down anymore, instead, you’re shoved up against the hard, cold surface of a wall, your pants being lowered for you. Now it’s your wrists that are bound and pinned above your head, your legs spread from the ankles thanks to the mechanical arms. Miguel’s large presence looms right behind you, his clothed cock flush between the crevice of your ass. 

“Let’s see how wet you are,” he coos, ripping your panties into two. You make a strangled sound of disapproval, but all he does is click his tongue. “Be grateful I didn’t shred your pants.” 

Grateful is the last thing you’re feeling as two fingers spread your folds, the middle one dipping between. Your body speaks for itself. Swiping his fingers up and down, he gatherers your slick around the digit and traces your entrance, pushing in. Your body jumps at the beach, pleasure licking the base of your spine. “So responsive,” he murmurs and you hear the familiar glitching sound of his suit. 

Then you feel the heft of his cock laying right above the curve of your ass, both his hands cradling your asscheeks. The limb around your wrists coils tighter. 

Miguel parts your cheeks, getting a better look. Your cheeks burn in response. The cool air hits your other hole and you hate the way your body clenches at the cold. His thumb traces the rim and a loud exhale of air rips from your lungs. Your legs start to shake, slick dripping down the insides of the tender flesh. 

“Gonna fuck this pretty asshole one day soon,” Miguel gloats. Experimentally,  he pushes his thumb forward, nearly knuckle deep until you start squirming. You’re dripping for him, your asshole fluttering around the digit. The mild pain only makes your pulse race. “Unfortunately for you, I can’t today.” 

You hear his smile in his voice. The smugness that is laced into his every sentence. Your breath hitches when he pulls out, a moment later the warmth of his finger is replaced with something cold and metal. 

You tense as you hear the machine whirring, the hardness of it is replaced with something rounder and softer. “M—Miguel. . . ?” 

His lips touch your ear, “Shhh, don’t worry about it, princesa, just a little something to keep you satisfied while I fuck your pretty little cunt.” 

The arm merely moves over your hole, a feather-like touch that warms your skin. When it gently prods at you, you arch your back instinctively, your ass moving up into the air. 

Miguel only chuckles, the sound dark and low, a faint slap is delivered to your ass. You yelp but he doesn’t say another word. 

He’s big. 

You have no idea if it’s just lucky genetics or due to the ai-enhancement but whatever it is; he’s well-endowed. 

He makes you feel every tantalizing inch as he pushes himself further into your cunt, your walls throbbing while adjusting to his width. Your jaw drops, mouth gaping. He presses deeper and deeper, every centimeter of your cunt claimed by him. Your knees buckle and for the first time, you’re grateful for the robotic tendrils holding you up. He growls into your neck, those same venomous fangs skimming the tenderness of your neck. You feel the sharp bite of his nails digging further into your hip. 

Towards the base, his cock thickens and your eyes roll back as he shoves the last of it deep inside you. Your breasts feel heavy, tingling with pleasure despite being untouched.

Miguel doesn’t wait, he pulls back his hips and snaps them forward. Your stomach clenches with a delightful shiver. While slamming into you, the arm that holds your wrists together starts to pull you back until your back forms the perfect art, a mild discomfort steaming at the base of your spine. The way he’s angling you above his cock coaxes sweet, load moans from you. If possible, he’s even deeper now, hitting that devastating spot you can’t seem to reach when you’re on your own. 

“You like being my little plaything?” he groans, kissing the sweaty skin between your neck and shoulder. You moan again when the rounded tip of the mechanical limb starts pushing into the tight ring. A fresh pulse of wetness soaks you and trickles down his length, leaving your body trembling. “Fuck,” thrust. “So,” thrust. “goddamn,”  thrust. “wet—” 

You attempt to say his name but all you manage is the pathetic repeat of the letter “m”. His lips curl cruelly and the tip of the arm forces itself deeper, fucking you with shallow thrusts. “Pathetic,” he spits. “You’re so fucked out that you can’t even say my name? You can’t help drooling around my cock, can’t you? This is why I think you enjoy getting caught, you tiny thing,” the hard edge of his voice softens as he drags his nose down your neck. “So pathetic.” 

When he nips at your neck for the nth time tonight, you bare yourself to him by tilting your head. You want it. Want him. You need to feel him tear into your flesh, you want to feel the sting of his bite for weeks. 

His movements slow on both ends. “It’ll hurt,” he warns. 

“I don’t care,” you choke out. “P-Please— I–I can’t—” 

You really can’t talk. Your cunt squeezes around him, begging for the hard pound of his hips. Miguel doesn’t make you say it twice. He sinks his teeth into the same pace he kissed not a moment ago, the pain is instant, the trickle of warm blood making you squeamish. He doesn’t suck, only bites, not that you ever thought he would be sucking your blood. You imagine it’s just something he enjoys doing, like a primal need. You feel the soft webs of psychedelic venom seep into your veins. Your body grows limp, your lids growing heavy, he resumes his thrust and the pleasure you feel is tenfold. 

“Oh god,” you gasp, slack-jawed. “Oh my fucking god—Miguel—” 

He pulls out his teeth, kissing the marks he made that were shiny with blood, “I know, I know,” he grinds his hips, the pleasure shooting up your spine like electricity. “The effects won’t last long.” 

His words go through one ear and out the other. However. Your body singing with pleasure and nothing else, the word around you fading into reds and pinks. 

Miguel snapped his hips hard into you, meanwhile, the limb resumed its thrusts, stretching you further with every stroke. Some part of you is reminding you that Miguel, as of right now, can see every part of you, your most intimate parts completely bare. But the soothing venom lurking in your veins whispers words of encouragement. You focus on being stretched further, your hips move in need to meet his thrusts, but having nothing to brace yourself against, you surrender and allow him to take you apart wholly. 

His grunts became louder, Miguel pushed deeper and deeper, both cocks thrusting into you at the same time. Spit dribbles from the corners of your lips. Your mind empties with slack-jawed bliss as both lengths repeatedly strike your sensitive spots, pounding you with pleasure. 

You let out a loud gasp when the limb pulls out of you suddenly and you’re left empty, Miguel’s arms wrap around you, hands sliding under your shirt to cup the heavy weight of your breasts. He presses flush against you, striking your ass, he fucks into you with short, deep thrusts. 

His fingers pinch at your hard nipples, slightly turning them, “Gonna fill you up,” he groans. “Gonna fuck myself deep inside of you so no one will dare touch you.” 

The possessive tone, the brutal pace of his thrusts, the large hands on your tits—all of it pushes you down the edge, your body going rigid before relaxing entirely. You gush around him, wet sounds echoing in the narrow alleyway as he fucks you through it, not slowing down in the slightest. 

However, you do feel the hold around your wrists recoiling along with the ones holding your ankles apart. Miguel holds you close as you fall loosely like a ragdoll, animalistic sounds are grunted into your ear, another burst of arousal awakening on your tongue. 

The tip of his tongue dances along the bite marks when he spills into you, his cock deep, just like he promised. 

There’s so much, you feel the heat of it spreading inside of you, some of it spilling around from where his cock stretches you wide. His hips twitch, his arms forcing down the grind of your hips. You let out a whimper, your head falling over his shoulder. 

The two of you remain like that until his cock begins to soften inside of you, Miguel slowly pulls out and lowers you to the ground so you can sit. He finds your pants and throws it towards your lap. 

Sadly for you, your brain registers none of that. The dumb muscle only starts working again when he stands tall in front of you, that same menacing stance returning. 

“Don’t let me catch you again,” he says, voice stern. He looks down at you as he stuffs his cock back in his pants. “If I do, I’ll have to lock you up. This was your last warning.” 

And with that, he leaves. 

A bitter laughter bubbles in your throat as the back of your head hits the hard surface of the wall. Rain begins to drizzle, the first tiny drops landing on your cheeks and sliding down to your neck. 

Among all the people you could’ve fallen for, why did it have to be him?

[joseline-woodhouse]

Okay I have to say it.

Will, Ada and Montresor did something way worse than Annabel Lee.

Why? Because motive matters. Now don't get me wrong, a good motive cannot justify an inherently evil action, it however matters more and more when going deeper into more morally grey areas.

Annabel has made it very clear she understands these people, including Duke to be damned regardless of her actions and basically sees herself confronted with a trolley problem that goes: "You, your wife and like X other people are bound to rails. A trolly will run over all but one of you. However if you pull just the right levers, both you end your wife will survive. The first lever you must pull is on Duke." While this doesn't make her actions noble, it gives them a noble cause and one could argue in several ways that she's acting within a moral grey area if we take the situation to be as unshakable as it seems. To make to examples, one could argue in an utalitarian way (this saves more lives than the other option) or in a very human way (this saves a loved one at the cost of a soon to be dead man, who could blame her?). There are also concepts of morality that would condemn her, like for example the categoric imperative or Jewish or Christian (and I think Muslim) religion, in which it is inherently bad to kill a single person even to safe thousands of others.

Annabel considers killing Duke a necessary evil.

Montresor however is acting out of pure sadism and spite and he puts on quite a show to make this clear. He had done so even if he believed everyone would get a happy end and he is having the time of his life killing Duke. That is picture book chaotic evil behaviour right there and by no means redeemable.

Will and Ada? Arguably worse than Montresor, at least not a bit better. This is the kind of stuff that makes large scale modern genocides possible. Hannah Ahrendt (great woman, you should look her up) argues in her book "Eichmann in Jerusalem: A Report on the Banality of Evil" that evil at its worst is not some kind of demonic evil like it has been preached in medieval times, but lays within the sheer banality of an office worker casually doing the phone calls and paper work necessary to send thousands to their certain death, while the office worker goes back home, eats dinner with his family and thinks "I'm just doing my job. It's my supervisors moral responsibility, not mine."

Ada and Will tried to kill for no other reason than because they have been told to do so and the lack of willingness to accept responsibility really shows in their actions afterwards. So I am a bit confused when I see people arguing how terrible Annabel Lee is while defending the "poor boy Will".

So, controversial opinion: in this very specific case, even though Annabel Lee either started this or at the very least didn't stop it when she clearly could have, she hasn't committed anything as immoral as her henchmen committed, who did not even need a motive to kill.

Also I would every day prefer an Annabel Lee willing to kill Duke to safe her wife in the long run over an Annabel Lee that prefers to not be a controversial female character. Let's not forget these people don't actually exist.

[s0kkix]

Would it be too much to ask, how do you draw your faces? / avoid same face syndrome ?

etc etc

not too much at all, thanks for the ask !

the way i think about faces is like a puzzle - the eyes, nose, lips, ears, chin, etc. being the puzzle pieces. it's a sort of "mix and match" game.

for example, these three characters all have a similar, strong nose and droopy eyes with puffed eyebags (except for azariel in the last pic), but thanks to different face shapes, body builds (how a character is built also reflects in their face) ears, hair and other details the characters can be told apart.

incorporating your character's personality into the face design is a great idea. perhaps the way they express a certain emotion is different to the way other characters do. maybe their resting face is happier-looking than another character's. the face is a big element of character design, because it's a tool of storytelling on its own.

take a look at my lucifer, for example. woah ! what the hell happened to them ? (he's still pretty though)

the face should entice, force the beholder to ask questions about the character and be curious about their story. i'm not saying every face you draw should suggest the oddest of backstories and personalities, but give each of your characters something unique to their face that would spark someone's interest.

now, i haven't exactly checked how well they stand out amongst eachother by removing the hair and the rest of the body, but i did draw a bunch of my characters together without colour on one paper.

my biggest tip is - exaggerate ! find a feature you want to stick out in your character's face and construct the rest of the face to compliment it. matching a face with the character's personality is also something you should know how to do, so i suggest doing research on shape and colour language.

it's important to take note of how faces look as people (or humanoid characters) age and grow older. wrinkles are one of the main ways i add character to ... well, my characters.

as much as i enjoy drawing wrinkles, i usually save them for "wise old" or nurturing characters. but of course, wrinkles appear on all sorts of people, especially if they have a fuller face.

(i am speaking specifically for my stylization which often strives to be somewhat anatomically realistic)

another tip is to reference life when you study ! human people have such a wide array of features you can utilize, it's amazing and beautiful ! just make sure you do research on ethnic features and when they appear on which face (unless you're going for something supernatural/humanoid, then the nose gallery is all yours /j).

also, don't drastically diversify faces all the time. siblings and family members often have similar features and it's okay to repeat them in these cases.

(this artwork is pretty old)

if your character and costume design is good, "same face syndrome" shouldn't worry you at all. avoiding this art community boogeyman is just one way of diversifying your art and adding spice to it. lacking this diversity really is no sin.

at worst, it's just going to look odd. for example, if you're so used to drawing young, wrinkle-less characters and attempt to draw an older character without any exercise prior to that, chances are this character is going to look oddly youthful, resulting in a sort of silly outcome.

but just like with everything, take your time ! changes and improvements don't happen overnight, and it takes time for you to get used to new things. with all that said, i'm wishing you the best of luck and happy drawing !

[linkspooky]

what are your thoughts on yuji and where do you think he ends up as a character in/after the current arc? i really wish we get more focus on him and his rs with kenjaku after this fight is over cause yuji has felt very underwhelming ever since mahito left him

I think your frustration at the lack of focus on Yuji is understandable anon, but I think Yuji being out of focus is sort of the point. I've always seen Yuji as a "Decoy Protagonist", because he's what the audience would expect the protagonist to be due to all of his typical shonen protagonist traits. Whereas, the real protagonist of the story is Megumi. In the story itself Kenjaku says something along the same lines, that Yuji eating Sukuna's finger was the initiating event of the story, but he's no longer the center of Kenjakiu's schemes. He's more of a trigger than a driver of the plot.

To me this is part of the appeal of Yuji himself. He's a well-intentioned kid who may be a heart of the friend group he's a part of, but he's never given any special treatment by the story. He doesn't have protagonist privilegeTM so-to-speak.

Usually the main character of the story because they're the central focus are given a lot of leeway to make mistakes. It's their story, the story is focused around their growth and development so it makes sense the world and character sin the story are going to center around them to an extent. They have plot armor because of course they do, there's no story without the main character. If they're losing a fight they'll get a convenient power up in time. If they're cornered one of their allies will show up to save them.

By doing away with a lot of the convenience that happens to a lot of main characters in Shonen manga, Yuji becomes a very atypical main character.

The story does not treat Yuji any different from the rest of its characters. Especially during and after Shibuya where Jujutsu Kaisen shifts to more of an ensemble piece than just following Yuji's story and development into a sorcerer.

Mahito lampshades this very fact in Shibuya. That Yuji up until this point viewed himself as the protagonist of a typical shonen jump exorcism manga. He assumes that things will work out because he's the good guy, here fighting evil curses and good always triumphs over evil or whatever the line is. However, Mahito points out that they're just members of opposite factions fighting in the streets of Shibuya. Mahito wants to usher in an age of curses and Yuji wants to kill curses for the sake of humans. Considering curses don't really follow human morality and rules it's not a good vs. evil conflict, it's ust both of them fighting for which side is going to dominate.

"You came to Shibuya with half-assed determination, didn't ya!? How naive, you stupid brat! This is war! Not a battle to fix what's wrong! But a clash of truths you and your fragile justice! You are me, Yuji Itdaori! I kill without a second thought... just like how you save people without a second thought! The instincts of a curse... against the so called dignity obtained by human reason! It's a battle to determine who will be left standing in 100 years!"

One of the biggest mistakes Yuji makes in Shibuya, letting Sukuna take control of his body leading to the massacre of thousands of people is I think a great example of the way the story treats Yuji differently. There are a lot of protaognists who have demon sides that occasionally go berserk. Often giving them a mid-fight power up when their own skill isn't enough to beat the enemy.

Naruto has the nine-tailed fox. Ichigo has Zangetsu his inner hollow / zanpakuto who occasionally tries to usurp control of his body and fight for him. In both cases however, there usually isn't any real consequences for the protagonist losing control. The worst time Naruto rampaged with the nine tails against Pain the village was already destroyed. When Ichigo loses control in the fight against Ulquiorra, he stabs Uryu but the wound heals and no one holds it against him.

Compare this to Itadori who has the deaths of thousands of people on his conscience because of his inability to control Sukuna and is then made an enemy of Jujutsu Society.

Yuji never benefits from plot conveience, in fact assuming things are going to go his way because the world will follow storybook logic is exactly what leads Yuji to making some major mistakes. There's always hard hitting conesequences to Yuji's actions because he's not special, he's just one character among many who are all fighting to survive in this world.

The one thing that gave him a claim to be the main character, being Sukuna's vessel even gets taken away from him. The whole premise of the story is that Yuji is supposed to consume all twenty of sukuna's fingers and then be executed in order to permanently seal him away.

Only for us to learn that the one thing we thought made Yuji special wasn't unique to Yuji. Megumi also had the potential to be a vessel to Sukuna. Sukuna never planned on staying in Yuji's body from almost the start of the manga he was hatching a long scheme to leave Yuji's body and take Megumi's instead.

The quest given to him by Gojo and Megumi. The thing that only he was capable of doing is gone and Yuji is left with nothing.

So what is Yuji's role in the story then, if he's not a main character? A friend of mine pointed this out recently and it helped me understand a lot about Yuji's character: he's sort of a mirror. The story describes Mahito who's set up as Yuji's foil this way as well.

Yuji is for the most part a normal kid (except for the part where he's a science fair project made by Kenjaku) who doesn't have any strong idea motivating him. Which is why it's very easy for him to adopt the motivations of the people surrounding him instead. He starts out repeating his grandfather's words of helping people. The more he interacts with people, the more his motivations become like theirs as well.

He starts out with the vague goal of helping people. When he is given the role of eating Sukuna's fingers he jumps at the chance because it gives him something that he can only do. Even if he dies at the end of his quest he'll die satisfied and on his own terms because he went out helping people. He realizes how poorly thought out his motivation is when confronting Megumi and starts admiring Megumi instead.

When he fails to stop Junpei's death, which is really failing at his goal to save people from "unnatural deaths" as Junpei is twisted into a horrid form by Mahito, Yuji becomes obsessed with killing Mahito instead. In a way he's reflecting Mahito here because violent mahito with no regards for life at all brings out the killer in Yuji. He almost shifts again away from just helping save people from unnatural deaths to becoming someone strong enough to exterminate Mahito.

Towards the end of shibuya, Yuji finally seems to reflect on the emptiness of his own goal. As someone devoid of a purpose he instead just takes whatever purpose someone else around him offers him. Once again playing his role as a mirror, Yuji himself as a character offers nothing but he is someone who reflects and contrasts the people around him.

Yuji doesn't need a purpose for himself, but by being a cog he's still a part of the grander scheme of things. Yuji himself says that he's insignificant but honestly I think it's the same symptom of before Yuji wanting to have a place in the world and a task given to him, but not wanting to contemplate what his own motivations are or what he wants. He wants these things to be given to him instead because he's a mirror, he reflects other people he doesn't not reflect upon himself.

Even thinking of himself as a cog fails because the one role he was given to play, to eat the rest of the fingers and die as Sukuna is now given to someone else because he no longer contains Sukuna in his body. I think Yuji's arc will continue however when he chooses to act selfishly for the first time.

By that I mean he can adopt Megumi's philosophy of "choosing to save people selfishly." Yuji is right now the only person interested in actually saving Megumi from Sukuna's possession and finding some way to do so, while everyone else sees him as a target to be defeated. Which is understandable because by utilitarian logic "the needs of the many outweight the needs of the few, or the needs of the one."

The choice to deliberately try to save Megumi and prioritize his life over the lives of thousands of people that might be killed if they don't put down Sukuna permanently and pioritize that is a selfish one.

However, there's already foreshadowing for Yuji making that choice. There's also a circular storytelling sort of logic to it. The story begins by Megumi making the selfish choice to spare Yuji's life even though he's dangerous to others because of Sukuna inside of him. Therefore Yuji making the same choice to save Megumi even though the less risky thing to do is just kill both Megumi and Sukuna together is Megumi's choice from the beginning of the series coming full circle.

It's also an answer to the question Megumi posed to him in their first contronation. "What if the person you save goes on to kill someone else?" Yuji acknowledging that possibility and going on to save Megumi anyway has a lot of weight to it.

The covers of the key animation books released so far also seem to foreshadow the ending fights of the series. We're already in the middle of a Gojo and Megumi confrontation which is the cover of Key Animation Vol. 2.

Considering both Yuji's own nature as a mirror and the way the story itself started with Yuji eating Sukuna's finger I think it makes far more sense for Yuji's last battle to be against Sukuna. Especially since Sukuna now considers Yuji as someone far beneath him even abandoning him as a vessel. The best battle for a character to function as a mirror is to fight their mirror image, and he already did the same with Mahito which was Yuji's most significant fight so far.

As for Kenjaku, we may get some revelations about Yuji's creation but honestly I don't think there's going to be any confrontation between the two of them. There's far more setup for a final confrontation between Kenjaku and Yuta. Number one, Kenjaku is in Yuta's body and that's always been Yuta's rival.

When Kenaku appears and seals Gojo he states he's not worried about Yuta because he doesn't have the potential to surpass Gojo.

Yuta also states his direct goal is to kill Kenjaku by himself so Gojo won't have to kill his best friend a second time.

That's pretty direct foreshadowing in favor of Yuta, and also I think fits with the theme of Yuji not really being the main character of the piece. Kenjaku is pretty much the main villain and the orchestrator behind the plot so him being taken out by another character pushes Yuji away from the center of things. Kenjaku himself even says that he's washed his hands of Yuji, Yuji's no longer the center of his schemes he's moved onto other things.

[ponett]

I have now finally seen the Mario movie. It was Pretty Good. Here are my wordy thoughts on it. (I am going to spoil the entire movie. Duh.)

In many ways, the Mario movie does what I wish the first Sonic movie had done. They just took the characters and the premise and the world from the games, and made it a straightforward animated adventure movie. It's bright and colorful and remixes things JUST enough to include fun elements from multiple games, and it doesn't make Mario get adopted by James Marsden or whatever. It even has the music!

That's all you really need, right? Right...?

I'll get this out of the way up front. Chris Pratt was fine. He's fine

If anything, it really feels like they did the movie a disservice by letting us hear so little of the Mario voice in the previews. It took one scene for Pratt to disappear into the role for me. It was totally fine. If anything, I found Charlie Day's normal voice coming out of Luigi WAY more distracting, even if I did like him in the role.

Everyone else was pretty good, for the most part. Jack Black was obviously very good as Bowser, but I'm biased. Seth Rogen does the Seth Rogen laughs as Donkey Kong, but I thought DK was fun, too. (I liked his little rivalry with Mario where he was just constantly giving him shit.) The only casting choice I truly hated was Fred Armisen as Cranky Kong. I hated every line that came out of his mouth. He sounds atrocious. Just the worst. I swear to fucking god if they do a DKC movie and we have to hear him for 90 minutes

I did think Peach was lacking, but that was on the script, not Anya Taylor-Joy's performance. It's cool to see Peach fight, but it's one of those all too common instances where the writers put so much effort into making the main girl kick ass and be an effortlessly confident girlboss that they forgot to give her an actual personality. Not that I'd point to Super Princess Peach and its mood swing superpowers as positive representation or anything, but there's a happy middle ground, surely. Shrek was 22 years ago, just having the princess do flying kung fu kicks isn't enough.

Okay. With the voices out of the way, let's talk about the big picture:

It's way better than the words "Illumination Mario movie" implied, and I mostly enjoyed my time with it. The spirit of Mario is there 100%. But I'd also describe it as "ruthlessly efficient."

This was perhaps the main complaint critics had, and they were absolutely right. People have responded to these totally average reviews with "Well, what did you expect? Shakespeare?! It's MARIO!!" Like, yes, I would prefer it if the movie I paid to see had writing that was good instead of bad. What a shocker. My issue isn't that it's not "high-brow" enough. The problem is that it feels mercenary. It feels like an editor went through and deleted almost every line of dialogue that isn't some form of exposition, at the expense of the pacing. Any scene that's not a montage or some sort of action is kept as short as they could make it, with barely any room for embellishment, character interaction, or anything other than the bare minimum word count to hit all the typical Save the Cat Hollywood screenwriting 101 story beats to the letter. There aren't even as many jokes as you might think (and the ones that are there are extremely hit or miss, including a lot of the slapstick with Mario himself).

Mario and Peach's little arc together in the front half of the film is probably the worst example of this pacing. Even having read reviews that complained about how fast Peach goes from meeting Mario (by her admission the first other human she's ever met) to deciding to train him as the new savior of the Mushroom Kingdom, I was SHOCKED at how fast it was. They don't even lampshade it.

Peach takes Mario straight into the big training sequence where he learns how to use mushrooms and jump over platforming obstacles. Peach is apparently already a hypercompetent platforming pro and a great fighter, so there's no clear reason why she's taking the time to train this random guy to be half as good as her when the world is in danger. Then they set off on their adventure, Toad joins them, and we get a VERY brief travel montage. It's about thirty seconds total - just long enough to give Peach a line about how she wants to protect this beautiful world of hers to try and give her some stakes. We get the genre-mandated nighttime campfire heart to heart, which is exactly long enough to have Mario say he misses Luigi and to have Peach give the two sentence summary of her origin story and not a second longer. Then they reach the Kongs, and their big journey is complete. (They barely interact for the rest of the movie.) So much of the movie is like this - always ready to get on to the next scene as soon as a new one starts.

I'm not criticizing the script because I expect The Super Mario Bros. Movie to be a prestige drama - although there are certainly halfhearted attempts at a dramatic arc. The stuff with Mario's family was a fun enough idea, but again, ruthless efficiency. We get one quick scene with them at the start to give Mario some pathos, because I guess Save the Cat said he's gotta have some pathos. And then Mario gets his dad's approval amidst the action of the final battle in Brooklyn to resolve his arc, just so the movie can end as quickly as possible once Bowser is defeated. (Despite now having the approval of their family and their community back in Brooklyn, Mario and Luigi move to the Mushroom Kingdom off-screen without a single word dedicated to this decision, because that's where they live in the games.)

Look. I am not comparing it to The Godfather. Don't give me that shit. I am not asking for an extra half hour to explore Mario and Luigi's childhood trauma. I am not asking for the complex inner workings of the Mushroom Kingdom monarchy. I know this is gonna be a basic Hero's Journey adventure for kids. It just feels like it's turning down so many opportunities to have a little fun with the characters, to let them interact and play off of each other, to let there be some adventure on this adventure. This is the first time we've gotten to see these characters interact with fully voiced dialogue in a very, very long time! "Yeah, it's not High Art, but it's FUN!" Stories are fun! Character interactions are fun! The script could be having so much more fun!! It is adamantly against making the Story parts of this story-driven movie any more Fun than they functionally need to be!!!

Mario, Peach, and Toad's journey to find the Kongs is shorter than the training montage that precedes it. After the opening, Bowser mostly just sits in his castle and waits for the third act to start. Luigi's there, too, but he only gets one scene with Bowser and then the movie mostly forgets he exists until the climax. He doesn't even get to try and sneak out of Bowser's castle and get up to hijinx. He's just there to be a motivation for Mario, so he sits in a cage for half the movie. It's the bare outline of a script with action scenes added in.

Aside from the fact that it's Jack Black singing as Bowser, I feel like this overly-efficient script might be part of the reason why the "Peaches" scene stands out so much. It's a moment that didn't strictly need to be there to keep the plot moving or to provide an action setpiece. It's not even a reference to another Mario thing. It's just a fun and memorable little character moment that's there for its own sake. That's what the movie needed more of. To stop and smell the roses more often. To play in the space.

To be clear, this isn't a unique problem with this movie. Critics have been noting for years that second acts are disappearing from big Hollywood movies in favor of the Act I plot setup and the Act III action, even though Act II is supposed to be where you get to explore your actual premise. And lots of animated movies give me this exact same vibe of being too "screenwriterly," or feeling like they had an executive breathing down their necks and demanding changes based on focus testing. But these common issues are why I come away mostly feeling like the movie is on the better end of "average," rather than totally blowing my mind. You have seen this movie many times before, just not with Mario in it.

And, of course, there's the music. The score by Brian Tyler based on various classic Mario and Donkey Kong tunes (frustratingly all attributed to Koji Kondo) is absolutely beautiful, but it's unfortunately frequently overshadowed by the licensed music. Everyone already complained about things like the use of Take On Me in place of a lovingly arranged DKC medley, but it feels illustrative of the tug of war the movie is caught in the middle of, between wanting to be a lavishly faithful Mario movie and wanting to be a generic tentpole animated adventure movie. Every single licensed song used is the most obvious, overused song they could have picked for the scene. It reeks of cynical executive meddling and it took me out of the movie every time.

But there really was a lot of care and love put into this movie - more than probably any other video game movie ever made, not that that's a high bar. I don't want to underplay that too much amidst all my complaints spurred by the absolutely insane response to the reviews.

Aside from the countless background references that people will be picking apart for years, touches like the Captain Toad tune playing in the background of Toad's introduction or the Mario Kart 8 menu music playing in the kart garage really help bring it to another level of authenticity. I also enjoyed seeing some more obscure Mario enemies that felt like they were picked more for being fun to animate than for being nostalgic and marketable. No matter how many times I sarcastically pointed to the screen and deadpanned "reference. reference." I am not immune to noticing these things and smiling. I am not immune to the DK Rap. These alone don't make the movie good, but it's nice to have a video game movie that feels like it was made by people who like video games.

Most importantly, the animation is great throughout. It's leaps and bounds ahead of other Illumination work, and it's the best the Mario cast has ever looked. They even made Donkey Kong handsome, somehow. They're all so squishy and expressive, and they move so fluidly - especially in the action scenes. I particularly liked the more kinetic ones like the aerial Banzai Bill chase and the Mario Kart sequence. Truly, the Mad Max-inspired car battle on Rainbow Road where Mario literally does the speedrun shortcut is this movie firing on all cylinders.

Other, more hand-to-hand fights nail the Popeye-esque vibe Mario should be going for. He's an underdog who gets the shit kicked out of him by bigger, stronger opponents until he gets his signature powerup and turns the tables on them. My favorite animation of all probably came from the use of Cat Mario to turn the tide in the DK fight. They had so much fun making Mario move like a cat. Again, it feels like a choice made because it'd be fun to animate rather than just a nostalgia move.

It's that animation and that attention to detail that carry the film, really. They elevate it from mediocrity into being a fun watch for a fan like me, albeit one I couldn't help but pick apart with Anthony as we watched it at home. I'm glad I saw it, but there's a lot of room to improve with the inevitable sequel. I hope they do. I can't deny that I had fun with the movie, but I hope next time that fun is partially because of the script instead of in spite of it.

Stray thoughts:

Overall, I would say I enjoyed the movie a lot more than Sonic 1, but probably not as much as Sonic 2. Not that these movies need to be pitted against each other.

I hated the Luma. I hated how hilarious they clearly thought the Luma was. They have the fucking Luma break the fourth wall to end the movie and start the credits. This is going to be a deep cut for fans of bad animated films, but the whole time I was just thinking of the little fish from Romeo & Juliet: Sealed With A Kiss who's just the director's kid saying random nonsense. You know I'm right

I rolled my eyes at the "our princess is in another castle" joke and several other jokes that would have been dated in a gamer webcomic 20 years ago but I guess they had to be there

How much of Brooklyn did Bowser's giant floating castle take out? We know 9/11 happened in this universe because the Freedom Tower is there, hasn't New York been through enough

I can't believe there's a Diskun easter egg

The dog is the most Illumination character design in the movie. It felt like it wandered on set from The Secret Life of Pets

Mario being a gamer and playing Kid Icarus of all things just made me remember this tweet:

Yes Anthony did get mad at me for being thirsty for Bowser

[ahamkara-apologist]

it's also wild because like. Mara Sov is outright manipulative. she outright says she has plans to kill you if you go astray. she has plans to kill everyone, actually. she gets information she has no business having just to do that even iirc. meanwhile Osiris is a stressed out gay old man who is trying to save everyone except himself.

Okay I WILL defend Mara here and say that while she is a manipulative bitch, yes, that's actually a good thing to have handy. The Young Wolf is fucking dangerous and so are many in the cast of Destiny, so having contingency plans to kill people as needed is kinda necessary (just look at Eris in the dark future). But Mara is out here playing games of 4D chess with the Witness and the likes of Savathun- she needs to play god like that because it's basically her job. The major issue with her is the fact that she doesn't know how to NOT play puppetmaster, and takes it into her personal life- what she did to Uldren was a prime example of that, and while I have many thoughts on why that is, the fact of the matter is that Mara is a person who does what she needs to do with the coldness and cruelty of a deity because that is the niche she's carved out for herself and what she needs to be to ensure the survival of humanity.

Osiris, on the other hand, is NOT playing 4D chess with the Witness- he's a soldier, a defender, a blade. And not only that, he acts the way he does because he's driven by anxiety, paranoia (well-placed paranoia too!), and the fact that for the longest time, he's been alone. He was outright exiled from the Last City! He was alone in the Infinite Forest with nobody other than Sagira and his own mind! That's a lot of centuries to be by yourself, and don't forget that those centuries were preluded by social isolation from his peers and betrayal beforehand. Osiris operated the way he did because his OCD had him constantly running on the assumption that the worst-case scenario was going to happen, and he had the experience from his time as Vanguard and his subsequent exile to show that not only did nobody believe him, they also didn't take it seriously (or took it too seriously) and wouldn't help him with it. Like, no fucking wonder he's always running around acting like he's the only person who's taking things seriously and throwing his all into solving the problem. His mind is hardwired to assume the worst and he has proof that people will not help him with it (though LF has him confronting that)

Like, I myself have OCD, and those repetitive thought spirals are no joke. Imagine that you're confronted with a problem, and your brain automatically jumps to the worst-case scenario for that problem. If you've gotten cognitive therapy for that, you know this isn't the case, but knowing doesn't change the fact that your mind is CONVINCED that the worst case scenario WILL happen, and it will get lodged to the forefront of your mind with all of its gory details while you try your best to ensure that it won't occur. Doesn't matter if you have to shift to doing something else- that fear, that worry, that will always be right in front of you. Meds and cognitive therapy have worked for me on that, but Osiris doesn't have those, and on top of it- he's got prophetic visions! I can't IMAGINE how awful that would be to deal with!!

That's also why his character development after Sagira's death is so big imo- as tragic as it was, Sagira dying for him forced him to really slow down and realize that rushing into things without thinking about his own safety harmed others, not just himself, and his subsequent reminder of his own mortality forced him to be reliant on others instead of refusing to let them help him. Part of why he was so impatient and brusque in Lightfall was because he had to rely on the Young Wolf and Nimbus to deal with an issue that he considered his own, and while it didn't go exactly as planned, I think that's also why he's softened up significantly since then. That, and him being unable to rush headlong into things and to just sit and enjoy his time with Saint (which he never allowed himself to do before because if he had the Light, what was his excuse for not fighting the Darkness) helped him tremendously. It forced him to face his flaws, learn that he could rely on others, and to slow down in life, and he's been doing much better as a result of it.

Osiris has only ever harmed others by completely disregarding the harm that he did to himself, and recent events in the story have forced him to reflect on that and change it. And maybe by being a bit of a blunt, extremely-honest ass that nettles sometimes. That's pretty much the extent of his flaws imo

[matan4il]

Something I see and have seen more of since the SA hearing started was people taking tweets/statements in Hebrew and using Google translate to claim these Israelis are saying really racist, crazy things. Like I'm sure there are asshole Israelis who spout off racist shit, but every country has that, and people can cherry pick whatever they want.

But part of me doubts all of these tweets are even translated correctly. I mean, Google Translate is notoriously bad, but suddenly, it's reliable? I'm sure it's fucking up in some cases, and I wouldn't be shocked if some are straight up wrong or faked (it's not that hard especially now with ai).

But again even if all these racist tweets calling SA's monkeys/slaves and should be bombed are true, those don't represent all Israelis and its clear they're picking the worst examples. Also, it's so annoying to see this idea coming from people who defend the antisemitic stuff in their movement by claiming it doesn't represent all of them. So again it just becomes anouther double standard for Israel/jews in general.

Hi Nonnie,

Absolutely, you're right that there was a lot of taking things out of context, like presenting something that an Israeli official said about destroying Hamas, as if it's said about all Palestinians.

But you're right to be skeptical that maybe some translations are incorrect. Automatic translations ARE bad, but there are also people who are intentionally mistranslating.

I'll give you an example. I'm sorry now that I didn't save that post, but I found the vid that the post used the first 5 seconds from. It's a vid of Yoav Gallant, Israel's Defense Minister, speaking about how, "Gaza won't return to what it was before. We will eliminate everything." Which sounds pretty damning, right? Except the translator intentionally skipped four short words in Hebrew. Gallant actually said, "Gaza won't return to what it was before, Hamas won't be, we will eliminate everything." <- These 3 short words (Hamas lo ihie) totally change the meaning! Here's the vid, and a transcription of the Hebrew words, if you wanna try and follow: "Azza lo tachzor lihiot ma she'hi haita, Hamas lo ihie, nechasel et ha'kol."

Please note that this is an official translation, from an actual news source, the Al Arabiya channel. Which shows you how much you can trust media that's biased against Israel.

Those three omitted words make it clear that what Gallant means will change after the war is specifically that Hamas will be removed from Gaza, and 'we will eliminate everything' refers to the terrorist infrastructure of Hamas in Gaza, not to the entire area.

What gets to me is that you can clearly hear Gallant say 'Hamas' at the start of his second sentence, even without understanding Hebrew or following the entire transcription, so you don't even need to take my word for it. You can listen to it for yourself, and see that someone omitted the word 'Hamas' from the translation, which in the context of a sentence then quoted by countless anti-Israel social media accounts, and by South Africa at the UN's International Court of Justice, is quite a significant omission.

And this is just one example. So yeah, absolutely DO NOT TRUST translations that come from anti-Israel sources. They have every reason to lie, omit and distort, and millions who blindly believe them.

As for how there are some bad apples in Israel, of course there are! Every human group has both horrible and amazing people, and everything in between. That's not the question. In the context of a state, it's a question of whether these people represent an actual policy? Do they even have power to dictate policy? When they say awful things, how are they treated, are they embraced, or denounced? Is the implementation of the state's actual policy in the field indicative of genocidal intents, or do the over 10,000 aid trucks allowed by Israel into Gaza so far, speak louder than an insignificant Israeli politician, who doesn't even have the authority to dictate Israel's policy regarding Gaza, and who thinks he's scoring some cookie points by saying some dumbass shit?

Like one Israeli politician, who's in charge of heritage, whatever that's supposed to mean (I can't tell you a single accomplishment of his, or a task he oversees, but he certainly isn't in charge of ANYTHING that has to do with the war) who was asked (so this dumbass didn't even come up with this dumb take himself), "Would it be a possibility for Israel to use a nuclear bomb on Gaza?" and he said yes. He didn't come up with this idea, he didn't say it's a certainty, he didn't call for its execution, he was just asked about the option and said it exists, except anyone with a single brain cell (yes, you can tell my opinion of him), and certainly the people in Israel with real power, would tell you that even if anyone was that inhumane, dropping a nuclear bomb on Gaza, which is right by Israel, with tons of Israeli communities right next to the border, would kill countless people in Israel, too. Which I am sure he would not actually support in a real life scenario. Oh, and he also got denounced and suspended right away. And still he was quoted at the ICJ, because why not? We all know every country is measured by what its dumbest, least consequential politician says, not by what its leaders do... Oh wait, no. That's just Israel.

So yes, you're right. It is an application of a double standard that discriminates the Jewish state, while most countries aren't treated that way, and while Israel haters themselves wouldn't wanna be treated like that.

I hope you're well, and taking care of yourself in the face of all of this hateful propaganda and discrimination! xoxox

(for all of my updates and ask replies regarding Israel, click here)

[the-garbanzo-annex-jr]

The Palestinian Center of Human Rights is a respected organization by the human rights community. 

It is also insanely antisemitic.

The headline of a news release this week says, "Latest Israeli Displacement Orders Further Prove Their Genocidal Nature.

The very things the IDF does to avoid civilian casualties in order to get to Hamas targets hidden in civilian areas are being viewed as evidence of genocide!

The press release says this statement that no sane person could write: "The establishment of these so-called ‘humanitarian safe zones’ reveals a genocidal pattern designed to forcibly displace Palestinians to areas lacking essential services necessary for their survival. "

If the IDF wanted them dead, why spend the time and effort and resources to ask them (not force them) to leave?

That's not even the only example in this very press release of interpreting Israeli actions to save Gazan lives as genocidal.

Israel has been working hard with UNICEF and WHO to bring polio vaccines into Gaza, a complex undertaking to do safely. Over 1.2 million doses have been imported. The entire operation is complicated by the fact that thse vaccines must be kept cool, so appropriate cooling equipment must also be brought in and there must be assurance that they will work during power outages. The entire operation so far has been accomplished in only a couple of weeks.

Israel has also appointed a brigadier general whose only job is to coordinate with international organizations for aid delivery and distribution into Gaza. I'm pretty sure that no army in history has ever done so much to ensure aid to the enemy's side.

But here is how PCHR reports it:

The delay in the vaccination campaign due to Israel’s displacement orders highlights a trend of weaponizing previously eradicated, highly infectious diseases as a tool of genocide. This strategy deliberately uses such diseases to inflict permanent disability or death on Palestinian residents of Gaza.

This is simply a 21st  century update of the Black Death blood libel against Jews. 

It isn't coming from neo-Nazis but from a respected human rights organization - one that partners with Amnesty and HRW, among others, and whose reports are trusted by those organizations as well as the UN.

To PCHR and other "human rights" NGOs, the idea that Israeli Jews are immoral, homicidal maniacs is the first principle from which these organizations interpret everything else. Once the idea that Jews are the worst people is established, then any counter-evidence becomes, instead, evidence of the  truth of their antisemitic conspiracy theories.

[sadko101]

Varric is soo kean on helping solas instead of just stopping him because he couldnt stop anders

(more indepth and corrected version of my old post)

TW: very brief mentions of suicide and usual Anders stuff

okay the title is even more mid but this point is about how i believe one of the big reasons Varric is set on not just stopping Solas but helping him is because of what happened in Kirkwall. enter brief collection of thoughts:

one thing i loved about dragon age 2 is Varric and Anders friendship and how that added to the tragedy of both of their stories.

if your Hawke doesn't like Anders, Varric is the only one who actually enjoys his company and considers him a friend throughout the entire game. we also see in there banter that Anders is very Anders when interacting with Varric. it is also through there banter we see Anders lean more into the vengeance/justice and "lose" himself:

act 1

Varric: So a human, an elf, and a dwarf walk into a bar...

Anders: The human says, "You're lucky you're so short. That hurt like mad!"

Varric: You could have just stopped me, Blondie.

Anders: Why waste a perfectly good set-up?

act 2:

Anders: Boiling in oil.

Varric: Too prosaic. Trapped in a cave with hungry bears, right at the spring thaw.

Anders: That lets him off too easy. Dipped in molten gold and left as a statue in the Viscount's Keep.

Varric: Ooh. That's poetic!

Hawke: What are you two talking about?

Varric: What to do to Bartrand when I find him.

Anders: Any suggestions?

and the Parallels of act 3:

Varric: So, three templars walk into a tavern.

Anders: Not right now, Varric.

Varric: You feeling all right, Blondie? You're always in the mood for templar jokes.

--

Varric: So, the knight-commander... Boiling in oil? That one never gets old.

Anders: This is past time for joking.

Varric: I'm helping you indulge in elaborate revenge fantasies. I think it's good for you.

Anders: Meredith will die. Do not doubt that.

Varric: Go away, Justice. Can Anders come out and play?

Anders: [Justice voice] Stop.

Varric: You are no fun anymore.

Anders offers Varric his embroidered pillow, the only thing he was allowed to take from home to the circle. anders states to varric how he was a good friend. Varric denies it presumably thinking that Anders is planning on killing himself when he tells Anders "to have many more dreams of killing templars on it''. Varric obviously has concern for Anders and cares for him that we have seen throughout the game. when the chantry blows up all of Anders actions entirely add up to that action. you can only presume that Varric (and probably the rest of the cast) thought back on the warning signs.

the warning signs that Anders was going to do something drastic were there, for example, after act two he begins to isolate himself (regardless of if Ella died or not, but the reasons are different). its clear that he is struggling with his mental state and loosing control.

codex entry "after the deep roads": In the past three years, Anders has become more reclusive, verging on paranoid.

codex entry "the last three years": (if Ella is killed:) The past three years has seen Anders cross the edge from moodiness into open paranoia.

(if Ella is saved:)  Anders lost interest in the cause of mage revolution. Convinced he was no better than an abomination, Anders was determined to gain mastery over the spirit inside him... or die trying. It is increasingly apparent that he is losing this struggle. Prone to wild mood swings between deep melancholy and manic determination.

people don't wake up terrorist, Anders decline and why he did what he did to the chantry was something out of paranoia, vengeance and a kind of insanity. by act 3 'Anders' seems to have very little rational thought left in him, and the bomb was not a rational thought.

Anders story in da2 is his and justice's tragedy and how they spirals into madness together, pushing each other to the worst version of themselves by accident.

so back to Varric, in the trailer we saw how determined he was to stop solas, how he doesn't want to give up on a friend who is in "need". this feels parallel to his inability to stop Anders

*note, Anders and Solas are two very different characters and so are there actions, the similarity here i only Varrics friendship to them.

so i conclude that, i believe that one of the Varric is so intent on stopping Solas through helping him was because he could not stop Anders, and Varric doesn't want to see another friend loose his mind.

end note: Anders and Varrics friendship is so important to me you don't understand how much da2 broke my heart

intresting note from people on reddit: justice was becoming vengance the moment he got stuck in the mortal real in kirstoffs body (mightmake a write up on that too)

[luminalunii97]

Iran's protests revolution is not simply about hijab or bodily autonomy, rather those are parts of the issue: a meta post (part 1)

I don't think I can stress enough that today's conflicts between people and the governing system is not to correct the system, rather to make a fundamental change by getting rid of the current corrupted system altogether. Why? Because we came to this conclusion throughout this 4 decades that this system is impossible to work with. (You can't correct ideologies, theocracy, dictatorship, and worst of all a religious totalitarianism) So when you talk about IranProtests2022, don't limit it to mandatory hijab, it goes far far beyond that. As one favorite slogan on the streets states it:

این آخرین پیامه، هدف کل نظامه

(this is the last message, [our] target is the whole system (regime))

*I'm going to use historical facts, people's chants on the streets, and the constitution of Islamic Republic to make my point across*

What you hear today the most on the streets in Iran is the melodic slogan آزادی، آزادی، آزادی (freedom, freedom, freedom)

which is a generic demand that holds all forms of freedom including freedom of speech, freedom of religion, freedom flow of information and freedom of choice in its belly. Seeking freedom is not a recent development in Iranian society. If you study Iran's history for the past century, one thing is very clear: today's protests-going-on-revolution has old roots. You could say the fight for democracy, what is thought by Iranians to be the only path that enables people to gain individual freedom and to establish social justice, has started more than a hundred years ago, by the constitutional revolution.

The incompetency and corruption of the kings and their royal dependents during the Qajar rule, the vast interference of foreign powers in the country's affairs, and the shift in western politics towards liberation were possible factors that pushed Iranian figures and people into rising up for freedom. But due to many obstacles, among them foreign interference especially by Russia and Britain and later on USA mostly because of the natural resources in iran like oil, and furthermore culture and religion, this fight for libration and democracy hasn't been won yet. There have been various attempts in this ongoing fight, two well known examples are Mohammed Mosadegh government and the notorious islamic revolution 1979.

But our main focus here is the issue at hand. Why Islamic Republic of Iran must go?

In every area you could think of, Islamic republic has f-ed up these last 4 decades. International affairs?! F-ed up. Financial prosperity? Safety and peace? Environment? Managing water resources? Saving endangered animals? Job making? Education? Women's rights? Queers rights? Ethnic groups right? Human rights? Even representing Islam? Freedom of speech? Freedom of religion? Freedom? All f-ed up.

I'm going to give you examples;

Women's rights:

This is important because women are the leads in this protests and their demands are at the center of it all. Women's rights are the heart of this revolution.

Women in iran cannot wear what they want. It's not just hijab that's mandatory, it's a specific dress code. I have a hijabi friend who loves wearing long sleeved blouses and long skirts. But she can't. Because hijab should fit into a specific style to be accepted and blouses are not acceptable clothings. There are should and shouldn'ts women must follow. Look at some examples:

No tight pants, no bright colors, no hair, no bare foot, no makeup, no short manto, no tight manto, no buttonless manto, no short pants, and check out, there's more.

So if you wear your hijab like below you're going to either get arrested or be thrown out of a governmental institute:

But the thing is forced hijab is not the only or even the most important problem for women. Here is a list of women's issues in Iran, this is what gender apartheid means here: (tw for misogyny and rape)

*Women can't drive a bicycle or motorbike in iran, the funny thing is they can sit behind a man on a motorcycle but they can't be the driver themselves!!!

*women can't go to stadiums to watch men's sports.

*women can't get a passport or travel without their husbands permission.

*women can't get married without their father or grandfather or court's permission

*women can't go to work or get a higher education without their husbands permission

*University students who are women in case of staying in a dormitory need their father or husband's written consent.

*Women can't even check into a hotel on their own

*women can't become judges because they're "emotional"

*women can't run for presidency because the first condition to become a candidate is to be a man

*Women can't decide to get a divorce, and their child custody goes automatically to the father so they should fight for both

*a woman's testimony in court has half the value of a man because they're not "trustworthy"

*a woman's blood money is half a man's

*a woman's share of inheritance is half her brother's

*a man can marry up to 4 wives but polyamory not only isn't recognized for women, there are serious punishments including death penalties for women who have sex with anyone who's not their husband

*The law considers sex within marriage consensual by definition and, therefore, does not address spousal rape, including in cases of forced marriage. It gets worse. Women are supposed, by law, to always say yes to their husband's sexual advances. A man can take a complaint to the court about his wife saying no to him for sex!

*fathers are considered the "owner" of their child therefore if a man kills his child he won't get appropriately punished and only spend a brief time in jail. This worsen honor killing in iran where some fathers kill their daughters for reasons like having a boyfriend.

*the legal age of marriage is very low, 13 for girls and 15 for boys, and even that's more of a formality. It's possible to get married at any age. That is by far one of the most alarming things about Iran's human rights violations, child-wives shouldn't exist.

...

The thing is, fighting for women's rights isn't something new in Iran, it has never been this widespread though. After the failure that was 1979 revolution, the government started to oppress women more and more as it went on. Women's protests against discrimination started early on and continued after islamic republic was stablished. Watch this report made by TIME around 2 years ago. Look how far we've come:

[bonefall]

so are wild boar still considered “extinct” locally by the humans? given that wild boar in england are currently considered extinct, even though there are pockets of population

(context: i was looking up animals that england has driven to extinction with my partner last night because we were both feeling Some Kind Of Way about species conservation, and how england is basically the worst monster historically in terms of driving entire species to extinction, and continues to be hugely negligible. then i remembered boars in better bones i was like “aren’t there boars?” and then saw that they were also considered extinct, which surprised me)

Yeah England is a fucking monster in terms of bad conservation, and its colonial influence in how OTHER places view conservation can't be understated. But anyway I'll save that for another time

(But like it fucks me up that you guys only have one protected river in the whole UK and it's mostly in Wales. What the fuck. It's been 30 years and they're just now thinking about adding another. Brits in the audience who can i kill for you? If we throw someone in the thames maybe they'll dissolve)

Here's the thing I have in mind; England is so fucked that people don't even know how fucked it is. Do you know how important hogs are to a mixed-oak woodland? What types of moors need burning, grazing, or being left alone? That the entire island of Great Britan is supposed to have a thriving freshwater pearl mussel population? That England isn't supposed to have pine forests?

There is so so so much here to cover and talk about, AND I'm telling this story from the perspective of cats! They have to have encountered the things to know about them, even if it was culturally!

And what that means is that I am willing to bend a couple of things SO that I can include them as part of the story! Things that SHOULD be here, that should be or ARE being reintroduced, especially when they're lesser known.

(In fact I think your boar thing is a perfect example. You're telling me the story I want to hear-- that you heard something offhand, went "woah arent those in this work I'm a fan of?" And then you learned more. Goal accomplished!)

In my head I file boars and mussels under the "Eagle Exception." Something that, with a bit of alt history, could be seen in this environment.

It's based off the canon eagles (which ironically I'm massively downplaying in my rework of the BB!Tribe). The golden eagle has been extinct in England for a very long time, but it's right there in canon, so logically there could be similar animals or reintroduction projects.

List so far;

(Also BB!Great Britan is called Albion to mark that it's a little different.)

Freshwater Pearl Mussels (extinct in White Hart, populated in Sanctuary Lake)

Boars (rare in White Hart, populated in Sanctuary Lake. Replacing the majority of deadly badger and fox encounters because badgers arent bears and foxes arent coyotes, Erin :/)

Golden Eagle (exclusive to Tribe mountain)

Beavers (Being actively reintroduced to parts of Albion in the 2010s)

Wolves (extinct)

Lynxes (suspected extinct; there may be some around specifically because I want to make an example of how non-domestic cats in this universe are non-sapient.)

Salmon (uncommon in White Hart, populated in Sanctuary Lake)

Atlantic Sturgeon (exclusive to Sanctuary Lake, rare even there)

Medicinal Leech (dying population in White Hart since Chelford expansion, extinct in Sanctuary Lake)

Additionally I'm keeping my eye on the European Buffalo (wiseant) reintroduction, but that's not in my modeled region and I don't want to jump the gun on it. Last I checked the project JUST managed to get its bull this year after a long 2020-induced delay

[ifishouldvanish]

UNTIL THE SUN RISES AGAIN | CHAPTER 9

SHIP | Alucard x Olrox

RATING | Mature

SUMMARY | When Alucard awakens to help Richter Belmont save the world, he doesn't expect to find an ally in another vampire–let alone the very same who once killed Richter's mother. Yet every moment spent in Olrox's company reminds him of what it means to be human.

After Erzsebet Bàthory devours the sun, Olrox has no choice but to put what little faith he has in the family who once killed the only man he ever loved–including a ghostly dhampir who reminds him of all that he lost.

Olrox closed the cover of yet another book on Egyptian mythology, the soft thud lingering in the air like the final note of the worst symphony he'd ever heard. He'd come down to the Hold to distract himself from the tightness in his heart and lungs by burying himself in research–but now it was only making it worse. Because none of this shit made any sense.

Sekhmet might be Mistress of Slaughter, She Who Mauls, and whatever other number of ridiculous monikers Bàthory insisted on announcing herself with–but she was also supposed to be a goddess associated with the Sun. What was she doing devouring it?

Plenty of sources claimed her a goddess of war, of righteous vengeance, a smiter of evil and a punisher of the wicked. But none of them–not a single one–described anything like the power she’d demonstrated that night at the chateau. In fact, Olrox's fevered searching for any mention of what he'd witnessed had only led him to the names of different gods of different domains–and the implications of that were too much to bear.

He loosened his cravat with an indignant tug as his leg bounced of its own accord.

She'd made him bow to her.

He hadn't bowed to anyone in two-hundred fifty years.

And all for what? They hadn't been strong enough to stop her. The only outcome was that now she knew him for the traitor that he was. Now, she'd be coming for his head, eager to make an example of him–all while he was weak and defenseless. A feeble insect to be ground under her heel.

And Mizrak wanted them to go back?

[Continue on AO3]

[cosmicjoke]

I’ve read that in order to have empathy for others, one needs to first believe that people are inherently good. Do you think this is the case for Levi? What’s your own personal opinion on this?

I think Levi probably believes in the general goodness of people, yes. He's also seen the very worst of humanity, though, and is very aware of just how bad people can be. I don't think Levi harbors any idealistic delusions about humanity and its ability to ever be a harmonious and peaceful animal.

But I also think Levi holds empathy even for people who aren't really good, or people who have obvious negative qualities. Like, for example, Dimo Reeves, and the merchants of Trost. Levi wanted to help those people, even though all of them were actually extremely greedy and selfish. He in fact saves the lives of two of the merchants who were badmouthing him and the Survey Corps just moments before, when he pushes them out of the way of an oncoming wagon. And he goes out of his way to broker a deal with Reeves to help the entire city of Trost out of financial ruin and despair. We see this kind of stuff from Levi all the time. Like when he gives Petra's patch to that one soldier, despite the man's own, selfish actions endangering the entire unit, and causing them to have to dump the bodies of Levi's own squad. He gives this man Petra's patch, despite being insulted by him only a short time before, as well. Or the soldier in "No Regrets" that endangered Levi's own life through petty jealousy, Levi ends up saving his life, too. He saves Furlan's life, despite Furlan trying to trick him and force him into joining his gang. He forgives Erwin and chooses to keep believing in him, despite Erwin's duplicity and selfishness. He didn't even hate Kenny, in the end, despite all that he had done to him, and tried to understand why Kenny abandoned him, to see it from his point of view. He tries to help Floch and save him from being cut down by Mikasa, despite his viciousness toward Erwin. He understands the reason Mikasa is so harsh in her criticisms of him and even cruel in her accusations against him is because she loves Eren, which is why he doesn't push back against her or scold her for it. He didn't want either her or Eren to suffer for directly disobeying him in Shinganshina, either, and even threatening his life, letting them out of their holding cells early. He showed compassion for Pastor Nick, even, despite his refusal to help directly endangering lives, and even with Sannes, you could tell Levi wasn't enjoying torturing him and didn't want to take it too far, his horrified expression when Hange rips his tooth out really demonstrating this. There's a reason people call Levi the most empathetic character in the story. They aren't just talking out of their ass when they say so. Levi holds empathy even for bad people, and for people who have done bad things. He even tried to understand Zeke, but Zeke was just too far gone at that point.

So I don't think Levi's empathy hinges on his ability to believe in the goodness of people. He's seen and experienced first hand, probably more than anyone, just how rotten people can be, and he still believes their lives have value and he still wants to help them.

As for myself, I tend to have a pretty negative view of people, if I'm being honest, lol. But if someone is truly empathetic, I think they can acknowledge that people are just as capable of bad and just as prone to doing bad things as they are good, and still think they deserve compassion. Levi is exceptionally compassionate and empathetic. I think he's a better person than most.