#it doesn't stop me from doing things

[glimblshanks]

.

[evilkaeya]

Established skk except they don't know that. Everyone thinks they're dating. Married even. Dazai announces he's dating Chuuya now and after ten seconds of pindrop silence someone says "you two... aren't married?"

[starry-bi-sky]

i need to get this out of my head before i continue clone^2 but danny being the first batkid. Like, standard procedure stuff: his parents and sister die, danny ends up with Vlad Masters. He drags him along to stereotypical galas and stuff; Danny is not having a good time.

He ends up going to one of the Wayne Galas being hosted ever since elusive Bruce Wayne has returned to Gotham. Vlad is crowing about having this opportunity as he's been wanting to sink his claws into the company for a long while now. Danny is too busy grieving to care what he wants.

And like most Galas, once Vlad is done showing him off to the other socialites and the like, he disappears. Off to a dark corner, or to one of the many balconies; doesn't matter. There he runs into said star of the show, Bruce who is still young, has been Batman for at least a year at this point, but still getting used to all these damn people and socializing. He's stepped off to hide for a few minutes before stepping back into the shark tank.

And he runs into a kid with circles under his eyes and a dull gleam in them. Familiar, like looking into a mirror.

Danny tries to excuse himself, he hasn't stopped crying since his parents died and it's been months. He rubs his eyes and stands up, and stumbles over a half-hearted apology to Mister Wayne. Some of Vlad's etiquette lessons kicking in.

Bruce is awkward, but he softens. "That's alright, lad," he says, pulling up some of that Brucie Wayne confidence, "I was just coming out here to get some fresh air."

There's a little pressing; Bruce asks who he's here with, Danny says, voice quiet and grief-stricken, that he's with his godfather Vlad Masters. Bruce asks him if he knows where he is, and Danny tells him he does. Bruce offers to leave, Danny tells him to do whatever he wants.

It ends with Bruce staying, standing off to the side with Danny in silence. Neither of them say a word, and Danny eventually leaves first in that same silence.

Bruce looks into Vlad Masters after everything is over, his interest piqued. He finds news about him taking in Danny Fenton: he looks into Danny Fenton. He finds news articles about his parents' deaths, their occupations, everything he can get his hands on.

At the next gala, he sees Danny again. And he looks the same as ever: quiet like a ghost, just as pale, and full of grief. Bruce sits in silence with him again for nearly ten minutes before he strikes a conversation.

"Do you like to do anything?"

Nothing. Just silence.

Bruce isn't quite sure what to do: comfort is not his forte, and Danny doesn't know him. He's smart enough to know that. So he starts talking about other things; anything he can think of that Brucie Wayne might say, that also wasn't inappropriate for a kid to hear.

Danny says nothing the entire time, and is again the first to leave.

Bruce watches from a distance as he intercts with Vlad Masters; how Vlad Masters interacts with him. He doesn't like what he sees: Vlad Masters keeps a hand on Danny's shoulder like one would hold onto the collar of a dog. He parades him around like a trophy he won.

And there are moments, when someone gets too close or when someone tries to shake Danny's hand, of deep possessiveness that flints over Vlad Masters' eyes. Like a dragon guarding a horde.

He plays the act of doting godfather well: but Bruce knows a liar when he sees one. Like recognizes like.

Danny is dull-eyed and blank faced the entire time; he looks miserable.

So Bruce tries to host more parties; if only so that he can talk to Danny alone. Vlad seems all too happy to attend, toting Danny along like a ribbon, and on the dot every hour, Danny slips away to somewhere to hide. Bruce appears twenty minutes later.

"I was looking into your godfather's company," he says one night, trying to think of more things to say. Some nights all they do is sit in silence. "Some of my shareholders were thinking of partnering up--"

"Don't."

He stops. Danny hardly says a word to him, he doesn't even look at him -- he's sitting on the ground, his head in his knees. Like he's trying to hide from the world. But he's looking, blue eyes piercing up at Bruce.

Bruce tilts his head, practiced puppy-like. "Pardon?"

"Don't." Danny says, strongly. "Don't make any deals with Vlad."

It's the most words Danny's spoken to him, and there's a look in his eyes like a candle finding its spark. Something hard. Bruce presses further, "And why is that?"

The spark flutters, and flushes out. Danny blinks like he's coming out of a trance, and slumps back into himself. "Just don't."

Bruce stares at him, thoughtful, before looking away. "Alright. I won't."

And they fall back into silence.

Danny, when he leaves, turns to look at Bruce, "I mean it." He says; soft like he's telling a secret, "Don't make any deals with him. Don't be alone with him. Don't work with him."

He's scampered away before Bruce can question him further.

(He never planned on working with Vlad Masters and his company; he's done his research. He's seen the misfortune. But nothing ever leads back to him. There's no evidence of anything. But Danny knows something.)

At their next meeting, Danny starts the conversation. It's new, and it's welcomed. He says, cutting through their five minute quiet, that he likes stars. And he doesn't like that he can't see them in Gotham.

Bruce hums in interest, and Danny continues talking. It's as if floodgates had been opened, and as Bruce takes a sip of his wine, it tastes like victory.

("Tucker told me once--") ("Tucker?") ("Oh-- uh, one of my best friends. He's a tech geek. We haven't talked in a while.")

(Danny shut down in his grief -- his friends are worried, but can't reach him. When he goes back to the manor with Vlad, he fishes out his phone and sends them a message.)

(They are ecstatic to hear from him.)

It all culminates until one day, when Danny is leaving to go back inside, that Bruce speaks up. "You know," He says, leaning against the railing. "The manor has many rooms; plenty of space for a guest."

The implication there, hidden between the lines. And Danny is smart, he looks at Bruce with a sharp glean in his eyes, and he nods. "Good to know."

The next time they see each other, Danny has something in his hands. "Can you hold onto something for me?" He asks.

When Bruce agrees, Danny places a pearl into his palm. or, at least, it's something that looks like a pearl. Because it's cold to the touch; sinking into Bruce's white silk gloves with ease and shimmering like an opal. It moves a little as it settles into his hand, and the moves like its full of liquid.

Bruce has never seen anything like it before, but he does know this; it's not human. "What is it?" He asks, and Danny looks uncomfortable.

"I can't tell you that." He says, shifting on his foot like he's scared of someone seeing it. "But please be careful with it. Treat it like it's extremely fragile."

When Bruce gets home, he puts it in an empty ring box and hides the box in the cave. He tries researching into what it is. he can't find anything concrete.

Everything comes to a head one day when Danny appears at the manor's doorstep one evening, soaking wet in the rain, and bleeding from the side.

[agentark]

in the span of maybe an hour, clara oswald goes from, "I already know - don't say it." to, "people like you and me should say things to each other" and I'll never get over it

she literally gets pulled out of time the moment before her death and learns he's been clawing his way back to her for 4.5 BILLION years?? Just to save her??? I would also suddenly and urgently have words

[bothsidesofaquestion]

Kurt: shows a different emotion than 'happy happy bouncy swash swashbuck hello chicks it's me' in the comics

Fans: Oh no, this is so OOC OH NO THE WRITERS SUCK OH NO MARBLE IS RUINING THE CHARACTER

Meanwhile, Kurt's mind:

[commsroom]

beating my fists against the wall thinking about how eiffel hallucinating hera in mayday is the only time (that isn’t from her perspective) that her voice doesn’t have the usual filters on it. what that suggests about how eiffel sees her and how it aligns with her own self perception. what it implies, when hera’s glitching is such a literal manifestation of her self doubt and eiffel’s belief in hera and her ability is so unshakable and absolute, while her voice in mayday speaks for the part of him still strong enough to hold onto hope.

[rmbunnie]

Red Hood Characterization

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

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

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

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

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

[hollymacycomic]

Holly & Macy and Everyone Else

Chapter 4: Page 12

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[uncanny-tranny]

I think another aspect of conservative thought people need to understand is the idea that it's all about dominance.

The reason why sayings like "we don't want to trans your kids, we want trans kids to live" is because, in the conservative mind, you are replacing their dominance with your own. It can never be about what is best for others, it is always about expressing absolute power and control.

Natural selection, at its ideal, will weed out the people who "shouldn't live." If their existence is a threat to the already-established hierarchy, then it's obvious that they shouldn't exist in order to challenge hierarchy.

While this certainly isn't a "conservative-only" mindset, it's a trend I have noticed more in conservative spaces. This is why I don't always think it's helpful to go on about how, "Oh, we don't want to threaten your worldview. We just want people to live 😊". You will fundamentally be threatening their power in their minds. Therefore, nothing you say can truly take away from the anxiety, fear, and anger at losing control that may be instilled.

[krispycreamsicle]

We're strangers who met by chance.

[angelthemanspanker]

The way some people characterise Buffy in fics like you described genuinely put me off Buffy fandom for years, it was absolutely everywhere, in Spuffy fics, in faith/buffy fics, it felt like I couldn't read a fic without the obligatory 'Buffy apologises to whoever the fuck for being so mean' and I just stopped, it was so baffling

For real its so weirdly pervasive. It genuinely blows my mind bc I totally get the urge to use your fic to call out a character/plot point you don't like, more power to you. Like I'm constantly imagining rewrites of the scenes where Xander is at his most insufferable but no one in-show is verbalising obvious holes in his bullshit (my big one is that besides a one off line from Buffy that everyone in the show ignores and a DELETED line from Giles is that NO ONE calls him on his absolutely infuriating "I was jealous of Angel being with the girl I like and I'm gonna have the gall to pretend it was bc I saw him turning evil coming" BULLSHIT)

But like. Buffy? You came out of this show and the person you had beef with and want to call out is BUFFY? THE VAMPIRE SLAYER? The protagonist of all time? Bc she's mean sometimes :( people try to apologise for trying to kill her and she's so unsympathetic :( she carries out her responsibility as the Slayer whether she wants to or not even if the person she's targeting is a character I like :( why won't she apologise. why won't she apologise. why does she insist on taking up space. why can't she just be nice all the time. yes my ao3 tag is princessspuffy why do you ask. yeah I know their relationship is abusive but I think Spike would forgive her :)

[paperhats-and-evil-schemes]

Me: //brushing up on my old Paperhat fanfics to make sure I'm getting details right for the new one//

Me @ my past readers:

[mayasaura]

I see a lot of meta talking about how the John Verses are John telling the story of the leadup to the apocalypse with the most sympathetic biased self-justifying gloss to make it sound like nothing was his fault, and I guess that's why so many readings go for a hardline worst-faith interpretation of them, but.... I don't really see it.

When he tells about how he murdered everyone who had a gun, he could have played up the self-defense angle. He could have claimed he was scared, and he did it to protect everyone. He could have emphasized that he was killing cops, instead of emphasizing the civilians. He could have stuck with the story he told at the time, that he freaked out and made a mistake and hadn't meant to kill them all. He doesn't. He admits to mass murder, and he admits to having done it because he was angry. And he admits to still not regretting it one bit.

The story John tells just doesn't paint him in the best possible light. He does include all of the justifications he used at the time, he does explain why on earth any of this ever seemed like a good idea to anyone, and he does want to be understood, but he doesn't really try to sell it as having been right.

I really don't see the verse chapters as being John's justification. They're his confession. That's why they feel so good to condemn.

[hood-ex]

The desire to have a No Capes AU where the Titans crew go to a boarding school and sneak out at night to read poetry in a cave...

[clotpolesonly]

Blue Lily, Lily Blue ch 15 // Mister Impossible ch 25

[firstroseofspring]

b’elanna vs her mother at similar ages, plus some sketches!