#label SMART

[aalghul]

damian is clearly biased in his misinterpretation of jason in boy wonder

damian's interpretation is supported by the story itself; it is clear that you are not meant to take it as a misinterpretation. the hostage narrator (who isn't damian) establishes dick, jason and tim as being nice, angry and reckless, and smart (respectively) in the first issue. nothing is done from then on to either challenge or add depth to any of these.

ignoring both damian and that narrator, even the story itself proves the mindless "nice robin, angry robin, smart robin" categorization. dick's issue even goes so far as to misconstrue his conflict with bruce when he was 18 as being, essentially, "dick wanted bruce to be nicer". jason's status as the reckless robin is reinforced when the comic spells out for the readers that jason (and damian) need batman to supervise them, otherwise they will not think anything through and instead attack like animals. jason's recklessness could not be made clearer by the writer.

this ends with jason hallucinating the joker (surprise, surprise) and then he just starts randomly shooting (which is something he is prone to do when the joker is involved, apparently. under the red hood and lost days, and all of jason's deliberation and planning regarding the joker, must have just been mass hallucinations that all of us had) and damian ends up shot. once again, jason hurts an innocent person because another writer doesn't have the reasoning skills to come up with a logical argument against jason using guns/killing, so they need to create a specific instance (which would be unlikely to happen were he written in character) in order to counteract his entire methodology.

rather than challenging the characterization of jason where anger is most structurally vital to his actions, the story repeatedly defends it. to the point where jason himself brings up the anger instead of anything else. the writer goes a step further and has jason's anger blind him enough to kill the murderers of a victim who did not want jason to avenge him in blood. jason is himself motivated by the perspective of a victim who wants to choose what is done to avenge him, it's senseless to have him ignore the wishes without any internal conflict.

the ending of this issue is literally damian telling jason that jason is the only person standing between himself and reconciliation with bruce. this implication existed in the beginning of the issue as well, with the narrator claiming that jason's gripe with the joker being alive was pointless because the joker's locked up, regardless of the fact that jason first found out joker was still alive when he saw that joker had escaped and hurt people again.

so. there is no misinterpretation. you're supposed to nod along and agree. jason is angry and reckless, and he ends the issue ruminating on the thought that he should made amends with bruce, who has been freed from any responsibility by this point.

[daily-tf2-medic]

transfem.. medic,, drawing request…?

Day 105

[mishy-mashy]

I said this in a whole reblog, but just copy-pasting to a separate post because I think it'll give some reading comprehension and reblogs don't show up in the search feature.. again, I'm reiterating what I said in another post.

Go check out @demidokuriya 's post for this; OP's post made me put this all down in like. 20 minutes. Mind went vroom vroom cuz HEY THEY'RE ONTO SOMETHING.

(They also reblogged the post with some hint to some behind the scenes of what led to the ideas if you wanna check that out)

Look below at how, when Mineta told AFO to spare Tokoyami, AFO specifically went "..."

He remembers Jirou and thinks, The braying howls of the weak...

He was going to take Tokoyami's Quirk. He took Hawks'. But after Mineta pleaded with him, AFO just straight-up left and didn't take anyone else's Quirk.

AFO saw Yoichi in Mineta.

These scenes are near-identical to each other.

Mineta and Yoichi (at that time) are both much smaller than the normal person at their age

They're both hurt, yet dragged themselves up from the ground to throw something at AFO, to get his attention and make their voice

Both are considered weak, even if they have a Quirk (Mineta's Pop-Off and Yoichi's undeveloped Factor)

The fact that Yoichi got AFO's attention here by throwing a can at him, while Mineta got his attention by throwing a Pop-Off ball; and it stuck.

Mineta's call for his attention landed and actually stuck to AFO. This is unlike when Yoichi and his can bounced off, and AFO kicked him, not listening to him; AFO listened to Mineta and left Tokoyami alone, technically doing what Mineta wanted—to not hurt this person.

AFO just went on to hurt more people away from Mineta's [Yoichi's] eyes so the small weakling wouldn't see.

Yoichi and Mineta both cried to AFO to not hurt in his ways, when AFO was intent on stealing people's Quirks

AFO even stole Hawks' Quirk during this time.

He had time to steal Hawks' Quirk, and though he could've tossed him to the side, he let Hawks stand in his way.

He had the energy. Right after this event, he flew off and left the scene. But he didn't go for Tokoyami immediately.

And this let Mineta play his part, and remind AFO of Yoichi.

"A putrid, festering Quirk Factor."

That sounds like Yoichi, AFO.

".. such garbage."

Hey hey hey, what did Yoichi throw at him when they were kids?

A discarded can. Garbage.

This chapter (385) where AFO listens to Mineta is literally called [A Youthful Urge].

Mineta told AFO to take his Pop-Off (hurt him) instead. But last time, AFO hurt Yoichi by kicking him; this time, AFO not only listened to Mineta to not hurt Tokoyami, but didn't touch Mineta at all.

Even though this time, Mineta [Yoichi] offered to take that place of suffering.

Yoichi didn't do that back then. AFO just turned on little Yoichi anyway.

Yoichi through his whole existence is literally [the braying howls of the weak]. AFO acknowledges he's weak and idealistic, yet he still loves him.

Side note about this panel, I think it's interesting that in this vision, this was the first time we saw Yoichi's eyes: when he was being defiant, despite being pushed down by someone much stronger than him.

Really characteristic of him, honestly. Yoichi's soft-spoken and frail, but it's always reiterated that Yoichi had a powerful will against his stronger big brother.

Mineta at this moment reminded him too much of Yoichi, because the two scenes are near-identical to each other. Parallels, really.

Reiterating something from OP's post that I reblogged this from;

"The reminder of his brother made him uncomfortable, so he hurried away."

AFO didn't want to hurt Yoichi again.

[uncanny-tranny]

This might be a weird piece of advice, but instead of complimenting somebody (especially children) with an overarching, nonspecific compliment (like "smart" for example), it can be better to compliment somebody for their effort or for the work they have done.

I was always complimented as the "smart kid," and was always doted on for being "smart," but I found that it really stressed me out as a kid because being "smart" was a good thing, but I had no idea what they meant by it. I stressed out about it because it felt like, at any time, my status as The Smart Kid could - and would - be taken away at anybody's discretion. I wish my efforts in being a Smart Kid would have been highlighted, because maybe that would have made me feel less like my status mattered rather than my efforts.

[littlefankingdom]

History and folklore nerd has been triggered by the incorrect timeline in a comics inspired movie, again!

In Justice League Dark, Jason Blood and Etrigan have been bonded together for 500 years, so since the 16th century, the Renaissance era. However, Jason is a knight of Camelot and Etrigan served Merlin. Camelot and Merlin are not from the Renaissance. Yes, the stories were still told, but the stories had a time period, which is the 5th and 6th centuries. If Jason is a Camelot's knight, then he was bonded to Etrigan 1500 years ago. There's a full millennium between the correct centuries and the one given in the movie, omg. It's a totally different culture he grew up with.

[silverskye13]

Trying to analyze the tropes in my own fics to see if I think they're successful as component pieces and getting so confused I give myself psychic damage send help

[spop-romanticizes-abuse]

no one:

absolutely no one:

spop stans: omg adora is such a dumb jock haha i can't believe she's so dense she has no braincells stupid idiot

[alarrytale]

Turning to you because you always brings interesting points when there´s a queer convo. Maybe I´m not even the only one who´s writing this. So, there´s a photos from G*mma´s book under the chapter Knowing me, knowing you? and unfortunately it may be taken from the larger context as author of the photo didn´t take the photo of whole page. So she writes: "I understand that many people feel strongly that queer parts in TV and film should go to queer actors. But to harass someone on social media like that, especially someone who is only 18 years old - and who described to UK V*gue the sudden and extreme level of fame the show brought them as ´scary´ and ´overwhelming´ - seemed cruel and sad, not to say very much against the spirit and message of the show. When someone uses a label for themselves it can be empowering, but nobody ´owes´ us a label. They should be offered, not demanded."

It´s obvious that she´s talking about K*t C*nnor and his experience of forced coming out but no doubt she also has his brother in her mind when writing this (especially the last sentence). I mean it fits the narrative when H used to keep telling in the interviews that his label is p-word and he won´t share it as he doesn´t owe it to anyone. What is your opinion to what G wrote? I guess your opinion on H´s label and his narrative how he came out to his family and friends and doesn´t owe it to anyone is just an elegant way to avoid this discussion? As he just can´t come out because of his image and the fact he´s S*ny´s golden goose who needs to stay straight as he´s been the only male singer-heartthrob in years and he needs to keep going like that because there´s noone who will replace his position.

Hi, anon!

Here is a longer quote:

Oh, boy. Where to start. Can i start by saying how tired i am of G*mma always taking the high moral ground and chastisising a group of people she doesn’t fully understand? I've lost count of how many times she's done this. She hasn't got the faintest clue what she's talking about, because she hasn't got the full picture.

Second of all, she's straight and privileged. What she shares with her mother and brother is the complete inability to understand their own privilege and view things from a minority and unprivileged position. Has she even tried to see things from other's point of view? Has she considered that she doesn’t need to have an opinon, as a straight person, on the topic of queer representation and queer normalisation and progression? Has she considered that a neuanced view, and understanding why queer people (she says "people", but who the fuck cares what straight people feel about queer actors in queer roles....) want and need queer actors in queer roles? Has she?

Has she also thought about how celebrities are chosen by popularity by the public to represent the public? And if you can’t represent, you should step down and give the opportunity to someone who can? We don’t cast white people to play indigenous people, why should we cast someone who is presenting straight to play queer? If you need time to figure out your sexuality, that's fine. If you don’t want to come out, that's fine. If you want to pretend to be straight, that's fine. But don’t take the opportunity away from queer people to have queer representation and role models! Queer people deserve queer representation. It's not that mf hard...

Aaaaanyways, no, nobody ows anyone a label. But if you are unlabeled or don’t want to disclose your label and at the same time presents straight, that means you can’t publicly represent anybody (except others who are unlabeled). The narrative around H being unlabeled is to create mystery and ambiguity around H as a person. He's gay and he's been out to everyone but the public since he was 16 at least. So, while it's a way to avoid the topic, it's also a way to be a blank slate and to be everything to everybody.

I just also want to mention how she's avoiding the topic of queerbaiting here, because that also plays a part of the outrage that Kit (and H) face. Funny that...

[cccotard]

alright gonna be so ill about this scene rq and why its so incredibly amazing for Kanna’s character

Kanna understands the power of emotions and how it can drive people to do things they normally wouldn't, while other characters cannot quite grasp the concept. She's the only one confirmed going through it with hallucinations, (Sara, Keiji, and arguably Shin,) but isn't letting them deter her in any way, and in fact accepts the people who died trying to protect her and is living for her; which is obviously not the case with the other three.

Sara lets the memory of Joe completely consume her in chapter 2, and in the emotions route, while she no longer struggles with hallucinations of Joe, it's still evident that his death changed her motivations. This is different from Kanna, who already learned this lesson with her sister’s death in chapter 1-2; she learned from Reko and Sara to not let her sister’s death completely consume her and then learned from Shin's death how to recognize what compelled them to sacrifice themselves for her

The difference doesn't seem like a lot but it’s 'living for yourself, learning your strength from the people who loved you and could see it when you couldn't' vs 'living to not have someone's sacrifice in vain' y’know? It says a lot about Sara and Kanna's self worth in relation to the deaths of their loved ones.

Looking at Shin, while his hallucinations are more implied, I think it's fair to believe that at the Very Least he would struggle with delusions revolving Kanna's death.

^This scene specifically showcasing how if its not struggling with the reality of Kanna’s death, he’s ignoring it to cope. It’s easier to pretend the people he has to be allies with didn’t have as big of a role in her death as they did. - (this dialogue from Shin and Keiji is some of my favorite but that’s for another day)

Back to the topic at hand, after Kanna's death, Shin's motivations completely shift. One of my favorite scenes in 3A is when the gang uses the elevator for the first time and whichever one Sara decides to use, Shin uses the opposite. Of course, this can read as him just being petty, but before this, Shin typically followed people with high percentages- he usually wouldn't go somewhere for the first time by himself unless he goes with someone with a high percentage, or at least scoped out by someone with a higher percentage. This is such a character defining moment because this illustrates  he is no longer desperate for his own survival. 

Chapter 3 and on, Shin is only motivated by revenge. Revenge for Kanna, revenge for everything he's lost. His motivations went from 'cheat the death game, beat the odds. just survive, fuck everyone else' to 'revenge for Kanna, I don’t care if I die anymore, just as long as these people go down with me, how dare these people kill someone innocent' (how logical of him to throw his own survival....) 

And finally Keiji- Keiji, like Kanna, went into the introduction scene already struggling with the death of a loved one, but he went into it knowing how to suppress his emotions way better. He, of course, lost Mr Policeman a while before the death game and is not a 14 yr kid who just lost her sister. Arguably, Keiji is one of the most, if not is the, most logical character in the game. He does a lot of cruel things for the sake of his, or someone he care's abouts’ survival - which is why he is able to vote for Kanna, or go behind Saras back for all the card trading in mg 2. Both cruel, but both helped him and Sara's chances of survival.

Keiji lost a kind part of himself after Mr. Policeman’s death. I'm not saying he’s evil, or cant feel emotions, but he is kind of .. empty. He’s been going through this death game motivated by his primal urge to survive. The only times his emotional side comes out is when his grief is pulled out and is used against him, like with Everything with Midori in 3A or all the gun discussions. Which due to the suppression of this grief and him not healing from Mr. Policeman’s death, it completely overwhelms and consumes him.

Joe, Kanna, and Mr.Policeman's deaths all communicated to the people that wanted to save them that they were Too Weak to save them. Something they did, or failed to do, caused their death. It is Sara/Shin/Keiji’s fault. 

And now why Kanna's 'Kind Hallucinations' are amazing - she's the only character to willing to accept her weakness, and realize that she is surviving because the people before her saw her strength. Kanna knows she’s stuck in a death game and has little-to-no control over almost everything around her. But despite that, she stands up to characters like Midori in chapter three, not because of Shin or Kugie, but because she is strong; she is doing it for herself, and of course she has the world's best cheerleaders behind her, if only in spirit.

[sangrefae]

estinien varlineau and laios touden are both in the league of characters who are incredibly intelligent but are flanderized into himbos by the fandom bc their intelligence isn't the "typical" kind you see in media

[1shadowhole]

So I realized I have a thing for love stories where a twink with important heritage has to wait for more than a thousand years for their blond, emotionally stunted warriors to come back to them after being killed in a war...

The suffering twinks in question:

The blonde himbos in question:

(Hetalia and Merlin huh, they have a lot of parallels, who would have thought)

[pulchrasilva]

Thought too long about non-standard relationships where you don't bother with a label and there's no "confession of feelings" it's just deep care for each other and a determination to stick together and intimacy with no regard for what type of relationship it is. SOMEONE make it stop before my little brain explodes from the gay feels

[grymmdark]

i love how sometimes i will have wholeass conversations with myself which are about things which would probably make for an insanely good philosophy doctoral thesis. but i dont write em down anywhere or tell em to anyone else so i forget them like 15 minutes after I say them and then just move on with my life

[ilynpilled]

an interesting thing when it comes to evaluating intelligence in media with deep characters is that i think ppl tend of ignore the difference between a character genuinely failing to see something and purposely choosing to not see something. in asoiaf especially it is possible to see that a character does have all the information to come to certain conclusions, or whether they do have ultimately rational ways of viewing the world, we are in their head, but then there are different reasons as to why they act or think in certain ways. there is a difference between cognitive dissonance, characters that need a subconscious psychological wall put up to protect themselves from deep hurt and despair, and characters failing to connect certain dots due to inexperience or a blind spot or a genuine lack of critical thinking ability. there is a distinction between cognitive dissonance or self-delusion rooted in emotion and trauma etc. and a character lacking intelligence. for example the lannister siblings: they are all intelligent/clever/sharp in different ways, cersei absolutely is too, but they can be very insistent on trapping themselves in narratives or going against their own rationality (especially because the alternative would be soul crushing for them). i also like how intelligence in general is treated with nuance. there is a lot to intelligence. characters can be intelligent in different ways, and there are different types of intelligence. it is not something super rigid and linear.

[clearmybeloved]

HAPPY BIRTHDAY CLEAR !! 20.02

[non-un-topo]

It's strangely gender-affirming when my mom gets defensive and accuses me of mansplaining