Raph Is A Great Strategist
Numerous times in the show Raph has shown to have a preference for straightforwardly punching his problems away rather than think up a more complex solution. Like how his immediate fix to getting Mayhem out of the mirror in Mystic Library was to punch everything in the bathroom but the mirror. However, when Raph understands the situation requires more in depth strategy, he’s shown to be an incredibly capable tactician.
(long post ahead!)
In nearly all the plot heavy episodes like Shadow of Evil, Many Unhappy Returns, and the season finales, Raph gets moments where he’s highlighted for his strategic thinking. In Insane in the Mama Train, he’s the one who figures out which eyeball-button goes to the front car with the dark armor, because “‘it was the only button [the Foot Clan] didn’t want me to press!’” [21:05]. He’s also the one who came up with the scheme to defeat all the (known) combatants in the train, with Leo specifically attributing Raph as the deviser during their mind meld [19:46]. In Many Unhappy Returns, after spending a single night waylaying the Shredder, Raph formulated a plan using all the tricks the team learned, seamlessly transitioning the mystic collar Leo acquired into it [19:53], to defeating the Shredder. Additionally, he’s repeatedly called for a retreat during fights, like in Shadow of Evil, Shreddy or Not (Finale pt 2), and the movie, when he can tactically recognize that a battle couldn’t be won. Each time, the show/movie implied that that was the right call, for the family to lose the fight but win the war.
And it’s not just that Raph is good at strategy when he’s pushed to be more serious; the show characterizes him as passionate about creating plans, he enjoys doing it. Literally in the first episode, Mystic Mayhem, after the turtles’ initial plan failed of getting Splinter out of the living room to touch his Do-Not-Touch Cabinet, Raph immediately started devising a new plan that involved “ten chickens [and] a gallon of rubber cement” [9:35]. It was convoluted, sure, and they didn’t end up using it, but it was inventive and the opposite of reluctant. This is also shown in Bug Busters, where Raph planned out dousing Mikey in honey to attract the oozequitoes [2:52]; Snow Day, with the idea to freeze Ghost Bear like in Jupiter Jim Pluto Vacation 4; and Raph’s Ride-Along (and also Bad Hair Day), where Mind Raph created multiple schemes to get the criminals arrested. The show wouldn’t have made Raph be so creative with his plans if they were trying to characterize him as someone who didn’t like strategizing.
So does why Raph do stupid shit sometimes where he doesn’t think things through at all? Well, even though Raph is good at strategy and enjoys doing it, it’s clear his immediate impulse is still “punch the problem in the face”. In fact, all the turtle boys contain the fascinating dichotomy of being incredibly smart in some areas, and the dumbest teenagers alive in others. Just look at Donnie. It’s also how Raph is a loving protective older brother, and the guy who shoved Leo into a wall so hard he disappeared in one frame for shits and giggles (The Mutant Menace x). None of this means that Raph is bad at strategy though.
tldr: Yeah, Raph has a lot of dumb and, frankly, insane moments in the show, but he’s still an incredible tactician who’s plans consistently saved his family and sometimes the world. He's a great strategist.
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people, can't believe i have to say this, Asha and Isabella don't look alike. look at the wildly different profiles! they are just both disney brown girls with dark hair in purplish dresses
Similarly, Asha does not look like Esmeralda
or even really Elena
you know who's face profile she does map over?
friggin'
rapunzel
the hair even parts in the exact same place!
c'mon disney, did you have to reuse this body model AGAIN? you think just because you tweaked it very slightly, we wouldn't recognize the same silhouette??
disney, you just did Encanto, did you learn nothing about designing female characters? You also did Raya, and Strange Worlds, and Moana-
let 2010 gooo already
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Actually going insane over the implications of Jason asking Dick to be the Robin to his Batman in Battle for the Cowl.
Like I initially took it at the purely surface-level of Jason wanting a partner in the general sense. Which made sense, it's a huge responsibility and a lonely one so an assistant/sidekick/partner seems a no-brainer if you can get one.
But then I really thought about it, because Jason is not asking Dick to be his partner in the general sense; he's not even asking Dick to be his Nightwing. He's asking Dick to be his Robin.
And they both know exactly what Jason means: "Be the light to my darkness. Be the smile to my scowl. Be the hope to my fear. "
He's saying "Be 'Robin'; be the embodiment of Love and Justice and Goodness. Be the exceptional person that you have always been. Be the slightly-less exceptional person that I was when I wore your colors. Be the person that I was in the process of becoming and might have been (or might still be), if only Joker hadn't clipped my wings."
He's saying "I am prepared to become vengeance, become the Night. And I will go further than Bruce ever dared to, because it is what is needed. I will be the necessary evil. But you don't have to be. If Batman is Gotham's curse, Robin has always been its blessing. I will be the brutal punishment to our world, and I am asking you to be its incandescent gift."
He's saying, "Be for me, what we were for Him. Be my anchor, my comfort, my hope. Remind me what it's all for, why it's all worth it. And remind yourself as well."
He's saying "Be 'Robin' again--for both of our sakes."
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"Are you going to break my heart?"
Eddie almost drives them off the road.
It's late, nearly 2 am, and the country road is narrow and winding, and this thing between them, fingers twinned above the gear shift, radio turned down low, Stevie Nicks singing to them softly, is new. Eddie wants to live in this moment forever, wants the smell of lake water and dying August heat to live in their clothes, wants the warmth of first kisses and whispered confessions to last in tingling sparks in their skin, the memory of touch to be permanent. It won't be, it'll all fade, but Eddie can visit it again, rewrite them into the cotton and the softness of Steve's mouth.
It's late, and this is new.
"It's okay if you do," Steve says, so quiet. He's holding on to Eddie's hand like he's dangling off a cliff. "I can handle it. I'd just like a heads up, so I can prepare."
Eddie almost feels guilty, basking in his joy when Steve was sinking into something else. He thinks, if he were a kid still, if he hadn't died, hadn't lost everything and managed to get it all back, he'd be angry. But he's not. He's not, and he did, and it's late and this is new—but it's not unfamiliar. The same, but more, an extra free scoop with whipped cream and sprinkles, a cherry on top.
"You trust me?" Eddie asks. He rubs his thumb along Steve's knuckles, feels the scars under his skin, little tears in someone so perfect.
"Of course," Steve croaks. Eddie can't look at him, because the road is dark and narrow and winding, and he has to get his boy home safe.
"And I trust you," Eddie says, brings Steve's hand up, presses a kiss like a seal to his skin. "And I love you, and you love me. I got you."
Steve's quiet for a long, long moment. Eddie can tell he's watching him, so he presses another kiss to Steve's hand, lets his lips linger on hard tendons and dark veins. Kisses in his promises to the place they're linked together.
When he speaks again, it's soft, and Eddie can hear the love, living and leaving in the air between Steve's teeth.
"Okay," he says, giving Eddie everything. "You got me."
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