#we were never able to make it work

[broodpuff]

[lucabyte]

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[enjoyvoidblack]

our big post was getting long and it won't let me message so I thought I'd just come bother you here asldkfjsad I am like. so 1000% certain there is mention in the text that the initial purpose and efforts of Jonah and the Institute were to research the fears and prevent their many catastrophes, and that somewhere along the line he came to the conclusion that this wasn't viable, that the world and the fears simply didn't function in a way that was conducive to meaningfully stopping them from doing anything. which was how he settled into the position of 'well then I am going to use the instruments of power to save ME and build a ladder to free myself personally from their clutches forever' I def don't know when he started to turn from that, but i'll have to go back through the transcripts and find it again.

I do get that the narrative is written with Jon as the focal point, and that doesn't leave a lot of room for Elias to be sympathetic--he certainly doesn't make himself sympathetic TO Jon, or any of the Archives crew (beyond what I find to be an interesting amount of patience, understanding, and restraint he shows for them), but I still think like. Part of the beauty of Jonny's storytelling is that there is a kernel of completely understandable humanity to most everyone that's presented with any depth in the series, even the people we DON'T like. The "people here don't have excuses, they have causes" is again really excellent wording. There isn't really a lot of the usual karmic style reasoning or justice in this series; it isn't about Good People doing Good Things or Bad People doing Bad Things, it's just. People Doing Things, while under the influence of powers that are at once cosmic and beyond us, and inherently OF us.

adsfkjas this is getting long too I'm so sorry you activated a trap card here but idk. He absolutely is both manipulator and victim. He did all that shit, and all the while it's being done TO him, and he's walking this incredibly razor thin line between feeding his god/being empowered by it, and bc of it's nature knowing in intimate detail every nasty thing that awaits him should he fail (and I think being deathly afraid of it). That gif from Knives Out lmfao, compels me.

(apologies this probably isn't hugely coherent but there we are)

Thank you I am chewing on this ask violently. You Get It.

Unfortunate that tumblr killed your paragraph breaks, because I now can't find the section easily, but that thing about Jonny's character work in this series entirely consisting of aspects of "completely understandable humanity" is SO deeply how I feel about it. This is part of why I love horror of this kind so much. The horror being the fact that no one can really do anything to stop it opens up a space where the characters don't need to be presented along clear lines of good and evil, or even helping a cause or hurting it. It's a lot closer to how real people react in a natural disaster, if anything. There is love and selfishness and incredible acts of violence and cruelty and understandable failings and greed and fear, and pretty much all of it has a root that you can see, if you know enough about the people doing it and the circumstances to really feel where their mindset must be. I'd say Elias is functionally the closest thing TMA has to a narrative scapegoat, but that doesn't mean he is one. I almost feel like he's there as a pressure valve for the story, to be a villain if people need one to make sense of what's going on without having to constantly confront head-on the horror of the way the setting traps everyone in it. He can be made that kind of scapegoat, but only really by ignoring the parallels to Jon and the letters sent to him in older statements, and the way both show how the Fears drive the people who learn about them into more and more desperate straits.

It's kind of like that with all the older avatars. Simon Fairchild throws people off of stuff for a joke, because he's had more than 400 years of being steeped in the knowledge that humanity is both insignificant in the span of the universe, as well as utterly incapable of stopping the course of the Fears as they exert whatever influence they will by the force of sheer bulk. Peter Lukas never had a chance - he was born into this, isolation was his family and religion and paradoxically from childhood his only possible road to belonging. Adelard Dekker thought he was helping, as did Gertrude, even as they both fed the things that claimed them alongside those efforts. Nikola Orsinov was so far away from having an identity anymore that she couldn't go back if she wanted to, if she had even had enough left to want. Her world would have just been a home that was more like herself, and who hasn't wanted that? They're easier to vilify because their outlooks are harder to understand until the very end of the series, but looking back it's so clear that they were also just people once, and the writing never really lets you forget that.

If I said I'd tried to make all of these replies short, you probably wouldn't believe me. And Yet. I am not NORMAL about this show and the way Jonny writes people.

[zouisalmightie]

my job is so racist im about to go and cry on the news or to the naacp because what the FUCK

[unopenablebox]

today i succeeded at a quest called Enable Your Girlfriend To Eat Dinner Before 3AM and i feel reasonably good about it

[icewindandboringhorror]

Apparently I can meet my goal of roughly 400,000 words in 6 months if I just somehow write at least 2,200 words a day ghbjh... Almost 2,500 today... huzzah...

[hsslilly-blog]

sebastian failing a class because he's terrified of hunt is a good bit and this time it's not even that man's fault

[catcatb0y]

Every time Helluva Boss or Hazbin Hotel has a glimpse of genuinely GOOD WRITING, I go insane. Both of these shows feel like edging to me, like they will tease me with these bangers and then leave me to dry EVERY DAMN TIME.

[moreaujeans]

PASSED ALL MY CLASSES YIPPEEEE

[roobylavender]

i missed that class what dont you like about starlins rendition of their relationship?

(and also like, DID you think he did something in particular well or was it all…meh

the crux of my issues in this regard stems from batman #416. in the post-crisis era you began to see this way more lopsided depiction of bruce and dick's relationship wherein the former was portrayed to be almost.. bitter that dick had moved on to establish his own life. and it stood in great, great contrast to the bruce of the pre-crisis era, who was certainly devastated at the realization that dick was growing up, but also very intent for him to find his own happiness and way in life. they would have their disagreements on occasion (e.g., bruce initially disapproving of dick dropping out of college, bruce immediately taking leadership of a situation where the titans were involved when dick was better equipped to handle it, etc.) but the outcome of those situations was never outright bad yknow. bruce was very much capable of recognizing where he might have overstepped and subsequently stepped back to let dick have his own space. and i think initially max allan collins expanded on that dynamic in the post-crisis era in interesting ways by juxtaposing bruce's desire to see dick flourish against his own constant fear for dick's life. so instead of mike w. barr's comedic and lighthearted backup stories in early 80s tec where bruce disguised himself to keep an eye on dick's shenanigans and assure himself everything was going alright, you got this more serious confrontation within bruce with regards to his position as a parent. i don't think a lot of people read it that deeply but i've always viewed batman #408 as one of the most sensible depictions of that dilemma. the general complaints tend to be that this issue robbed dick of his pre-crisis decision to retire robin on his own, and i'll concede that as a worthwhile concern. but i don't think it's esp damning what with the implication that bruce no longer wants to be the person indirectly making the decision for dick to continue to be in this line of work. their moment at dick's bedside is less about bruce robbing him of the decision and more about him saying, if i let you still be robin, that's a direct reflection on me, bc i'm the one who got you to do all of this originally. i'm the one who put you directly in harm's way. if you're going to do this from now on, you need to do it on your own terms. you need to decide for yourself that this is who you want to be, without your relationship with me even being a factor.

it's a moment contributive to that delicious dynamic between them wherein every decision bruce takes to service dick's agency is inevitably read the wrong way by the latter to imply that he's not valued or not worthy of being seen as bruce's equal (and before the hounds pounce on me this obv does not include the increasingly abusive depiction of their relationship as the 90s progressed). that is an unavoidable dilemma when you're simultaneously someone's ward/adopted son and also their partner-in-crime! dick wants to be bruce's son and to be entitled to all of the love and care and protection that that entails but he also wants to be bruce's brother, his equal, his confidante, the one person he trusts more than anyone else in the world, etc. it's a tough place to be! it is paradoxical! and i'm so, so open to seeing that explored and think the way collins attempted to approach it in #408 was marvelous. but the way starlin (and other writers as well) totally swerved right in #416 to create this sudden resentment in bruce that dick had grown out of needing him was.. so utterly bizarre. like completely out of left field in a way i don't understand why people don't question it anymore bc in light of everything in the immediate fifteen years prior to the crisis it makes so little sense. their relationship with each other was so valued, bruce was so anxious to see dick establish himself while nonetheless maintaining a protectiveness over him, but it was all very much in good will even if he could overstep on occasion. it had all of the potential to allow for a very nuanced, empathetic exploration into the dilemmas of parenthood and esp when you are someone like bruce who has to forever live and contend with the crime of taking kids with him out onto the streets. bc he has to feel guilty! there is no escaping it. this is history, done and dusted forever, can't go back in time, so on and so forth. whatever harm comes any robin's way he has to live with as in some part being traceable back to his own actions. and i frankly believe that would be far more likely to evoke grief and anxiousness and concern than it would be bitterness that his son is charting out his own life

[delicatebluebirdruins]

waiting for people to realise that RE3R feels more action orientated because Jill is a fucking trained professional she was in STARS (Jill was one the few who survived the Spencer estate) and the fucking army be like

[skrunksthatwunk]

household enemy to the yyh watchthrough number one is the olympics. it's taken us a week to get two episodes into the gamemaster fight

[nexus-nebulae]

another childhood bucket list item obtained: i finally have a snuggie