#where the digging happens

[shift-shaping]

how's bindi doing?

Gooby

[introspectivememories]

the funniest possible thing that could happen is if mercedes keeps hiring childhood best friends for their team and everybody's holding their breath waiting for them to tear each other apart like brocedes except it doesn't happen bc everyone else is normal about each other and brocedes is just that fucked up that they would've torn each other apart even if they were on different teams

[shikisei]

is that so

[puppetmaster13u]

Prompt 184

“Well damn.” 

Jason wrenched his gaze from the mess of red and green spattered across the room, searching for the source of the voice. His head hurt, he wanted his Dad. He wanted Bruce. He… his head hurt. His everything hurt. 

“Honestly, didn’t expect them to find another half-breed. Didn’t think there was another halfa out there…”  

He tore his gaze away from the floor- when had it gotten there- finally finding the other… person? The person giving him an empty smile through some sort of muzzle and missing an entire arm. Well, he couldn’t judge, he’d torn his nails off while digging out of his grave before… this. 

“Hey, kid, don’t sweat it, it’ll grow back,” the man apparently noticed where he was staring, shoulder twitching as he shrugged and more green pouring out. Jason couldn’t stop staring, eyes slipping from the growing pool to the rest of the chains apparently keeping the person on that side of the… room? Cage? Cell? 

“Shit, hey, kid, kid, don’t cry, uh, fuck, shh, kid don’t cry-” the person made a noise, some sort of hum or croon that caused him to relax. To his already brain-damaged confusion. “C’mere, away from the door now, shh…” 

Oh, when had he started to move? It was like he blinked and was stumbling away towards the chained person, practically tripping over a limb before the person managed to catch him. “Ope, oh you’re just a little baby-” a hand, clawed, carefully ran through his hair, tucking him against a rumbling chest that nearly made him tear up again. He wanted Bruce. 

“It’s alright kid, shh, they won’t get you,” the man rumbled, everything about him green to his rapidly closing eyes. Pale skin like a corpse, black scales like rot, hair white like snow, all stained green with blood.  “They’d have to kill me again for that.” 

[fear-ne]

this is such an obvious take but if orym doesn’t get a “the gods took everything from you…and you took everything from me” moment,,,

[stanfordsweater]

anyway. i think my life would be better if i could watch anything but supernatural. unfortunately,

[rheakira]

Everyday I'm so sad knowing not many people share my headcanon that Starlo and Ed are exes.

Tempted to be the person to make this a thing.

[whetstonefires]

The thing about the Shazam! (Captain Marvel but they don't have the rights to call him that) movie is that overall it's pretty good? Even if I question the pacing choices made in terms of screentime breakdown for '14yo boys making mortifying life choices and humorously failing judgment calls' vs. 'character development wrt to literally anything else about this fairly large cast.'

It's hokey; it should be. It's got some decent themes and fun character bits and set up good solid hero/villain parallels to subvert.

But.

But it massively clotheslined itself with a major storytelling fuckup connected to the opening hook mystery, whose resolution is meant to be the emotional inflection point of the whole film.

Because the thing is, this movie chose to be slightly interesting in how it approached its 'family' themes. In a variation on 'family of choice' (since your foster family are in fact assigned by the government and Billy not having a choice about living with them only about trusting them is a major story element) it went for the more nuanced and kind of interestingly grimy take that the people who are actually in your life giving a shit about you matter, if you let them, and that you need to stop giving the people who failed to love you power over your happiness.

Which is not a bad premise at all! As messages for a movie about a kid being sent to a group home go, that's the most upbeat you could possibly get and still be tied to reality.

The Vasquez couple are written and played well in these terms too because they really, genuinely care, and are making so much effort, but as system graduates themselves they never had competent parenting modeled for them and god does it show.

And the mental health problems of the kids who got enough characterization to have them were similarly...realistic in a best-case-scenario sort of way.

But! Still with the but! Even though they pulled off a lot of this fairly touchy premise rather well, there's a crack in the foundation that makes the whole movie kind of collapse on a thematic level.

Because the movie (following the prologue introducing the villain's backstory) opens with a juicy emotional hook where small Billy is separated from his mother at a Christmas fair and never sees her again.

Cut to some years later, establishing status quo scene, he's a Troubled Youth rebelling against the system in an endless quest to find his mother and go home. He is committing minor felonies to get access to police information about women surnamed Batson so he can go to their houses because eventually one of them has to be his mom.

His case worker after he's picked up again refers to his mother as 'someone who clearly didn't want you,' which Billy rejects as bullshit, and he's valid! Because that is not what you say when you have actual information. That's a surmise. That's a sentence that says Child Protective Services and the police couldn't find her either.

Especially because you don't immediately chuck a kid into foster care because he's found unattended. Maybe you do that later, after a lengthy period of oversight, depending on his mom's reaction to having him returned and her race and socioeconomic status and apparent mental health and so forth. But you don't just not contact her, and you definitely don't refuse to tell the kid about the result once you have.

The only normal situation where an accessible record exists of a kid's original parentage but it's denied to the kid is in sealed adoptions, which are a formal procedure that clearly didn't happen here. There is every indication in this opening sequence that his mom was never found.

Which means she's a missing person. Either because they located the correct Billy Batson and his adult never came back to their house (which would suggest foul play or some other drama) or because despite being old enough to be in school and knowing his own name, no one could find evidence that Billy existed prior to turning up at that street carnival.

Which would constitute a very mysterious situation! What is he, from a cult? Another dimension? Did someone (in the social worker's proposed scenario, Billy's mom) erase all record of her kid somehow? Was magic involved?

So: the way we're introduced to this scenario, there's a legitimate weird mystery here that none of the adults in Billy's life care enough about to do anything but tell him to write it off, the way they have. That his missing person clearly did it on purpose.

Billy's being ridiculous because if what he's trying would work then he wouldn't need to do it; his social worker could have arranged a meeting years ago. So it's a useless self-destructive behavior he needs to let go. But he's valid, in that he's being very obviously failed by the system and is doing the only thing he can think of to try to address his situation for himself.

And then! The Big Reveal is that his mom has been living under her maiden name in the same city as him this whole time.

Which the Gamer Kid Who Turns Out In This Scene To Be A Hacker (he's about 10) learned by. Breaking into a federal database.

So he goes to her house and it turns out. She'd been a teen mother and her babydaddy walked out after marrying her, and her parents cut her off, and she was depressed and felt like a bad mother so. When she saw the cops had her kid, she just walked away. And she wants to believe he's been happy and better off without her.

And the emotional arc of the film rests on how Billy comes to terms with this. With the fact that his past will never take him back and he has to learn to find joy in himself and his present situation and his future.

Having let go of that idea, he's able to emotionally commit to his gaggle of foster siblings and realize that unlike the villain, who was obsessed with punishing the people who never loved or accepted him, or the wizard who was focused on finding The Perfectly Worthy Champion, what you needed to be good and not lost was to be part of a mutually supportive group, like the wizard Shazam was before he and his siblings were betrayed. And then they can be a superhero team, woo!

And that part is actually depicted fairly well, all things considered!

But the problem is that the audience, to vibe with this properly, has to roll with the revelation that Billy was wrong to cling to the mystery of his vanished, beloved mother and the fantasy of going home again.

We have to be willing to participate in the idea that the Resistant Child Subjected To Foster Care was in the wrong.

And he wasn't! He wasn't wrong! His understanding of the situation was flawed but it should not have been flawed in this manner.

Because this scenario as it's depicted doesn't make any sense. The cops do not just keep your kid without following up if you fail to collect him from the baggage claim. CPS does not fail to provide a kid with the readily available evidence that he's been voluntarily surrendered to them, when he keeps running off trying to go home.

Why would they do that, after all? Billy's misbehavior was a huge hassle for them. They gained nothing by denying him access to his mother and the information about her that was, you recall, sitting totally available in a government database that could be hacked by a random 10 year old asian-american orphan. They just...made their own lives harder for no reason, while extending the suffering of a child in their care.

If the cops tried to return him back when and she said 'no i left him with you on purpose please keep him' maybe she gets prosecuted for child abandonment and maybe not, but either way, billy would know about it.

But if the screenwriters had made it clear early on that this information had been offered to him and he'd chosen not to believe it, they couldn't get a proper Reveal at the end because it would just be Billy being unable to continue pretending something the audience had known not to believe all along.

And they couldn't cram a good reason for the scenario they'd set up into the space they'd accorded it.

So they were just like, it's fine, if we cram enough cliches into this space people will react to the familiarity and go 'ah yes i know this one' and go along with it, and not notice that this isn't an actual coherent reply to the question that was set up an hour ago and therefore is emotionally unsatisfying somehow.

Anyway this is an important storytelling guideline: if you put in a mystery to control either the actual plot or, even worse, the emotional storyline, that mystery and its resolution have to make internal sense.

If you pull the Real Situation out of your ass, and it's not a matter of red herrings or That One Fact you didn't have that makes all the rest fit together differently, but in fact no one involved could have figured this out and especially if the people who did say this in the first place had no good basis for it, but still get narratively awarded the Correct trophy in a way that contributes to the thematic climax so the audience has to care. Then that will not get good results. It will make it hard to deliver on your intended themes.

Some people will not notice or care! This is true! But a lot of people will, and you'll get enough of a better punch even with the other folks, if the setup and denouement fit together properly and don't require reaching, to matter.

And when people do notice at all, rather than their naturally flowing along with the climax you're steering toward and experiencing A Story, there will be a tendency to notice you standing there placing roadsigns toward the Intended Emotional Response, and call you a hack.

People call out plotholes way too vigorously sometimes, so I want to be clear: it's not the lack of supporting logic I mind. It's that the active presence of illogic, of what's presented as a chain but is broken along its length, means the central character arc intersects with the core theme in a noticeably forced way. Which is bad craftsmanship on a meaningful level.

There is a loss of cohesion where you cannot satisfactorily resolve how the scenario we were initially shown came to be superimposed over the revealed truth, because that relationship between elements is very important to making a 'revelation' storyline land, you know?

In this case it's particularly vexing to me because the last-minute asspull and its thematic weight reaches back around and at the last minute moves the whole movie thematically to the other side of the line wrt whether it's approaching Billy, our protagonist, as a subject with whom we're supposed to identify or an object whom we're supposed to observe.

It makes all the high-school-freshman-posing-as-adult gags retroactively less funny because we were now more explicitly laughing at him, and takes a lot of the depth out of the emotionally sincere moments.

Up to that point I had really appreciated how, despite wavering that way, Shazam! hadn't actually fallen to the MCU Spiderman temptation to dehumanize its protagonist. Which seems to arise out of this weird tendency I've noticed to assume the natural sentiment of adults toward adolescents is bemused contempt, and that therefore if they ask their audience of paying grownups to empathize too closely with a teen hero instead of setting him and his Immaturity up as a clown for our amusement, they'll get themselves banished to the Children's Fiction ghetto.

And, of course, if they'd been fully committed to one side or the other of 'Billy is a protagonist the viewer relates to closely' or 'Billy is a protagonist the viewer relates to distantly,' they wouldn't have gotten snarled up about how much information to hand over when.

Committing to either option (giving us only as much information as Billy had and constructing a story that was solid from a being-Billy angle or giving us more information than Billy and operating confidently in the realm of dramatic irony) could have worked quite well. But because of the mixed signals and unstable narrative distance, they wound up with a distinctly weakened finale.

[konfizry]

no because you see actually the fact that zelos hates kratos' guts is by far my favorite aspect of zelos. like like the whole betrayal thing and whatnot, honestly, can't relate man, sorry about what happened to you i guess buddy but personally i dont care i just dont

but then back when i found out through finally playing his route + watching tof2 tls that the guy will diss kratos at any given occasion i was taken with renewed appreciation for him. its just too good. (and actually, there are signs of it even before that. like when you run into kratos in sybak and supposedly zelos doesnt know him at all but he still takes a moment to loudly go "omg fuck this guyyyyy" once kratos has left the scene and it's just ertghrteguhireg. zelos actually makes a couple more efforts to have lloyd trust kratos as little as possible. meanwhile theres that character skit in the flanoir area where kratos warns lloyd that there may be "someone in his group with ill intentions be careful no i won't elaborate bye" or whatever. all while k and z are presumably routinely in voice chat arguing over kratos' ridiculous grocery list. what a mess. both of them.) i unironically love it fr. i think it both makes perfect sense from a character perspective, and is hilarious. also it's nice to have one dude be openly hostile towards kratos. what can i say, i live for drama.

so anyway im glad we can all agree that the iselia ranch is a missed opportunity for an absolute train wreck of a skit that should have have happened but didnt.

[tangledinink]

How did Donnie react to the oops babies? How did he know these eggs were different than the other ones?

oh gosh. vague, unsure hand motions. i haven't thought about it too much yet, since it's not really a part of my plan for the main story and therefore not the focus, and also like. shrugs. turtle biology??? mutant biology??? what a mystery. so idk what exactly a pregnancy would look like for them, though i do think they'd know about the existence of kiddos before any eggs actually entered the world.

i think that donnie would have a lot of feelings about it, like, you know, most people would, and there'd definitely be a lot of fear/anxiety/uncertainty (esp at the beginning) for a lot of reasons. but at that stage of his life, he is also in a really good, steady relationship with his partner,,, and has the support of his family,,, and it's definitely not like he HATES the idea of a Mini Him, he just hadn't planned on it so soon,,, (and also he is kind of, like. curious about the Whole Situation,,, scientist brain lighting up,,,)

he and sorrelshine definitely, like, go over all the pros and cons and discuss it at leNGTH on sEVERAL occasions before they come to any conclusion about what they're gonna do about it. but eventually, it's kinda just like...

fuck it, we ball. y'know?

[nellasbookplanet]

Sorry but my thoughts are still on the nature of death in dnd (and other fiction where resurrection is possible), specifically on the implications it has on worldbuilding.

Resurrection magic existing kind of makes for cultural issues that have no parallel in our world. Some of it compares - such as the inherent class divide and tensions when the rich and powerful can literally buy their way out of death (a class divide is a class divide, this just digs the chasm deeper, which I'd love to see explored more in media btw) - but the implications on grief and acceptance are on another level. In our world, there is no bargaining with death. So much of our lives is spent coming to terms with the fact that we will all die one day, and mourning and moving on whenever death strikes near us. We experience stages of grief like denial and rage and bargaining but in the end there is no escaping it, no matter how hard you work or beg or rage. Clinging on can only hurt you. It's pointless. All you can do is move on, and it is so hard.

But if death is conditional. Impermanent. Something that can be defeated with money or power or faith. How do you ever move on. On a societal and cultural level, there should be entire rebellions based around who has access to resurrection. Powerful people offering resurrections as incentive would be all over the place, with desperate people selling their souls and freedom and entire lives to save a loved one. Would soldiers fear dying, seen as disposable, or would they fear being brought back again and again to die eternally on the battlefield?

But on an individual level. Is acceptance of the inevitability of death even possible when it’s no longer inevitable? If you decide that no, you can not give up everything to go pursue resurrection of your child, will you hate yourself? You could save them. Why aren’t you? Why aren’t you doing everything in your power? How much do you hate the people who have this power but won’t offer it freely? If you yourself are brought back from the dead and find out most of your loved ones just, let you go, would you hate them? Would you feel abandoned and betrayed? If you’re watching from the afterlife and see your loved one, who’s been working to get you back, decides to accept your death and move on because they have found new love, would you find a way to fucking haunt them? Oh, you think I only lived for you? That I don’t want life just because I can’t have you, too? How selfish is that. But how selfish would it be to bring someone back only to salve your own feelings of guilt, whether they want to or not? Would there be an entire industry of mediums based on people needing to ask their loved ones if they wish to remain dead or not? How much more powerful would hate and love and hubris be in this world, lacking the absolute limit of death?

[gumclones]

honestly I think that whatever the Winter King did to transfer his insanity was an accident. not necessarily something that came out of nowhere, but more… he was trying to do one thing and then suddenly he felt a lot more clearheaded

[nullians]

It’s actually insane how fandom in general has become so scared of making weird and dark and ugly works. Like I look at myself and see how I have also subconsciously adapted this instinct to self censor and make things “marketable” and it’s making me want to crawl out of my skin. I need to get weirder and worse and more off-putting hello

[godsfavoritescientist]

you ever think about how bill is who the pines could have been if they didn't have any kind of support from anyone in their lives

[anendoandfriendo]

"Fuck your online discourse" actually, no, we do think the halloween DID flag shouldn't be used but it's not because of some bullshit like "waah it's just a recolor" it's because the system that created that flag is a huge fucking racist and ableist last we checked, and we never saw ant kind of apology for being racist and ableist to endogenic systems. We never saw them stop being anti-endogenic or anti-Black (because let's be honest, Black endogenic systems specifically would be the ones most affected and hurt by this).

Like, we know people have forgotten by now, but we were THERE just before TPA became a thing, when systems like The Entropy System were fully mask-off in their bigotry (we call anti-endogenics facsists because of the personal experience of having the not-pleasure of seeing shit like the above link lmao), and such other things. We used to be very visible on Twitter as an endogenic system who's seen this shit but it was kind of taking over 99% of our focus when we were working retail instead of working at home, so we ended up tapering it away.

[kaurwreck]

the vast majority of jokes that y'all insist are jokes are evidently jokes. but they're the same joke, scraped from surface impressions and regurgitated iteratively. there's humor beneath the outermost layer, too, and you're allowed to be clever, it's not illegal.