it was so interesting how the mihawk vs zoro fight was different in the manga than in the show.
i feel it was much more sudden, no planning the duel for next day, just when zoro saw mihawk he already knew he has to try and fight him.
luffy doesn't say anything against if even if they had just seen mihawk split that ship with just his sword. he accepts it (because he already understands he can't stand in the way of zoro's dream), and stands close by without saying anythign almost the whole fight. watching it closely.
and when zoro is having troubles, luffy still holds johnny and yosuku back so they don't interfere with the duel .
only after zoro is defeated and drops in the water, luffy loses it, and goes after mihawk with so much anger.
it was a nice and interesting moment that mihawk saw luffy holding the others away from the fight.
lets luffy know that he didn't kill zoro.
and then this whole thing sksajds
"luffy, can you hear me?"
"i hear you."
the way they showed it in the show was great - with how close luffy was by zoro's side, immediately checking up on him and hearing what zoro wanted to say to him directly.
but the way it's in the manga, it's almost heartbreaking because they're some distance away and luffy has to ask usopp if zoro is ok, and zoro isn't even sure if luffy is around, but he needs him to know!
that we won't ever fail!
"got a problem with that, king of the pirates?"
and same as in the show, luffy in different words say zoro could never fail him! he's so happy zoro survived that
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on june 11th 1993, mike wheeler drags his vaguely amused (and highly endeared) boyfriend will byers to the movie theater, shells out for the largest size popcorn they have available, and gets 2 premium, middle-row seats to watch steven spielberg’s jurassic park
(he’s been vibrating with anticipation ever since the first trailer came out. he makes will go see it with him another five times before it leaves theaters.)
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red robin but i pick and choose parts of the costume i like from different iterations
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as yr favorite local jason todd fan sometimes i get so fed up with the apparent inability of most dc comic writers to write a class conscious narrative about him.
and yes, i know that comics are a very ephemeral and constantly evolving and self-conflicting medium.
and yes, i know they’re a profit-driven art medium created in a capitalistic society, so there are very few times where comics are going to be created solely out of the desire to authentically and carefully and deliberately represent a character and take them from one emotional narrative place to another, because dc cares about profit and sometimes playing it safe is what sells.
and yes, i know comics and other forms of art reflect and recreate the society within which they were conceived as ideas, and so the dominant societal ideas about gender and race and class and so on are going to be recreated within comics (and/or will be responded to, if the writer is particularly societally conscious).
but jesus christ. you (the writer/writers) have a working class character who has been homeless, who has lost multiple parents, who has been in close proximity to someone struggling with addiction, who has had to steal to survive, who may have (depending on your reading of several different moments across different comics created by different people) been a victim of csa, who has clearly (subtextually) struggled with his mental health, who was a victim of a violent murder, and who has an entirely distinct and unique perspective on justice that has evolved based on his lived experiences.
and instead of delving into any of that, or examining the myriad of ways that classism in the writers’ room and the editors’ room and the readers’ heads affected jason’s character to make sure you’re writing him responsibly, or giving him a plotline where his views on what justice looks like are challenged by another working class character, or allowing him to demonstrate actual autonomy and agency in deciding what relationships he wants to have with people who he loves but sees as having failed him in different ways, or thinking carefully about what his having chosen an alias that once belonged to his murderer says about his decision-making and motivations, you keep him stuck in a loop of going by the red hood, addressing crime by occupying a position of relative power that perpetuates crime & harm rather than ever getting at the root causes, and seesawing between a) agreeing with his adoptive family entirely about fighting nonlethally in ways that are often inconsistent with his apparent motivations or b) disagreeing and experiencing unnecessarily brutal and violent reactions from his adoptive father as if that kind of violence isn’t the kind of thing he experienced as a child and something bruce himself is trying to prevent jason from perpetuating. because a comic with red hood, quips, high stakes, and familial drama sells.
it doesn’t matter if it keeps jason trapped, torn between an unanswered moral and philosophical question, a collection of identities that no longer fit him, and a family that accepts him circumstantially. it doesn’t matter if jason’s characterization is so utterly inconsistent that the only way to mesh it together is to piece different aspects of different titles and plotlines together like a jigsaw. it doesn’t matter if you do a disservice to his character, because in the end you don’t want to transform him or even understand him deeply enough to identify what makes him compelling and focus on that.
and i love jason!!!!! i love him. and i think about the stories we could have, if quality and art and doing justice to the character were prioritized as much as selling a title and having a dark and brooding batfam member besides bruce just to be the black sheep character are prioritized. and i just get a little sad.
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This shawl is so big I can't get it the whole thing in frame
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