#Obviously hes going to be superman. Its the one thing he can do

[misspickman]

I dont think kon should ever be superman, that doesn't feel like the positive progression of his story, but there is something morbidly compelling to me about a world where he is the only choice for it and fills that role out of that deep sense of loyalty. Bc yeah its the purpose he was made for and now hes doing it! Wasnt that what he strived for all along! And yes he would be good at it, its been his whole life and hes super competent and powerful bc ttk is insane. And he would never feel good enough, would never be confident that hes doing as well as clark had, and years down the line he'd still feel like a 16yo kid with too big shoes to fill

#Dont come at me with 'oh x could be superman instead' its a hypothetical scenario #I just think its fun when characters get to reach a goal theyve been working towards for so long and then it sucks #And has kon ever really wanted to be superman entirely out of his own volition or just because it was the one thing he could imagine being #Obviously hes going to be superman. Its the one thing he can do #And i think this fizzles out as hes older which would make him having to be superman even more fun #He doesn't even want it anymore but he is made to do it #And hes going to do it well and hes never going to see that #txt

[catpriciousmarjara]

DP X DC: Dani Does Things and Leaves, Explains Nothing

Heavily inspired by this dp x dc prompt and the comments and reblogs under it:

Please go check it out and @stealingyourbones entire page. They have some great dp x dc content and meta.

Local Ghost Princess Decides to Help Out Fellow Clone, Leaves Chaos Behind, Heroes Left Concerned and Very Confused, More at 10.

Now Dani knew that this world had superheroes. She knew they had an organization of sorts that had a hate-hate relationship with various government entities and a love-hate relationship with the public, depending on who you asked. However she had no intention of being involved with them. She was on vacation after all. Besides this world was just a stopover anyway. Why bother when she wasn't here on official business? But it seemed that while she didn't want anything to do with the heroes, they, however inadvertently, wanted something to do with her. How else will you explain one of the worst cloning results she had ever seen crash into a tree right in front of her while she was enjoying a nice cup of litchi boba tea in the park?

The botched clone job slid down the branches and hit the ground with a thud. She raised an eyebrow at the the rampant malevolent magical lines running through the body exacerbating the overall instability of the clone's anatomy. Clearly this individual had run into an irate mage who cast some sort of destabilizing curse and shot them right out of the sky. Dani was thankful this was an isolated section of the park and that she had put a rudimentary avoidance ward over the area. Otherwise, a superhero crashing into a tree would've caused quite the ruckus and interrupted her boba time.

She took a sip of her boba and crouched down to examine the conked out hero. This one was the one they called Superboy wasn't he? She grimaced at the state of his engineering. Whoever did his cloning did not know what they were dealing with. Her own cloning went better and she was ectoplasmic goop half the time. And Vlad was dealing with halfa DNA! Probably the most complicated genetic material in existence. Superboy over here was constructed from actual tangible genetic sources and yet...ugh.

Honestly speaking beings of this plane probably wouldn't have noticed anything wrong. A level down in power scale compared to the individual who acted as genetic donor, most likely that Superman guy, and random instances of destabilization would most likely be the extend of their knowledge regarding their faulty cloning. And when those instances of instability gradually ironed themselves out they probably patted themselves on the back and thought all was well. She should cut them some slack.

Dani hummed as she chewed on her boba pearls. Unfortunately she wasn't known to be the most merciful when it came to ensuring the well-being of clones.

Suckers probably didn't pick up the fact they unleashed a possible catastrophe upon their world. Superboy was obviously fashioned from Kryptonian DNA. A species known for becoming near godlike upon absorbing solar energy from a yellow sun. That means that their bodies have mechanisms at play beyond simple biology. Specifically energy pathways and an energy processing core. Superboy wasn't a level down in power from Superman because of some biological imperfection, he was weaker because of flawed energy absorption and storage. And that meant that his energy core was unbalanced, and once it reached a particular threshold...well its gonna be a spectacular light show this side of the galaxy that's for sure. Of course it was just a possibility. There was no guarantee he would reach that threshold in his lifetime. Unless he ran into a white mage who was vicious enough to cast a juiced up imbalance curse that is. And what do you know! Turns out you can organically be that unlucky!

She put down her cup and ran a simple diagnostics. Sure enough the magic had intensified the issue. This man needed help, the kind of help that wasn't usually available in this part of the omniverse. But she just so happened to pass by and just so happened to have expertise in this field so today was somehow simultaneously Superboy's lucky and unlucky day. He really was going through it.

As to why she would interfere that's easy. She was the Guardian of Cloned Beings after all. She can't have a fellow clone suffer could she? And plus, what were the chances that he would end up like this right in front of one of the only beings that would know how to fix the issue? Dani grinned in glee. Truly the laws of causality worked in intriguing ways.

She stood up and let her talons manifest, plucking the strings of SuperboyConnerKon-el's make and striking them one by one in the tune of an old Krytonian melody. Shame what happened to them really, but all things had their fate. It truly was great to see some of them survive and make a home elsewhere. Dani wished them the best.

As she worked, untangling knots, and straightening out blockages, the hero finally began to stir. His eyes opened and they were understandably unfocused. Disoriented and confused, he looked kinda like a bamboozled Cujo and Dani felt her lips twitch up in a toothy smile. For some reason that seemed to startle him. She mentally frowned. Did he expect her not to smile at him? That would've been rude of her. Dani might be a gremlin but she was never impolite.

"I'm just about done with the curse", she told him. "Leaching out the corrosive magic was easy but I need to repair your energy coils and that's tricky. Don't worry though. Everything's on the house. Always did have a soft spot for the House of El ever since my aunt married into it for a short while."

Dani pulled a particularly stubborn power node open. "I would like your permission before doing that through. Body autonomy, informed decisions and and all! So yes or no? You'd detonate like a bomb if I didn't though."

The young hero's eyes widened. He still didn't seem to know what was going on so she hit him with a short term clarity spell. And a small information spell to cover her bases. That got him to gather his wits enough and she watched as he processed the influx of information. His complexion was ashen when he got through the bundle and he finally managed a shaky nod. Good enough.

Dani smiled at the Kryptonian. "Great! Now this would take like twenty minutes give or take five. You can sleep now." She promptly knocked him out cold and cancelled the spells so as to not overload his brain.

And just as she predicted, twenty minutes later, she plucked the last string with a flick of her wrist and surveyed her handiwork. Exemplary if she said so herself. One of her best work! Cheerfully she shot an awakening spell at Kon-el and crouched down again, patting his head.

"You might need to be careful for a few days while your body adjusts to its new energy capacity and conductivity. Your overall system has been optimized as well so be careful", she told the groggy young man.

She paused. "And don't worry. I didn't access your mind. This was all strictly physical repair aimed at preventing you from exploding like a supernova and taking the planet with you."

And once again that part made his eyes widen. Good. He truly understood the urgency. Or that could just be him being loopy after solar energy overload. It was a bright, sunny day after all.

She stood up, creating a portal to the next world on her itinerary. She looked back at the most likely high as a kite Kryptonian. "You kinda owe me for all that extra work hero! I might just come to collect one of these days!", she joked as the portal swallowed her body and she was lost to the spaces between spaces.

She'd already told him it was all on the house so Dani didn't think that anyone would take that last part seriously. However she forgot the fact that one Conner Kent was in her own words 'high as a kite' and hence might miss some crucial details.

She also forgot to leave behind an explanation packet.

And thus she was utterly unaware of the chaos she left in her wake, happily traveling through the multiverse.

..............................................................................................................................

"So you're telling me that not only did someone find me when I was out cold and get rid of the spell, but they also rearranged my guts and gave me an upgrade?"

"...Yeah."

"What the fuck?"

..............................................................................................................................

"Conner, do you remember anything? Anything at all? Whatever they did required some serious magical power. We don't know why they did it or how. For all we know they could've done something dangerous that we can't detect yet."

"Litchi boba tea".

"Kon what the hell?"

..............................................................................................................................

"...Its in bits and pieces...but I'm pretty sure there was a woman?...white hair, green eyes...something something on the house...something about an aunt and the House of El?...and there was this strange white symbol on her chest and this really soft music was playing that went something like this...(confused humming noises)...and something about me owing her?"

"Kara? Why are you looking at me like that? What's wrong?"

..............................................................................................................................

"Let me get this straight, Superboy was healed by the Kryptonian primordial goddess of portals, messengers, travelers and other such domains, and not only did she save him but also gave him a tune up? And explicitly said that he owes her now? And this powerful divine being, who is also supposed to be the daughter of Krypton's Death God according to legends mind you, is most likely still on earth with motives unknown? Plus your entire House is descended from her family?"

"...Yeah that about sums it up."

"..."

..............................................................................................................................

"Oh man why did this happen just when I was going to go on vacation? Why couldn't the Death God or whatever reschedule?"

"Death gods notoriously don't reschedule, they're death gods. Also she's the daughter of a death god, not one herself. Most death gods are also famously fair. If not fair by our standards, fair by theirs".

"...That's good to know?"

"I confess I don't know about the fairness of children of death gods however".

"...great. Thanks anyway J'onn".

"You're welcome".

..............................................................................................................................

"You okay there man? Someone just rifled through your body and did who knows what...that's gotta be terrifying. You want to talk? We're all here for you, you know that right?"

" Thanks guys. And yeah it was freaky. But apparently I would've exploded and blown up the planet with me if she didn't do that so I guess I'm more grateful than scared."

"...Explode and blown up the what now?"

..............................................................................................................................

"Is there anything more we should know about Clark?"

"Legends say she has a brother and he's associated with great calamities?"

"...."

"Bruce? You alright?"

..............................................................................................................................

DPXDC refuses to be done with me. Leave me be accursed crossover! Leave me be!

(Btw Kon didn't make the connection because he was really out of it, and not because Clark and Kara didn't introduce him to Kryptonian culture.)

Thoughts and suggestions are welcome!

#Dani Fenton #Danielle Fenton #Dani Phantom #Superboy #Conner Kent #Kon-el #DPXDC #dpxdc #dp x dc #dc x dp #Kara Danvers #Kara Zor-el #Supergirl #Clark Kent #Kal-el #Superman #Bruce Wayne #Batman #J'onn J'onzz #Martian Manhunter #Justice League...well they're obviously there so I guess I'll tag #Also Young Justice

[thestargayzingheroine]

Why A Better World is my favourite "Evil Superman" Story

So in the last two decades or so, there's been a notable amount of dark and edgy stories around superheroes turning evil and whatnot and most of them really love to do their own expies of Superman. I've never been the biggest fans of these kinds of stories.

And then there's the actual stories of Superman and other heroes being outright villains or at least just massive assholes. In recent years, this has been largely thanks to the influence of media like the Injustice Games or the Synderverse DC movies. It's... honestly become a trope I am tired of.

Because you know the damnest thing? There is a story that does all these ideas really damn well and arguably better. It is the two-parter from the Justice League cartoon "A Better World".

Now, I am aware how most people favouring the DCAU has become a bit of toxic nostalgia at times and it's something I myself am trying to work through a bit. But in this case, I do think it's the best idea of doing an evil DC story, much better and more interesting than the Crime Syndicate, who if you ask me are not very interesting, though I do remember liking the Crisis On Two Earths movie a lot, which funny enough, was originally going to be this two parter before various things led to it being canned and then later repurposed as a direct to DVD movie.

Anyway, my main crux of why I love this story is simple... The entire Justice League turns evil... and the reasons are very much in-character for all of them. You look at the scene with Justice Lord Batman for example.

As fucking evil as the Justice Lords are... Batman can't quite fully hate his alternate self for his reason for taking part in all this being basically one-step further than his own mission, that no child should ever go through what he did. Hell, I recall reading that the reason the writers had Batman drop his batarang at the end of this scene... was because he genuinely wouldn't be able to come up with an argument to that.

Superman likewise kills Lex Luthor because yeah, Luthor literally exploited the flaws in Democracy and became president of the US, threatening to kinda basically start world war 3. It's obviously horrible... but Superman is a character whose main motivation is making the world a better place. And if people who abuse the systems of power of the world are hurting people, why shouldn't Superman put a stop to that?

And yeah, Superman should obviously never kill, he's the most paragon of paragons of the DC universe, a man committed to always being better than the villains he fights... but this is him pushed to his most logical extreme. Hell, the main Superman knows this and its why Lex used his knowledge of this alternate universe as part of his plan in the season after this, to goad our Superman into crossing the line because yeah, there's a part of him that could go this far.

But right as Superman is about to apparently finish him, the big guy says this.

"I'm not the man who killed President Luthor. I wish to heaven that I were but I'm not."

Because Superman like everyone else, obviously would have those same thoughts and same urges. He's human.

I've kinda gone off Injustice a bit because to be honest... the injustice games were kinda just this but a bit too edgelordy. Hell, in A Better World, Lois Lane still lives and the whole genesis of it doesn't revolve around her getting fridged.

So yeah, A Better World is probably one of my favourite mirror universe stories because of the fact that well... it really is like looking in a mirror and seeing just how easy the greatest heroes can become evil and how they wouldn't be massively out of character doing so. But also it reminds us that as much as this darkness can tempt some of our finest, the ones who don't go down this dark path are stronger in heart than anyone else. Because when the world becomes a dark and horrible place, it becomes very easy to be just as dark. But even though it can be hard to still try and be a good person even in dark times, it's ultimately worth it. Because good always triumphs over evil.

#dc #superman #batman #dcau #justice league #justice lords #essay post #Youtube

[carolperkinsexgirlfriend]

Steddie Upside-Down AU Part 59

Part 1 Part 58

“Please, Steve!” Nancy’s wheedling voice drifts to Eddie as he rounds the corner. “Jonathan already said no because he’s trick-or-treating, so it’s just going to be me and Barb.”

Steve’s leaning against his locker, frowning down at Nancy. It’s reminiscent of the year before, when the pair were circling each other like monkeys in heat, only it’s knocked on its head. Maybe even…upside down. Eddie chuckles, sidling up to lean against Steve by the lockers, knocking their shoulders together. A united front in the face of a determined Nancy Wheeler.

“Are you saying Barb’s not enough for you, Miss Wheeler?” Eddie asks, faux shocked. He puts a hand to his chest, swooning into Steve’s side just to make him laugh.

Nancy rolls her eyes. “Obviously not.” She’s clearly exasperated by Eddie’s presence. Somehow, almost a year of being friend’s-once-removed hasn’t warmed either of them up. Although, if all the interdimensional ass-kicking couldn’t do it, why would anything else? “It’s just–” she trails off, looking down at the books she has clasped daintily to her chest.

Eddie can almost feel Steve thawing beside him. God damn it. “Just what?” he asks softly.

Nancy peeks up at him from beneath her eyelashes. She doesn’t even look at Eddie. What a conniving little twerp. “Neither of us have been to a party since, well–” she stalls, tucking a curl behind her ear. “You know.” She whispers the last bit, looking around like she expects the men in suits to burst out of the walls because she mentioned a party from last year.

Steve stiffens next to him. Eddie takes a surreptitious step closer, glaring down at Nancy. Not that she has the decency to even notice. “None of us have gone to a party since, Wheeler,” he hisses.

Steve elbows him in the ribs. Like he’s the problem in this scenario. Eddie backs down, slumping down into the lockers and crossing his arms with a loud huff. Time to let Mommy and Daddy figure it out. Eddie grimaces, disgusted by his own thoughts.

Steve sighs, rubbing his face vigorously with his hands. “One hour,” he says, muffled through his palms.

“Seriously?” Eddie demands.

“Yes!” Nancy says, raising her hand in a tiny fist pump that would’ve been endearing on literally anyone else. “I’ll see you there!” She’s beaming as she turns around, walking away with a new bounce in her step.

“Where are we going?” Eddie demands.

Steve lowers his palms, sliding them down his skin, slowly revealing each tantalizing bit of his perfect face. “Were you invited?” Steve asks, turning and walking away.

“Dude, I know where you sleep!” He does not shout out in the halls of Hawkins High in bumfuck Indiana that where he sleeps is with Eddie in his bed. He has some self-preservation left.

Steve laughs, elbowing him in the ribs again. Same spot, too, the asshole. “Tina’s Halloween party?”

“Are you serious?” When Steve nods, he continues. “Ugh, Stevie, you’ve gotta stop letting Wheeler shoehorn you into these things. She’s the worst!” Eddie whines, drawing out the vowels in ‘worst’ past recognition.

“She’s not that bad,” Steve says, but he’s smiling. “You’re just her like–what’s it called? That stuff that always trips up Superman. Dustin mentioned it?”

He looks over at Eddie, a cute look of puzzlement on his face. Eddie wants to boop his nose, so he does, watching as Steve goes cross-eyed trying to follow the movement. “You mean Kryptonite?”

Steve snaps his fingers, smiling dorkily. “That’s it!”

Eddie’s heart flops pitifully in his ribcage. What a fucking nerd, dear god. “Okay, but do we have to go to a stupid party because Nancy Wheeler of all people wants us to?”

Steve shrugs, still smiling as they walk down the emptying corridors. “Last time we got kidnapped by a monster from a hell dimension, so really, Munson.” Steve claps his arm around Eddie’s shoulders, rubbing his hair like he’s one of the bastard children. “Things can only go up from here!”

Eddie can’t help the way he almost shrieks with laughter, almost bringing Steve down with the way he goes boneless. “You’re a total jinx!”

“Maybe, but you love me!”

Steve Harrington says it nonchalantly, like he’s not currently holding him up off the cold linoleum. Eddie’s heart does an unfortunate splitter splatter splat at Steve’s feet. Because fuck. He does.

Part 60

Taglist: @deany-baby @estrellami-1 @altocumulustranslucidus @evillittleguy @carlprocastinator1000 @1-8oo-wtfbro @hallucinatedjosten @goodolefashionedloverboi @newtstabber @lunabyrd @cinnamon-mushroomabomination @manda-panda-monium @disrespectedgoatman @finntheehumaneater @ive-been-bamboozled @harringrieve @grimmfitzz @is-emily-real @dontstealmycake @angeldreamsoffanfic @a-couchpotato @5ammi90 @mac-attack19 @genderless-spoon @kas-eddie-munson @louismeds @imhereforthelolzdontyellatme @pansexuality-activated @ellietheasexylibrarian @nebulainajar @mightbeasleep @neonfruitbowl @beth--b @silenzioperso @best-selling-show @v3lv3tf0x @bookworm0690 @paintsplatteredandimperfect

#steve harrington #steddie #eddie munson #steddie upsidedown au #my fic #I'm so excited for the next part!

[comicaurora]

Have you seen the new Superman show on adult swim? Himbo Clark Kent rights

It's off to an extremely encouraging start! Thoughts under the cut!

I like how they portray Clark's super-strength and how comfortable he is flying and using super-speed. They really feel like innate characteristics of his body rather than powers he switches on and off - things he keeps toned down when people are watching, but things that are always present regardless. The number of times I've pulled a push door or shoved something that was stuck and thought "if I had super-strength I wouldn't get a Take Two on this because my hand would've gone straight through that" is clearly something the showrunners have also thought about. This Clark lives in a world of cardboard and physically cannot stop himself from putting his hand through it at least once a day.

There's a physicality to the way Clark takes hits that really communicates how little he feels them most of the time. Eyes open, mouth closed, immediately getting back into the fight after getting punched into a crater. This is stuff I also think about when I draw supernaturally tough characters in combat situations, and it's cool to see someone else doing it - especially since one of my very few complaints about the older DCAU is that Superman always took every hit like it was a fully incapacitating blow, which Worf'd him pretty constantly.

I also like that we have so far never seen Clark angry. We've seen him scared, flustered, disappointed - but not angry. Even in fights where he's taking serious hits, he's only motivated by wanting to protect and save people, even his opponents - he so far has never been motivated by a desire to destroy. That feels like very good writing for Superman.

It's currently a little unclear how exactly his powerset is scaling - it looks like the blue-eye-glow-and-suit-emblem thing is a legitimate powerup that lets him hit harder and recover faster than his normal baseline, but how exactly that works isn't clear yet - although that is very obviously going to be a plot point later, since they keep giving him little flashes of the story of Krypton's destruction and what shenanigans they were getting up to when it exploded.

On that note, Kryptonian tech has never looked or felt so otherworldly. I love the distorted electronic backward-voice choir they use exclusively for when Clark is on the ship. I love that hologram Jor-El can't speak English, but can clearly understand Clark - also this is the coolest Jor-El has ever looked. Some comics wax poetic about how Clark is an alien space god who only pretends to be human, but I like how this show is firmly putting Clark on the side of the audience with regards to how unsettling the "alien space god" vibes truly are. He can't understand the nature of the ship or the words of its holographic inhabitant, he's not really interested in what it means or where it came from - he just wants to know who he is, or rather who Superman should be. And I like that he concludes that Superman should be him - the heroics he was already doing, except this time on purpose. Superman should not be this spooky glowing alien god thing, even if that's the vibe we get from Krypton itself.

I like that the ship gave Superman his modern no-underpants-on-the-outside suit and Ma Kent was like "we can do better than that" and added the underpants back on.

I also like how much setup there is for future plot stuff that a DC-familiar audience can see coming. Clark hasn't used any of his vision-based powers yet, and it's possible he doesn't know they exist. No sign of Lex Luthor or Kryptonite yet, two problems we know will become more severe with time. We've already got Amanda Waller being stoically nefarious in the background. Young Hot Deathstroke is a hell of a design choice and I am Here For It.

I also appreciate how many little referential jokes are packed into the dialogue, ranging from the obvious "it's a bird it's a plane" to some hella deep pulls like Jimmy Olson's youtube channel.

And fundamentally I love how this show starts from the jump with the thesis that friendly, humble, Normal Man Clark is the real person, and Superman is the job that Clark Kent does. The title of the show is "My Adventures With Superman." The POV character is Clark. He is the "my" in that title. This is Clark's story about Superman.

I really, really hope Batman eventually shows up, because this Superman would make that hilarious.

#asks #not aurora #media recs

[thesublemon]

best picture

For the first time in a long time, I watched all of the movies nominated for Best Picture at the Oscars this year. Partly on a whim, partly for a piece I’ve been working on for a while about what is going wrong in contemporary artmarking. I cannot say that the experience made me feel any better or worse about contemporary movies than I already felt, which was pretty bad. But sometimes to write about a hot stove, you gotta put your hand on one. So. The nominees for coldest stove are:

Poor Things. Did not like enough to finish. I always want to like something that is making an effort at originality, strangeness, or style. Unfortunately, the execution of those things in this movie felt somehow dull and thin. Hard to explain how. Maybe the movie’s motif of things mashed together (baby-woman, duck-dog, etc) is representative. People have been mashing things together since griffins, medleys, Avatar the Last Airbender’s animals, Nickelodeon’s Catdog, etc. Thing + thing is elementary-level weird. And while there’s nothing wrong with a simple, or well-worn premise, there is a greater burden on an artist to do something interesting with it, if they go that route. And Poor Things does not. Its themes are obvious and belabored (the difficulty of self-actualization in a world that violently infantilizes you) and do not elevate the premise. There’s a fine line between the archetypal and the hackish, and this movie falls on the wrong side of it. It made me miss Crimes of the Future (2022), a recent Cronenberg that was authentically original and strange, with the execution to match.

Anatomy of a Fall. Solid, but not stunning. The baseline level of what a ‘good’ movie should be. It was written coherently and economically, despite its length. It told a story that drew you along. I wanted to know what happened, which is the least you can ask from storytelling. It had some compelling scenes that required a command of character and drama to write—particularly the big argument scene. The cinematography was not interesting, but it was not annoying either. It did its job. This was not, however, a transcendent movie.

Oppenheimer. Did not like enough to finish. But later forced myself to, just so no one could accuse me of not knowing what I was talking about when I said I disliked it. I felt like I was being pranked. The Marvel idea of what a prestige biopic should be. Like Poor Things, it telegraphed its artsiness and themes and has raked in accolades for its trouble. But obviousness is not the same as goodness and this movie is not good. The imagery is painfully literal. A character mentions something? Cut to a shot of it! No irony or nuance added by such images—just the artistry of a book report. The dialogue pathologically tells instead of shows. It constantly, cutely references things you might have heard of, the kind of desperate audience fellation you see in soulless franchise movies. Which is a particularly jarring choice given the movie’s subject matter. ‘Why didn’t you get Einstein for the Manhattan project’ Strauss asks, as if he’s saying ‘Why didn’t you get Superman for the Avengers?’ If any of this referentiality was an attempt to say something about mythologization, it failed—badly. The movie is stuffed with famous and talented actors, but it might as well not have been, given how fake every word out of their mouths sounded. Every scene felt like it had been written to sound good in a trailer, rather than to tell a damn story. All climax and no cattle.

Barbie. Did not like enough to finish. It had slightly more solidity in its execution than I was afraid it would have, so I will give it that. If people want this to be their entertainment I will let them have it. But if they want this to be their high cinema I will have to kill myself. Barbie being on this list reminds me of the midcentury decades of annual movie musical nominations for Best Picture. Sometimes deservingly. Other times, less so. The Music Man is great, but it’s not better than 8 1/2  or The Great Escape, neither of which were nominated in 1963. Musicals tend to appeal to more popular emotions, which ticket-buyers and award-givers tend to like, and critics tend to dislike. I remember how much Pauline Kael and Joan Didion hated The Sound of Music (which won in 1966), and have to ask myself if in twenty years I’ll think of my reaction to Barbie the same way that I think of those reviews: justified, but perhaps beside the point of other merits. Thing is. Say what you want about musicals, but that genre was alive back then. It was vital. Bursting with creativity. For all Kael’s bile, even she acknowledged that The Sound of Music was “well done for what it is.” [1] Contemporary cinema lacks such vitality, and Barbie is laden with symptoms of the malaise. It repeatedly falls back on references to past aesthetic successes (2001: A Space Odyssey, Singin’ in the Rain, etc) in order to have aesthetic heft. It has a car commercial in the middle. It’s about a toy from 60 years ago and politics from 10 years ago. It tries to wring some energy and meaning from all of that but not enough to cover the stench of death. I’d prefer an old musical any day.

American Fiction. Was okay. It tried to be clever about politics, but ended up being clomping about politics. At the end of the day, it just wasn’t any more interesting than any other ‘intellectual has a mid-life crisis’ story, even with the ‘twist’ of it being from a black American perspective. Even with it being somewhat self-aware of this. But it could have been a worse mid-life crisis story. The cinematography was terrible. It was shot like a sitcom. Much of the dialogue was sitcom-y too. I liked the soundtrack, what I could hear of it. The attempts at style and meta (the characters coming to life, the multiple endings) felt underdeveloped. Mostly because they were only used a couple times. In all, it felt like a first draft of a potentially more interesting movie. 

The Zone of Interest.Wanted to like it more than I did. Unfortunately, you get the point within about five minutes. If you’ve seen the promotional image of the people in the garden, backgrounded by the walls of Auschwitz, then you’ve already seen the movie. Which means that all the rest of the movie ends up feeling like pretentious excess instead of moving elaboration. It seemed very aware of itself as an Important Movie and rested on those laurels, cinematically speaking, in a frustrating way. It reminded me of video art. I felt like I had stepped through a black velvet drape into the side room of a gallery, wondering at what point the video started over. And video art has its place, but it is a different medium. Moreover video art at its best, like a movie at its best, takes only the time it needs to say what it needs to say. 

Past Lives. I’m a human being, and I respond to romance. I appreciate the pathos of sweet yearning and missed chances. And I understand how the romance in this movie is a synecdoche for ambivalent feelings about many kinds of life choices, particularly the choice to be an immigrant and choose one culture over another. The immigrant experience framing literalizes the way any choice can make one foreign to a past version of oneself, or the people one used to know, even if in another sense one is still the same person. So, I appreciate the emotional core of what (I believe) this movie was going for, and do think it succeeded in some respects. And yet…I was very irritated by most of its artistic choices. I found the three principal characters bland and therefore difficult to care about, sketched with only basic traits besides things like Striving and Being In Love. Why care who they’d be in another life if they have no personalities in this one? It’s fine to make characters symbols instead of humans if the symbolic tapestry of a movie is interesting and rich, but the symbolic tapestry of this movie was quite simple and straightforward. Not that that last sentence even matters much, since the movie clearly wanted you to feel for the characters as human beings, not just symbols. Visually, the cinematography was dull and diffuse, with composition that was either boring or as subtle as a hammer to the head.

Maestro. Did not like enough to finish. Something strange and wrong about this movie. It attempts to perform aesthetic mimicry with impressive precision—age makeup, accents, period cinematography—but this does not make the movie a better movie. At most it creates spectacle, at worst it creates uncanny valleys. It puts one on the lookout for irregularities, instead of allowing one to disappear into whatever the movie is doing. Something amateurishly pretentious in the execution. And not in the fun, respectable way, like a good student film. (My go-to example for a movie that has an art-school vibe in a pleasant way is The Reflecting Skin). There’s something desperate about it instead. It has the same disease as Oppenheimer, of attempting to do a biopic in a ‘stylish’ way without working on the basics first. Fat Man and Little Boy is a less overtly stylish rendition of the same subject as Oppenheimer, but far more cinematically successful to me, because it understands those basics. I would prefer to see the Fat Man and Little Boy of Leonard Bernstein’s life unless a filmmaker proves that they can do something with style beyond mimicry and flash.

The Holdovers. Did not like enough to finish. It tries to be vintage, but outside of a few moments, it does not succeed either at capturing what was good about the aesthetic it references, or at using the aesthetic in some other interesting way. The cinematography apes the tropes of movies and TV from the story’s time period, but doesn't have interesting composition in its own right. It lacks the solidity that comes from original seeing. (Contrast with something like Planet Terror, in which joyous pastiche complements the original elements.) The acting is badly directed. Too much actorliness is permitted. Much fakeness in general between the acting, writing, and visual language. If a movie with this same premise was made in the UK in the 60’s or 70's it would probably be good. As-is the movie just serves to make me sad that the ability to make such movies is apparently lost and can only be hollowly gestured at. That said, the woman who won best supporting actress did a good job. She was the only one who seemed to be actually acting.

Killers of the Flower Moon. The only possible winner. It is not my favorite of Scorsese’s movies, but compared to the rest of the lineup it wins simply by virtue of being a movie at all. How to define ‘being a movie’? Lots of things I could say that Killers of the Flower Moon has and does would also be superficially true of other movies in this cohort. Things like: it tells a story, with developed characters who drive that story. Or: it uses its medium (visuals, sound) to support its story and its themes. The difference comes down to richness, specificity, control, and a je ne sais quois that is beyond me to describe at the moment. Compare the way Killers of the Flower Moon uses a bygone cinematic style (the silent movie) to the way that Maestro and The Holdovers do. Killers of the Flower Moon uses a newsreel in its opening briefly and specifically. The sequence sets the scene historically, and gives you the necessary background with the added panache of confident cuts and music. It’s useful to the story and it’s satisfying to watch. Basics. But the movie doesn’t limit itself to that, because it’s a good movie. The sequence also sets up ideas that will be continuously developed over the course of the movie.* And here’s the kicker—the movie doesn’t linger on this sequence. You get the idea, and it moves on to even more ideas. Also compare this kind of ideating to American Fiction’s. When I said that American Fiction’s moments of style felt underdeveloped, I was thinking of movies like Killers of the Flower Moon, which weave and evolve their stylistic ideas throughout the entire runtime.

*(Visually, it places the Osage within a historical medium that the audience probably does not associate with Native Americans, or the Osage in particular. Which has a couple of different effects. First, it acts as a continuation of the gushing oil from the previous scene. It’s an interruption. A false promise. Seeming belonging and power, but framed all the while by a foreign culture. Meanwhile potentially from the perspective of that culture, it’s an intrusion on ‘their’ medium. And of course, this promise quickly decays into tragedy and death. The energy of the sequence isn’t just for its own sake—it sets up a contrast. But on a second, meta level it establishes the movie’s complicated relationship to media and storytelling. Newsreels, photos, myths, histories, police interviews, and a radio play all occur over the course of the movie. And there’s the movie Killers of the Flower Moon itself. Other people’s frames are contrasted with Mollie’s narration. There’s a repeated tension between communication as a method of knowing others and a method of controlling them—or the narrative of them—which plays out in both history and personal relationships.)

Or here’s another example: When Mollie and Ernest meet and he drives her home for the first time, we see their conversation via the car’s rearview mirrors. This is a bit of cinematic language that has its origins in mystery and paranoia. You see it in things like Hitchcock or The X-Files or film noir. By framing the scene with this convention, the movie turns what is superficially a romantic meet-cute (to quote a friend) into something bubbling with uneasiness and dread. This is not nostalgia—this is just using visuals to create effects. It doesn’t matter if you’ve seen anything that uses the convention before, although knowing the pedigree might add to your enjoyment. The watchfulness suggested by the mirrors and Ernest’s cut-off face will still add an ominous effect. It works for the same reason it works in those other things. Like the newsreel, it is a specific and concise stylistic choice, and it results in a scene that is doing more than just one thing.

In general, the common thread I noticed as I watched these nominees, was the tendency to have the ‘idea’ of theme or style, and then stop there. It’s not that the movies had nothing in them. There were ideas, there was use of the medium, there was meaning to extract. There were lots of individually good moments. But they tended to feel singular, or repetitive, or tacked on. Meanwhile contemporary viewers are apparently so impressed by the mere existence of theme or style, that being able to identify it in a movie is enough to convince many that the movie is also good at those things. The problem with this tendency—in both artists and audiences—is that theme and style are not actually some extra, remarkable, inherently rarifying property of art. Theme emerges naturally from a story with any kind of coherence or perspective. And style emerges naturally from any kind of artistic attitude. They are as native as script, or narrative, or character. A movie’s theme and style might not be interesting, just like its story or dialogue might not be interesting, but if the movie is at all decent, they should exist. What makes a movie good or bad, then, is how it executes its component parts—including theme and style—in service of the whole. When theme is well-executed it is well-developed. Contemporary movies, unfortunately, seem to have confused ‘well-developed’ with ‘screamingly obvious.’ A theme does not become well-developed by repetition. It becomes well-developed by iterationand integration. Theme is like a melody. Simply repeating a single melody over and over does not result in the song becoming more interesting or entertaining. It becomes tedious. However, if you modify the melody each time you play it, or diverge from the melody and then return to it, that can get exciting. It results in different angles on the same idea, such that the idea becomes more complex over time, instead of simply louder.

Oppenheimer wasprobably the worst offender in this regard. Just repeat your water drops, crescendoing noise, or a line about ‘destroying the world’, and that’s the same as nuance, right? Split scenes into color and black and white and that’s the same as structure, right? That’s the same as actually conveying a difference between objectivity and interiority (or another dichotomy) via the drama or visual composition contained in the scenes, right? When I watched many of these movies, I kept thinking of a behind-the-scenes story from Buffy the Vampire Slayer. The story goes that Joss Whedon was directing Sarah Michelle Gellar in some scene, and when the take was over he told her how great she was, and that he could see right where the music would come in. And Gellar replied that if he was thinking about the music, he clearly wasn’t getting enough from her acting alone. This conversation then supposedly informed Whedon’s approach to “The Body,” a depiction of the immediate aftermath of death that is considered one of the best episodes of television ever made, and which has no non-diegetic music whatsoever. Not to imply that music is necessarily a crutch, or to pretend that “The Body” is lacking in other forms of stylization (it is a very style-ish episode). But more to illustrate the way that it is easy to forget to make the most of all aspects of a medium, particularly the most fundamental ones, once one has gotten used to what a final product is supposed to feel like. 

And that’s why most of these movies don’t feel like movies. They create the gestalt of a movie or a ‘cinematic’ moment—often literally through direct vintage imitation—without a sense of the first principles. Or demonstrating a sense of them, anyway. Who needs AI when the supposedly highest level of human filmmakers are already cannibalistically cargo-culting the medium just fine.

[1] “The Sound of Money (The Sound of Music and The Singing Nun).” The Pauline Kael Reader. (This book contains the full text of the original review, rather than the abbreviated review that I linked earlier.) 

#posts: art #movies #am rusty at blogging and don't have all the virtuous nuance i would like in this but we will go with it

[mamawasatesttube]

Hello, I'm pretty new to the Superboy fandom. Can I ask you this question:

This part on his Wikipedia page caught my attention.

Do you know the instances (issues, panels, lines, etc) where Kon-el expresses that he doesn't want to be considered Superman's sidekick or similar sentiments?

I would really like to understand more about his feelings regarding his role in relation to Superman and his feelings toward the big man himself.

Thank you, and I apologize if any part of my ask sounds rude to you.

hoookay this is probably gonna be a bit of a doozy but i'll try and keep it concise!!!

first of all, rec-wise, you're probably gonna wanna read the entirety of "reign of the supermen" and "the return of superman". which is a lot, i know, but there's so much going on there that it's honestly hard for me to pick and choose any single issue out of it that would make sense as a standalone.

so at first, before clark himself comes back on the scene, we get things like the classic "don't ever call me 'superboy!'" panel as well as things like this:

where it's clear that kon sees himself as superman, the "real" superman. he does also acknowledge that he's young and he needs to learn to be and do better, as when john henry irons tells him he needs to accept responsibility for his showboating causing frank the helicopter pilot's death, so it's not like he's a full-on arrogant jackass about being the best already, but at this point "superman" is his entire identity. he's not shy about the fact that he's a clone, either; he tells lois, and later, everyone in metropolis via tv, that he is a kryptonian clone and obviously not the og superman himself, but he's still insistent that he is superman.

a fun side note here: this is actually before the retcon that kon was a human with a metagene, so he is actually a full clone of superman!

in fact that's part of why lois knows something is up with cyborg superman in the wake of the destruction of coast city. it's not entirely relevant to the question of their relationship except that it IS my favorite interpretation and also i think it adds a particular flavor to kon's relationship to superman as the gold standard he was made to achieve, the model he was made to emulate.

"Superman... the first Superman... didn't let Doomsday trash his town... and I won't let these creeps rip it down!"

superman is his role model in every way. he respects him a lot even in death and wants to be as much like him as he can. at this point kon's definitely a hotheaded and easily-distracted kid, but he's also all of three weeks old, so...

"Ripping free of this trap would be child's play for Superman... but I'm his clone, aren't I?"

so we can see from early on kon definitely ties his sense of self and his sense of self-worth to "how am i measuring up to superman?" that's a recurring theme we'll see with him over and over.

by the end of the fight with hank henshaw, kon has fully accepted that superman's back and is The OG:

"Check that, Blondie. I'm not Superman. That guy's Superman! The one and only!"

after this we get the "actually a human clone with a ttk metagene" retcon and kon's departure for hawaii:

he leaves for two primary reasons: a) to make a name for himself because he wants to be worthy of the superboy/superman mantle and the s-shield, and b) because editorial wanted superboy to be its own separate title. he thinks the world of superman and wants to make him proud, essentially, while also maintaining his independence.

(clark is also around and interacting him during that retcon arc but i'm a little tired and don't wanna go hunt down any more panels right now, so ... that's for another day.)

and then of course there's superboy (1994) #59, where kon actually gets the name kon-el, something incredibly meaningful to both him and clark:

in summary: kon really, really looks up to clark. he wants to be worthy of his trust and often berates himself when he feels like he's not being enough like superman. his strong drive for independence is part of that: he wants to be totally independent and capable on his own, just like superman.

#answers #cresseeau #kon #clark #long post #i hope this answers the question lkjglkejgl i know ''the return of superman'' is such a doozy of a rec but #it really is just a lot going on all at once and i dont think any of it makes sense w/o full context

[thewrongmoon]

El's Possible Queercoding

been meaning to actually documents my findings on this for awhile, so I'm gonna go over some reasons I think its possible that El is gay, specifically just how I think she may be attracted to girls, whether you think that means lesbian, bisexual, pan, etc etc.

El's interest in femininity:

I think to further understand why El has an interest in feminine things, we have to look at how she was raised:

The children in the lab were pretty much stripped of a gender identity entirely. They all had the same haircut and hospital gowns. They all played with the same toys, most of which were puzzle games which have no societally assigned gender. It's worth noting that these short haircuts do have a masculine association (at least in modern western culture) and the kids also pretty much solely interacted with men. Really the only indication of their gender was the pronouns that they used for them.

The concept of different genders acting differently was probably completely foreign to El when she had just escaped the lab. We can see that she tries to strip in front of Mike, Lucas and Dustin and is confused when they all react negatively.

Being surrounded by all this masculinity, seeing someone feminine like Nancy for the first time (or at least the first time in years) is magical to El.

El takes a very quick interest in feminine things. Long hair, pastel colors, dresses...

What sparks more of a queer connotation is her interest in the feminine form. We see her appreciate the ballerina in Nancy's music box, which would very well just be because she thinks the dress is pretty or something, but she also singles out the figure on Mike's trophy.

Obviously I don't mean anything explicit by pointing this out, but as a lesbian I remember having a similar reaction to things like mannequins of women at a young age.

There's definitely a duality of her longing for a childhood where she's able to express her femininity that I don't want to dismiss, though. There's a shot where she stares at Nancy's childhood photos, and it's pretty clear she's wondering what her life would be like if she were raised like a normal girl. That storyline is further explored when she visits the Ives in season 2.

El was also previously not interested in Mike's nerdier hobbies, but when Max shows her comics, specifically ones with female superheroes, El is intrigued. She assumed comics were just about boys at first. We all poke fun at Mike for having a crush on Superman, but maybe we should stop to question if El had a thing for Wonder Woman?

Fashion choices - Mirroring other girls:

A classic quandary for anyone with same-sex attraction. Do I want to be them, or do I want to be with them?

We talk a lot about how Mike tries to wear and do things Eddie does (this was confirmed by the costume department), and how that totally makes it look like he has kind of a crush on him. But what about El?

In season 1 we definitely assume El wants to be Nancy. Her attempts of mirroring her are clumsy and largely influenced by Mike, Dustin and Lucas. After the wig comes off she just gives up, surrendering to her fate of never being "pretty."

In season 2, she wears mostly boys clothes provided by Hopper. The main makeover of this season is done by Kali, who turns El into her mini-me. This time we see El refer to her new look as "bitchin'" rather than "pretty."

Her new look is very punk inspired. Punk subculture has close ties with the LGBT community. As the punk scene is all about questioning/rejecting societal norms, queer people flocked to it.

In season 3, her makeover revolves around Max. While Max tells El to pick something that she likes, El still kind of chooses to resemble Max. In the beginning of s3, her hair looks like this:

But after her trip to the mall with Max, she chooses to part her hair to the right like she does.

They later have both their hair tied up:

Middle parts for both of them:

This is all to say, she mirrors Max's looks, because she likes Max. Not necessarily romantically? And there's also no way to tell if she's doing this consciously. But I feel like there's something in El's brain that just goes "pretty girl = I have to steal her look"

Which brings us to season 4:

Now, there's no makeover scene for her in this one. Disappointing, I know. But she's had a considerable glow up since season 3.

Her hair is now down past her shoulders. Now you may be wondering who her style inspiration is. And the obvious answer is Joyce, because she looks just like her.

But I would actually like to propose an alternative to her hair style inspo:

We can see that Angela pulls up the sides of her hair but still has bangs framing her face, similarly to how El styles hers.

Angela is an awful human being who bullies her, but she's also everything El wants to be: pretty, well dressed, well-liked by the people at school. This is precisely why she chooses her to lie about being friends with. She thinks Angela is cool, so Mike will think El is cool if he sees she's friends with her.

Let's move on to her fashion.

El's style is dependent entirely on layering in this season. But she has one staple in her closet, which we also see in seasons 2 and 3-- flannel.

The wardrobe department head has stated that they specifically wanted it to seem like she was wearing clothes from Will's closet.

Will has always been associated with flannel, wearing it almost exclusively in every season besides season 3. This is interesting because flannel is generally seen as masculine, and gay men are usually stereotyped as more feminine. He does wear those short shorts in s3 though so I guess it balances out idk, this is besides the point, moving on:

Flannels when worn on women are associated closely with lesbians. There is some historical basis here; back when women were first being allowed to wear pants (1940s), lesbians were some of the first to jump on it. Jeans were seen as most normal for women to wear, and flannel was usually paired with it. Flannel was warm, durable and practical. A lot of women in the work force wore it because it held up well. Usually work boots (doc martens in particular) were worn as well, which is why they are also associated with the queer community today (though it was more of a practicality thing than a fashion thing back then.)

From my research, it seems like lesbians wearing flannel became a stereotype in more popular media sometime during the 90s. This doesn't necessarily mean it didn't exist during the 80s, I honestly wish I could find more info on when exactly it became a well-known signifier of lesbians, but alas, I cannot find any good sources. Doesn't change the fact that we as an audience know of it's existence, though.

Wearing flannel definitely makes El stick out from the crowd. It was probably considered really normal in Indiana, where the temperatures are cold, but in California you really have no use for flannel in your wardrobe. The late 80s was also known for it's focus on loud colors and bold prints, which isn't at all like the muted, practical nature of flannel. You would definitely see waaay more men than women wearing it.

So El being seen almost exclusively in more masculine fashions would have probably been one of the points of bullying for her. I think her neurodivergent coding was also a factor, but that's an analysis for another time.

El's bullying: possibly homophobically charged?

So this is the furthest stretch I'm gonna make in this post. But upon noticing how often she wears flannel, I jokingly said in my head, "I wonder if they just saw her constantly wearing flannel and assumed she was a lesbian and that's why they started bullying her." And then I was like oh wait but what if actually that's what it was.

I'm assuming she was probably labeled as a tomboy for just wearing her brother's clothes. But then I began to imagine her interactions with girls like Angela which would have caused their hatred for her.

El has a habit of calling other girls "pretty." One of the first thing she seems to notice about other girls, actually. So imagine that Angela sees this girl in men's clothing, and the first thing El probably does with her is call her pretty. Would it be a stretch to assume Angela may have thought El was hitting on her?

I don't think she was, I honestly don't know if El knows how to hit on someone at all. But the perception of Angela and the school at large could have just been... "Jane is a lesbian."

We see other girls avoiding her. This would be a good reason (not morally, but logically, especially considering the time period) for them to do so.

There's also this line from Angela: (0:09-0:14)

Now, I first noticed this when editing a completely different video. And I had to rewatch this clip like 50 times to see if I was crazy or not (I still might be, lol.) But, does it not sound like Angela is.. saying "boyfriend" in quotes?

So I went back to rewatch Angela entering the roller rink, and her and her friend group seem surprised that she has a boyfriend. Now this could be just because El is unpopular and has no friends (that they know if.) But just like Ted Wheeler saying "our son with a girl?" could just be a dig at Mike being a nerd, other context makes me wanna look closer into this line.

Did they maybe think El only got a boyfriend to mask her "real" sexuality? It's definitely possible.

Paralleling El to other characters who are queer or labeled as so

This is a point I'm going to need to further expand upon on a later date. But in watching movies off the s4 inspo board, I've found a couple where the characters are meant to parallel El:

Let The Right One In-

I have a whole post on this parallel, if you want to read it.

So basically, El is Oskar in this parallel. Oskar is a character who is bullied for 2 things: being fat (this is better shown in the book the movie is based upon) and being possibly gay (this is also shown better in the book.)

Oskar does end up having a romantic relationship with a character who is gender-nonconforming. Not gonna go into that particular character's exact gender bc it's kind of debatable and their backstory is sad, but the character, in their own words, is "not a girl." Oskar himself seems to be bisexual, again, you could maybe debate this, but he is non-straight at the very least.

The character he's in a relationship with, Eli, has also had their gender identity stripped away from them, which could make another interesting parallel to El, character wise.

Welcome To The Dollhouse-

So this parallel is a bit less concrete, but the only one I could draw from it is that, once again, the main character being bullied is referenced in El's own bullying.

The main character of this film, Dawn, is bullied for two things: being "ugly" and being a lesbian. She is not actually a lesbian, but the kids bully her for being one, and girls avoid her. One goes as far to claim she was "making a pass at her" when all Dawn did was have a conversation with her.

Being paralleled to two different characters who were bullied for being gay is definitely a weird coincidence.

El's relationship with Max:

El has pretty unarguably romantic themes with Max.

It could just be the Duffers trying to break free from a trope, but in S4 Max takes up a damsel in distress role while El takes on a hero role, for like, the 4th time, please give this girl a break omg.

We see both Mike and Lucas attempt to save El/Max, but at the end of the season Max and El save each other. You could say this was with the power of platonic love, but there are some lines that really make you question if it could be something more.

Conclusion:

I feel like El being gay is a theory that has some legs to stand on! You could definitely go even further and find a lot of rainbow imagery with her, maybe some other small details. This was just my own findings.

#el hopper #eleven hopper #jane hopper #byler #elmax #long post #analysis #stranger things #eleven

[bigskydreaming]

Speaking of topics I feel are under-explored (he says, as he careens wildly into the blog after a week without speaking of any topics whatsoever) I feel like there’s a LOT that can be done with the juxtaposition of the individual Batfam members’ infamous trust issues & secrecy....and the fact that even when they don’t get along, the Batfam members are so inextricably connected that to reveal one’s identity means basically revealing everyone else’s too.

Obviously ‘giving away the family secret’ is a trope that effects most of the DC franchises that involve secret identities.....its not like Superman can reveal he’s Clark Kent without people drawing the connection to the rest of the Superfam, same with the Flash characters, etc, etc.

BUT.

Combine this with how DC adds Batfam members to basically any franchise they can think of, in an effort to capitalize on the high profile nature of those characters & their connections.....and just how damn MANY Batfam characters there are with secret identities compared to a lot of other franchises, and how between them they span most teams and organizations in the DC universe.....

Few other superhero families have AS MUCH of an issue with this as the Batfam does, basically.

BUT.

Now, for added seasoning, throw in the Batfam-specific factor that MANY OF THEM VERY FAMOUSLY DO NOT GET ALONG FOR EXTENDED PERIODS OF CANON.

And this suddenly becomes a much more intricate situation for the Batfam members. Or at least has the potential to be.

Because like, for the most part? The other superhero families are usually more....on the same page, in most respects. Like if one of the Superfam feels they have to reveal their identity to someone or wants to trust a friend with it, the rest of the Superfam is likely to just nod and go with it.

The same can, uh, very much NOT be said for the Batfam.

So I just think it can be very interesting to delve into how various Batfam characters feel about just HOW intertwined their identities are. Their attitudes towards specific instances where one of their relatives tells someone new who they are, when this family is full of people with GINORMOUS trust issues - and who often don’t even trust each other, at least not with things that potentially make them emotionally vulnerable.

How they feel about their relatives giving away the family secret to someone they don’t know. Situations where Bruce is like umm Dick does your therapist really NEED to know our secret identities and Dick’s like well yes Bruce, on account of therapy is super not useful when you’re LYING to your therapist about most of your life. 

How does Jason (especially in eras where he’s known to be legally alive again) feel about Bruce revealing the family secret to various JLA teammates that Jason would never in a million years willingly trust with his own identity? 

Is Cass ever resentful about being bone-deep CERTAIN she can trust someone with her identity, and wants to, and feeling that she has to factor in how this will affect her various siblings, even if she doesn’t particularly LIKE one of them, like Jason? And vice versa?

Do Dick and Tim feel Bruce is a hypocrite when he just unapologetically announces someone new has been brought in on the secret, as though its a done deal and he never even thought twice about it, when they’ve struggled with WANTING to tell people the family secret only to hold back and watch their relationships with a friend or new connection suffer, because they feel Bruce would never approve of them telling this person?

Does Duke second-guess how strong his ties are to the Batfam as a whole, especially members he’s barely ever had opportunity to interact with, and so worry how they feel about the Family New Guy coming INTO the family secret with a lot of close friends already in on HIS secret identity, and thus affording him a close circle of friends he never even has to struggle with whether or not he has the right to tell them, the way most of the other Batkids have struggled with telling their various friend groups? How DOES Tim feel about the fact that Bruce made him keep his identity secret from even his Young Justice teammates for YEARS while Duke gets his close friends grandfathered into the family secret from day one?

Do any of them ever like, feel that one of the others has told someone new just to spite them in some way? Do any of them ever think that they could get through to one of their enemies who’s trying to turn over a new leaf by showing they trust them....but then hold back because they don’t think its fair to ask the rest of their family to trust said enemy with their identities too? Does Jason ever drop into the middle of one of Dick’s fights just to be like “Okay don’t read anything into this because I’m still currently Not Speaking To You because of Reasons, but uh, what’s this I’m hearing about DAMIAN spilling the family secret to one of his classmates and should we be reading Implications into that?” 

(I strongly headcanon that Jason, even when he’s estranged from various family members, is like, an incurable gossip who’s like NOT THAT I EVEN LIKE THESE PEOPLE but I am INVESTED in knowing the juicy details of their private lives for reasons completely unrelated to things like ‘giving a shit about them.’)

BUT I DIGRESS.

Anyway, I’m just saying like. The conundrum of having a secret identity with HUGE stakes attached to the reveal of said identity....when one is part of a huge, sprawling and highly dysfunctional family where ‘they can’t get along even with a gun to their head’ is a thing that literally happens all the time in canon.

[ourshadowstallerthanoursoul]

Ask-in with a LZ a week - interview to JPJ

(by Ritchie Yorke, NME - April 4, 1970)

What were you doing before Led Zeppelin formed?

Vegetating in studios in London mainly. Jimmy’s also done his share of that. But he got out and went into the Yardbirds. Just before joining the band, I had gotten into arranging and general studio directing, which was better than just sitting and being told what to do. I did a lot of Donovan's stuff. The first thing I did for him was 'Sunshine Superman'. I happened to be on the session and I ended up arranging it. The arranger who was there really didn’t know about anything. I sort of got the rhythm section together and we went from there. 'Mellow Yellow' I did entirely on my own. I was pleased with it; It was different to what was happening in the general session scene.

Were you surprised at the success of LZ?

Yes, I was surprised as to the extent of our success. You see, we’d been doing all this for a long time and, after a while, you can see how a group breaks up and what causes all the ups and downs. You reckon that if you should consciously put together a group that won’t have a lot of stupid troubles; and the basic thing of what people want to listen to; good musicianship; and a certain amount of professionalism; the right promotion — with those things you figure you must stand a good chance. But to what extent, nobody knows. To this extent, its unbelievable!

Do you think your success came because there was a gap in the rock scene after Cream and a perennial need for a hard-hard rock band?

If you think from a pure popologist’s point of view, you could say it was foreseen, inevitable, predictable. There was a gap there and we filled the gap. But there’s a lot of other things which may do it. I think the business did need something different because Cream was going around in circles. They never talked to one another, it seemed. The groups that did have a good sound were successful but they always seemed to have internal troubles; while the groups that did get on never got heard, and somehow you had to get the two together. An amicable group, a good sound and exposure.

LZ seems to be a group which gets on well.

Yeah, especially as we’re all different people. Robert and John have got the Birmingham band thing in common. Nobody had actually worked together before LZ though. We just got together in a 6ft. x 6ft. room and started playing and looked at everybody else and realize what was going to happen.

Who influenced your bass playing?

Not a lot of people because it was only recently that you could even hear the bass on records. So apart from obvious jazz influences — like every good jazz bass player in history; Mingus, Ray Brown, Scott LaFaro… I was into jazz organ for quite a while until I couldn’t stand the musicians any longer and I had to get back to rock'n'roll. I listened to a lot of jazz bass players and that influenced my session playing, and then I cannot tell a lie, the Motown bass players! You just can’t get away from it. Every bass players in every rock group is still doing Motown phrases, whether he wants to admit it or not.

It's a shame that so few artists have credited the Motown bass influence.

Right. Yet it’s been one of the Motown sound’s biggest selling points. I used to know a few names of Motown bass players, but I can’t remember them. Motown was a bass player’s paradise, because they’d actually found a way to record it so that you could hear every note. Their bass players were just unbelievable; some of the Motown records used to end up as sort of concertos for bass guitar.

What do you think of Jack Bruce's playing?

Jack is very good. I’m not too keen on the sound he has, but that’s personal taste. Being a bass player, I obviously have more idea of the sound I like than someone who just listens to records. I like his LP 'Songs For A Tailor' though.

What about Paul McCartney?

Well, I think he’s perfect. He’s always been good. Everything he’s done has always been right, even if he didn’t do too much, it was still just right. He’s improved so much since early Beatles days, and everything is still right. They’re really beautiful, the things he plays.

How about Rick Grech?

I don’t know anything about him.

Bass has really become important in the past two years.

Bass players have really got annoyed and said to engineers “You’ve got to get it through.” Then they went to the people who cut the record, because you can get it on tape and then lose it on record. The cutters start screaming that it won’t play with too much bass and people’s expensive magnetic cartridges will jump up into the air every time you hit a bottom string. I think Cassidy did an awful lot, and he’s still doing so. He designs bass guitars which are utterly unbelievable.

Did you hear Moms Marbley's record of 'Abraham, Martin and John'? It had fantastic bass reproduction.

No, I didn’t hear that. The Motown record that really impressed me was 'I Was Made To Love Her' by Stevie Wonder. When it came out, I just couldn’t believe it.

You must be one of the few people who actually sits down just to hear a bass pattern on a new record.

Bass players are always like that. The first record that really turned me on to bass guitar was 'You Can’t Sit Down' by Phil Upchurch, which had an incredible bass solo and was a good record as well. Very simple musically, but it had an incredible amount in it.

After years of session work, how does it feel to be in a group?

It’s a strain, but it’s a different kind of strain. I much prefer it. In sessions you just vegetate and you reach a certain period where you’re working a helluva lot and that’s it. You can’t do anything musically and it’s horrible. You became a well-used session musician with no imagination. I used to be the only bass player in England that knew anything about the Motown stuff so I used to do all the cover versions. I often used to almost be in tears at the sound they’d get and the way they used to mess up the songs.

The English session scene is rather unique in that. They really only have one man for each instrument, and if you're the man, you get to do every session going.

Right. But it’s not specialised, which is the strangest thing. You can do anything. Every record that’s been made in England you could have been on, if they used your particular instrument — from Petula Clark to visiting Americans. I remember one day — firstly at Decca Studios with the Bachelors; then Little Richard, who’d come over to do a couple of English sessions — and it was bloody awful.

It must have been rough at first, though with people only thinking of LZ as Jimmy Page's band?

Well if Jimmy had been incredibly insecure and really wanted to be a star, he would have picked lesser musicians and gone on the road and done the whole star trip. Everybody in the band recognised that at first having Jimmy’s name was a great help. In fact, it opened a lot of doors, and once you realised that, and because aware that you had a job to do, it worked out all right. I’ve been playing bass for ten years now. I’ve been on the road since I was two years old — my parents were in the business, too… in variety. They had a double act, musical comedy thing. I was in a professional band with Jet Harris and Tony Meehan. That was when I was 17.

What do you think of Robert Plant?

Robert is unique. We’re all unique really, but Robert is really something. I couldn’t imagine any other singer with us. I just couldn’t. Robert is Robert and there’s nothing else to say.

How about John Bonham?

John is the find of the year as far as British drummers are concerned. I can’t remember anyone like him either. It’s obvious why these people have ended up in the same group. We’ve all the right people. If anybody had to leave, the group would have to split up because it wouldn't be LZ anymore. Each of us is irreplaceable in this band.

How about Jimmy?

For years and years, I’ve rated Jimmy. We both come from South London and even then I can remember people saying: “You’ve got to go and listen to Neil Christian and the Crusaders, they’ve got this unbelievable guitarist.” I’d heard of him before I heard of Clapton and Beck. I probably listen to more of Clapton through Jimmy telling me to than any other reason. I’ve always thought Jimmy to be far superior to all of them. It sounds like a mutual admiration society; people don’t believe me when I say this. but I mean it.

Why do you think English bands are beginning to be stronger chartwise, than American bands again?

The Americans have got lazy. They’ve had it their way for so long. As soon as some competition comes along and does well, the not-so-good bands get uptight because they think they’re missing out on all the work. The better bands pull their fingers out and really come up with something great, and they do as well as the best English bands.

Do you think we're in the middle of a second English invasion of the US charts?

I think it can be taken as a criticism of American bands that so many English groups are getting into the US charts. American groups should look at themselves and their music if this is the case, and ask themselves why all these foreigners are going so well when they’re not. And I’m sure if they looked hard enough they’d come up with one reason or another, and they’d be able to get it back together and make it again.

#john paul jones #jonesy #led zeppelin #robert plant #planty #jimmy page #pagey #john bonham #bonzo #60s #70s #70s rock #70s music #rock music #ourshadowstallerthanoursoul

[nouearth]

i'd really like to share some clark/supermanthoughts cause i'm a firm believer that the big blue boyscout is....a bit of a perv. maw's superman especially...all consensual, some roleplaying of dubcon though...

his perverted desires started with him being absolutely addicted to you two having sex while he's in his superman costume, his tight suit and shorts can't hide the massive bulge underneath even when its just you two kissing in it...

perv superman would be into sex that involves you being...helpless in one way or another. (his guilty pleasure.)

holding both of you hands behind your back with just one hand while he stretches you out brutally despite your struggling and begs for him to slow down and let you adjust...he keeps going and opts to ignore your pleads to praise you instead for taking him so well <333

squirming and whining under him in a chokehold as he drives his cock deep inside you, clark absolutely reveling in the way he's overpowering you with absolute ease, drool trailing down his muscular arm due to your mouth.

gagging you with the iconic red underwear that he wears? always, sometimes he even wears it directly on his cock and sweaty balls, for a little something extra when he shoves it in your mouth to quiet you down. (bonus points if you suck on his cock through said underwear, guaranteed to make him cum quick in them.)

there's one thing he enjoys most though-and perhaps the most daring one, a scenario that even you has become addicted to. (and this one, you two re-enact daily with courtesy of your...washing machine.)

clark in his superman suit (pants and underwear he can pull down ver.) takes you flying at night, to some secluded alleyway in the city, the building is abandoned and its just you two there...a routine built up between the two of you.

clark makes a small hole on the wall of the building with his laser eyes and you insert yourself in there, your lower body being the only part sticking out-a diy gloryhole if you will- clark's throat hitches and his cock throbs at the inside of his suit's pants...

you begin calling out to superman for help, squirming your place and exclaiming that you're stuck. "have no fear, i'm here to rescue you, civillian." he says in a low voice, pretending to try and pull you out by placing his big hands on your waist, except he was just obviously dry humping and grinding on you...

"w-wait what are you doing!?" you'd say, "shhhh, just let the hero handle it. " superman exclaims lowly, pulling down both your pants and his...pushing his heavy, leaking cock inside of your tight, quivering hole. whenever this happens, he loses whatever self control he has and goes absolutely crazy in fucking you in his perverted craze, your mind going blank as you beg for the man of steel to dump his cum into you.

and he does, multiple times, cum overflowing from your hole as he pulls out, looking down at the mess you made on the ground as he finally saves you out of your...predicament as he pulls you out, saliva trailing down your mouth.

but you wish to thank superman properly for saving you, so what better way to do that than by sucking and cleaning up his cock covered in cum?

p.s, congrats again on 500 followers and definitely more to cum come with all the great fics you give us! smut or not :DDD (lowkey inspired by servicing justice this ask)

omg, this fantasy, faklfalklakla. perhaps, you're inspiring me........

i think what makes perverted!clark so endearing is because he's so... gentlemanly. he's constantly cautious of how he's perceived to others, so he always does his best to be kind and helpful. whenever he gives into that darker side, it feels like something he shouldn't be doing, something that he shouldn't be having an interest in at all. something that he should repent for. but he's addicted to the way you make him feel. and in a way, it's really his only outlet to really de-stress himself of the day. :(((

i love the concept of being helpless under him, too. to be honest, i'm pretty sure we all have had those thoughts where we just want clark to manhandle us and take us for himself, greedily. because clark is always so selfless and it's rare that he gets to have something of his own, to fulfill his own desires and pleasures when he constantly has the world on his shoulders. :((((

honestly, idc. use me however you want, clark!! you deserve it, big boy!!!

and thank you for the sweet message (and hot fantasy)! i've gathered a great community of pervs under my writing. :D

#ask #anon's fantasies! #maws clark just hits different #did you see him shirtless #like #LORD #I WANT HIM

[bi-bats]

Imagine that due to Things and Circumstances DC has handed you the power to make 3 things canon for the rest of time and comics writers afterwards will have to actually abide by them!

What would you pick?

Okay after thinking long and hard about this, I have come to my conclusion. Also this is SUCH a good ask holy shit thankyousomuch this was SO fun to think about:

1. Jason cannot compromise his morals or stance on killing or guns.

Reasoning: the writers are using this to get Jason back in the batfam and I hate it. The WHOLE POINT IS THAT BRUCE CARES MORE ABOUT HIS MORALS THAN HIS SON AND I HATE THAT THEY'RE MAKING JASON COMPROMISE SO THAT HE CAN RECEIVE BRUCE'S LOVE. IT'S A BAD MESSAGE. THE POINT IS THAT BRUCE IS CHOOSING HIS MISSION OVER HIS SON AND THAT SUCKS, AND I FUCKING HATE WATCHING WRITERS BE LIKE "WELL HE'S RIGHT SO JASON SHOULD REALIZE THAT SO HE CAN BE A PART OF THE FAMILY AGAIN" LIKE NO THE OTHER POINT IS THAT THEY'RE BOTH RIGHT! THAT'S WHY ITS SO HARD. BRUCE IS RIGHT THAT ONE PERSON SHOULD NOT GET TO BE JUDGE JURY AND EXECUTIONER AND JASON IS RIGHT THAT THE PEOPLE WHOSE LIVES THEY'RE SAVING ARE USING THAT LIFE TO CAUSE MORE HARM ITS. ITS THE POINT. Its the point. And the fact that they're throwing out these two important conversations (bruce allowing his morals to define his love for Jason, which would be an incredible thing for him to work through, and the really legitimate conversation about how there is no right way to do what they're trying to do) because they want Bruce and Jason to hug is SUCH a disservice to BOTH of their characters. Woof sorry I went off about that one

2. They need to age all the young justice characters to college age and they aren't allowed to go back.

Reasoning: What the fuck is even going on with DC rn? The last comics I was reading, Tim was like 18ish, Kon was reading as like. 16 in one issue and early twenties in the other, and Bart was reading like a 17 year old. They're writing Jon as older than both Kon and Bart right now and I just. What the fuck is even going on? I know he was aged up but like. Theyre writing Damian as like 15/16 and Tim is BARELY reading as older than him rn. Meanwhile, they basically have Dick running the Titans like the Justice League. Wally has kids who are heroes.

Young justice should be in their early twenties. College aged kids. It's really frustrating watching them not age up at all while they age up every other generation. Age those kids up and let your teenage characters be Damian’s generation.

3. Batman should not be allowed to show up in more than 18 comics per year if he is not part of that team. (This isn't technically a canon decision, but it is a rule I would impose)

Reasoning: JL, Nightwing, Detective Comics, Batman (obviously), World's Finest - all of those or fine. But shit like the Flash?? WHY ARE YOU HERE? GO HOME!!!

That said, I'm okay with it if like there's a 6 issue arc of the Superman where he's operating in Gotham. That's fine. That makes sense. And those would come out monthly, so they'd be able to do a comic with him once a month for 6 months of the year and twice a month for 6 months. But they need limits on how often they're allowed to have him show up where he doesn't belong because without it they're just dropping him in everything!! I was SHOCKED he wasn't somehow a part of one minute war!! And like, I love the guy but get the hell out of my flash comics okay you DON'T need to be here. Bye boy

Anyways thank you SO MUCH FOR THE ASK THIS WAS SO FUN ILY 💚💚

#🔥🕳 hellispeacefullandempty #<- you get a bestie tag!!! #batsasks #bibatrambles

[krunktrunk]

it's late but I need to get this out

IDEAL COMING OUT SCENE FOR MIKE (FOR ME PERSONALLY, IDC IF ITS THE FIRST TIME HE COMES OUT I JUST WOULD LOVE FOR THIS TO HAPPEN) (not the best writing it's just kind of a basic what I want to happen)

Mike's said something wrong again, he and Will had a fight, or he fully realized something and basically broke down. he runs away, in the middle of the literal end of the world, and everyone freaks out about where he is. Nancy goes out to find him (or multiple but she goes out) and goes to the junkyard.

she finds Mike there, either sitting in a old bus or the backseat of a rundown car, he's crying and curled himself up, as much as his limbs can. she's angry at him for running away and she's ready to yell at him but seeing him in this state makes her soften, she quietly sits down beside him and looks straight ahead.

Mike looks at her, but doesn't say anything. "why did you leave?" she asks, he just sniffles and shrugs. "come on Mike, talk to me" he uncurls himself slightly. "there's something wrong with me" Nancy is confused, of course she is. "what do you mean?" "why couldn't I just love her?" he says it more to himself, Nancy starts to understand. this is about eleven. "you're only young, the one for you will come eventually, it's not weird to not be in love at this age" she thinks she's helping, but Mike cries more. "that's the issue, I have met the one, i met them a long time ago,but I can't ever be with them" she looks interested, maybe picking up on the non-gender specific pronoun. "why?" Mike curls himself up more. "because it's wrong"

it finally clicks. Nancy sinks back into the seat, staying quiet for a moment. the only noise is Mike's sobs, but the camera is focused on Nancy as her face scrunches, confusion and slight sadness. her face lightens up just slightly, a smile forming as she starts to speak.

"do you remember the first time you watched superman?" Mike looks up, confused, but his sobs stop slightly. "because I do.. you were obsessed, like so much that we had to buy the DVD because we were spending so much money hiring it" she's laughing, but Mike just looks confused. "could you tell me about this person.. the one that is the one for you?" and Mike does, he says features about Will, and Nancy's gathered by this point who Mike likes, she already kind of figured. "why did you bring up superman?" it was a weird comment afterall, but Nancy laughs and explains.

"you were so obsessed, with superman, didn't care much for when he was Clark Kent.. but then you met Will" Mike freezes a little, but Nancy continues. "and instead of dragging me to watch the movies with you, you dragged him.. and he liked him as Clark Kent, so you did too.. even though you always had a thing for super powers" Mike 100% has a thing for a super powers so I don't think it would be unusual for him to have a crush on superman as he compared El to him lmao.

they keep talking, and Nancy talks more about his obsession with superman, and Clark Kent, but it turns more and more into Will, just without saying the name. like will using Els name to speak about his emotions.

"because.. everyone taught you to like superman, he was the better cooler version, he was who everyone liked.. but you liked Clark Kent, and there's nothing wrong with liking Clark Kent, even if everyone else likes superman" Mike nods, the scene slightly reminiscent of Wills coming out to Jonathan, not actually saying it but implying it, Nancy just doing it a bit more obviously.

I then feel like at the end of it she would say something like, "are you going to talk to Will?" to really show that she understands, and Mike will say yes, and they will hug and they will say how much they love and care for eachother because they are siblings and yeah.

that was long lol. I will forever spread my Mike has a crush on superman propaganda

#byler #stranger things #byler endgame #lgbtq #sobbing #fuck it we balling #mike wheeler #please #will byers #nancy wheeler #coming out #i love them

[flurglhinge]

Rachel sticks her head in Debbie's office door and waves a tablet at her.

"Did you see this?"

"Ms Luthor's new urgent project?"

"Yeah, what do you think of it?"

Debbie leans back in her chair and looks at Rachel, who is reading the email again, frowning at it like it's written in a language she's not quite proficient in.

"Shouldn't be too difficult. Your basic Seasonal Affective Disorder lamp, isn't it?"

"Yeah, no, but we already had a SAD lamp in development that we shelved because there wasn't a market for Luthor-branded consumer medical equipment. You know, because of," Rachel gestures vaguely in the way that L-Corp employees tend to when alluding to the time Lex Luthor lost his god-damned mind, built a super-suit and tried to kill Superman.

Debbie makes a face that's halfway between 'listening to a racist uncle at Christmas' and 'there's a screaming lunatic in the parking lot and he's standing next to my car'. "Yeah, sure."

"And anyway SAD lamps are supposed to simulate bright sunshine. Like, bright sunshine. These required outputs-- I don't know? I looked them up and it's like, red."

"Maybe there's a mistake?"

"No, the brief says to have a really specific range of wavelengths in a certain ratio. And it's straight from Ms Luthor. So, you know."

Debbie nods and leans further back in her chair, folding her arms and sighing. "Okay, sure. Let me take a closer look at it. Hopefully we can just dust the old prototype off and tweak some settings."

"But what is it for? This doesn't even say if its consumer-grade or medical or what."

"I'll take another look at it," Debbie says before Rachel spins up into a full panic. Rachel is an excellent project manager but she tends to get twitchy about anything unusual, a tendency only exacerbated by her realisation, after the fact, that she'd been managing development of the (frankly revolutionary) impact-absorbing materials that had allowed Lex's suit to take a punch from Superman without turning into a highly inefficient sausage maker.

Debbie is baffled by the project specs. They're pretty straightforward, but utterly ludicrous. It's not a proper SAD lamp at all. If anything, it's the exact opposite of one. It mustn't put out half of the wavelengths of light that are generally considered to be beneficial. The spectra it must be active in are largely out of the human visual spectrum. She stalls for time, researching any practical applications but the entire thing seems pointless. It's not for growing plants indoors, or incubating eggs, or lighting darkrooms, or anything. It's technically achievable, but ridiculously over-engineered for any practical application.

She's trawling through the old Luthor Corp whitepaper database when she stumbles across a design for a 'sunlamp' supposedly meant to allow crops to be grown out of doors during the winter. Which is Joker-shit on the face of it, leaving aside the fact that they draw enough power to run a small town and appear designed to withstand a simultaneous hurricane, earthquake, and strategic bombing campaign. But the lamps are designed to emit a very similar set of wavelengths to her stupid, obviously-not-a-SAD lamp. That, together with being a nonsense Lex Luthor project from a certain point in the company's less than glorious recent history, means the 'sunlamp' is some kind of anti-Superman weapon.

Debbie freezes at her desk. Is Ms Luthor going Lex? Should Debbie be calling the supervillainy hotline? But her project is for a lamp that can run off domestic current. Is Ms Luthor just more willing to sacrifice spectacle for efficiency? But Ms Luthor is quite publicly friendly with Supergirl. Supergirl has saved her life a bunch of times. And the whole L-Corp rebranding was the most minor of the changes she'd made to the company.

[Scene where one of them works out What The Lamp Is For.]

"Okay, so, remember that really creepy article that guy wrote a couple of years ago about Superman's sex life?"

"What? No."

"Ugh, lucky. It was the one where he was speculating about the speed of Superman's ejaculate and its effect on a human-"

"Yes, oh god, I'd managed to repress that, fuck you very much for reminding me."

"Well, sorry, but I think it might be relevant."

"I think I'm going to be sick."

"Buck up buttercup,

[Meeting with Lena, Supergirl drops in, Lena introduces them as 'the ones working on the project' :significant eyebrows: Supergirl gets very flustered but also pleased. Kara discovers that Super Blushing is actually a thing, R just about chews through her tongue because it is definitely an HR violation to high-five the CEO about her sex life, D is trying to astrally project herself to the moon, Lena is The Smuggest Person Who Has Ever Lived - like a cat that has just bought a dairy farm with an attached canary aviary]

#wip #supergirl fanfiction #no but seriously who makes all this stuff

[mutable-manifestation]

The Ghost King (of Miscommunication) Ch. 20

Part 1-12,Part 13,Part 14,Part 15, Part 16, Part 17, Part 18, Part 19

Part 20!

Info:

DC timeline is fucked, I’m going with the “Batman know most ids but hasn’t revealed himself yet” and a use of the ol’ canon “Brucie Wayne is That Famous(™)" and known as being a serial adopter.

As for how Deadman knows things: Rama pulled a favor with clockwork to let Deadman mature as a ghost/learn about important zone information & culture before yeeting him back to the living world with no time lost bc balance reasons.

He doesn’t know everything about the zone - he’d be garbage at finding his way around and he doesn’t really know anybody - but he knows customs and he knows about halfas bc all info about the Ghost King was High Priority Know This Or Don’t At Your Own Risk (the risk is that will turn u into a . He basically spent a subjective decade practicing his powers or reading books on ‘how to ghost’ next to Rama. He never has to go back to the realm to ‘recharge’ because Rama just kinda beams him what he needs to keep going.

***

“Well,” Constantine starts as he - ‘Finally,’ Bruce thinks - steps up to the table, evidently finished examining the scene, “I can tell you why we couldn’t find shit wrong in Gotham.”

“Elaborate,” Bru- Batman - he has to be Batman, now, has to be calm and think if he wants to get Jason back - demands.

“Don’t get your cape in a twist, Dadman, I’m getting there.” Constantine rolls his eyes, taking a seat.

“There’s a reason I don’t visit Gotham if I can help it - other than its stellar reputation and your renowned hospitality to outsiders.”

His amused snort very quickly transitions to a grimace.

“Gotham’s got the magical equivalent of background radiation. Real uncomfortable stuff. Feels like walking in the world’s biggest graveyard. And that-” he jabs a thumb over his shoulder “-feels just like it.”

“You’re saying he’s being kept somewhere in Gotham?” Red Robin perks up, voice hopeful and doubtful at once.

“No,” Constantine shoots down. “I’m saying whatever little fairy theory the kid had going was wrong, the fae haven’t lived in hell for centuries now. Even if it were them, pocket dimensions don’t actually work like that.”

“Wherever that portal led to reeks of death-” the Gotham heroes all tense at this, the others shooting them tentative looks of concern as Constantine steamrolls on “-and Gotham is exactly enough of a cesspit to have covered up the stink of it before. If it weren't for him being treated relatively well there, I woulda guessed he’d been dragged to hell. Dunno much about heaven - obviously - but I’ve never heard of them having escapees.”

“Obviously not,” Robin snaps, standing. “Red Hood is not dead, he was just here. We were able to see and interact with him, without any need for your tricks. Now can you tell us what it is, or do you just intend to sit there and list off all of the things that it is not?”

Beside him, a brace of batarangs appears in Black Bat’s hand, fanned out threateningly.

“Black Bat, Robin, that’s enough.” Batman commands, voice leaving no room for argument.

“He didn’t have a pulse.”

All eyes snap to Oracle, whose voice is only barely heard thanks to the silence following Batman’s words.

“That doesn’t mean anything!” Red Robin insists. “Superman and Martian Manhunter don’t always have a detectable pulse! We already know Hood is…different now. But that doesn’t mean he’s dead! Some kind of magic or advanced tech could’ve-”

“You think I don’t know that?” Oracle demands softly. “I don’t want him to be dead either, but lying to ourselves will just make things harder. We need to know the truth if we’re going to get him back, whether we like that truth or not.”

Constantine allows a few seconds of somber silence before opening his mouth to break it, but is cut off by the door slamming open.

“I’m here,” Shazam says, rushing to his seat, “What’s going on?”

“One second,” Constantine interjects, “Deadman is here too. Let me just….”

Deadman pops into visibility over the table.

In lieu of re-explaining, they play back the relevant recordings - Batman had started them the moment he sat down, just in case.

There were only perhaps 15 minutes of relevant video, including the explanation, the re-kidnapping, and what little Constantine had told them - they’d spent much of the time Jason had been present getting details, brainstorming potential counter-strategies, and just generally killing time in the hopes that the clock would run out and everything would be fine.

“And that’s everything we have so far,” Batman says as he pauses the video - no need to replay the argument. “Thoughts?”

“Well, Conny’s right that they ain’t fairies. You’re not gonna like the answer, though.” Deadman starts, ignoring Constantine’s glare.

“If you have answers we want to hear them, whether we like them or not.” Batman insists, trying to reign in the fragile hope trying to bloom in his chest in favor of bracing himself.

“That portal led to the Infinite Realms - more commonly called ‘The Ghost Zone.’ As the name implies, it’s infinite and - whaddaya know - full of the dead.”

“Then Red Hood is…what? In heaven? Limbo?” Batman’s mind races; was it even possible to steal him back? Had they just…been allowed a final goodbye?

“Nah,” Deadman says, breaking him out of his thoughts.

“Heaven, Hell, Purgatory - those places might be all Constantine has interacted with, but you gotta remember that I talk to Rama. Avatar of Vishnu? Yeah. The afterlife is a lot more complicated than most people think; fact of the matter is, all the afterlives people have believed in over the ages exist, and they all sit neatly in their own little slices of the Realms.”

Deadman floats to sit cross-legged at the head of the table.

“The only reason portals to hell and other locations in the Realms look different is because the local deity and/or devil makes them so, but much of the Zone is ungoverned by any specific deities or devils, so if you just open a portal to a random location, odds are it’s gonna be the green swirly.”

“So he is dead,” Signal concludes mournfully.

“Not necessarily. Kid said he got pulled through a portal to some kind of medical center, right? And his body was completely normal until one day he woke up looking different. And you lot didn’t find a body anywhere?”

“No,” Batman answered, “All we could find was the residue from the portal.”

“Well, if he’d up and died he shoulda left a body behind; it woulda been dumped back out by now - somewhere obvious, too, ghosts are big on proper burials. So unless someone managed to vaporize him, odds are he’s not fully dead, but he’s definitely at least a little dead.”

Robin scoffs, “‘A little dead.’ Do you hear yourself? Either he is dead or he is alive, there is no in between for that kind of thing.”

Deadman merely snorts.

“Says the liminal.”

Robin frowns.

“Liminal?” Robin, Batman, and Constantine all chorus.

“I thought that was just Gotham being possessive,” Constantine continues with a raised brow, turning an appraising eye on the batfamily.

“No,” Deadman answers, “All of you bats and birds are liminal - some more than others. Just a little changed, just a little touched by death. With any luck, the missing kid’s case is just a bit more severe. But we can talk more about that later. Back to the kid.”

And they will get to it later. Jason is their priority now, but if something is going on with his kids Bruce intends to know about it.

Deadman pauses to take an unneeded breath.

“I’m gonna be real with you - and Batman, don’t freak out - but it sounds to me like he’s been ghost adopted.”

A beat.

“Excuse me?”

Deadman waits for the litany of ‘what the hell’s and ‘ghost adopted???’s and ‘he already has a family!’s to die down.

The non-Gotham members of the League remain quietly confused - hoping this means things can be resolved peacefully while privately wondering if the bats and birds really would turn out to be some kind of self-unaware cryptids.

“Okay. Ghosts form when enough ectoplasm and ectoenergy - which you can think of as basically the carbon and electricity of the Zone, I guess, at least in this context - are present at the death of a being experiencing strong emotions. In the absence of that perfect mixture, a shade - just a soul with no real power - is formed, only able to become a proper ghost and form a core if brought to the Infinite Realms-”

“A core?” Batman asks.

“Ghost brains, basically. Anyway, ghosts can also form if there’s enough ectoplasm and energy in one place, either from the zone itself - known as neverborns - or from strong enough ghosts intentionally forming them - known as naturalborns. Now, ghost families don’t work the same as living families do. Ghost families form from a sort of ‘dibs’ system-”

“Dibs?” comes Flash’s incredulous voice.

“I’m gettin’ there,” Deadman sighed at the second interruption. “As I was sayin’. Regardless’a how, once a core is formed the new ghost is considered a baby ghost. It isn’t really a one-and-done process. Sure, once you’ve got a core you’ve got a ghost now, but not a mature one. Cores have to grow until they reach a stable size and energy level - usually marked by natural power acquisition settling down and ectoplasm fluctuations stabilizing. How long it takes depends on the quality and quantity of ectoplasm and ectoenergy available - the shortest known time was just under 5 years, longest was a few hundred, I think? Average is a decade or two.

This is relevant,” Deadman emphasizes for those who are visibly growing impatient, “For two reasons.”

“Firstly,” he holds up a finger, “The ecto a ghost takes in while maturing has an impact on how it develops, the powers it ends up with naturally. Everything in the zone is made of ectoplasm, and ghosts both take it in and echo out the excess - like plants, kinda. Maybe.

So if a baby ghost is around, say, a fire ghost a lot of the time it’ll probably end up with fire powers of its own. Assuming it was early enough and their core wasn’t already leaning towards ice or something. A stronger ghost parent also means faster growth.

Now, the Infinite Realms are infinite. People can’t always find each other, some people die at different times, some people return to the cycle before their loved ones die, some are neverborns, etc. Most sapient beings want friends and family, it’s just how it goes. So ghosts sometimes just kinda. Dibs each other.

Multiple dibs’ are pretty abnormal; baby ghosts aren’t actual babies in the human sense of the word. They don’t just pick a parent and stay there all the time while they’re waiting to mature. There’s generally that first few week-to-month period where they’ll stay put with whoever dibses them first for safety until the basics settle in, but after that? Ghosts explore, and dibs occur, and lots of newbies end up with something like a dozen parents and however many siblings-in-dibs.

Secondly,” another finger joins the first in a peace sign, “And what I suspect - and hope - is that while souls can fail to form cores and become shades, the opposite is also possible; a living being can become liminal enough to form a core. Making dibsing pretty much inevitable - no decent ghost is going to leave a baby seemingly stranded in the living world to starve into nonexistence. Gotham might have enough polluting the place, but it’s pretty much all rancid so that would’ve made them even more eager to get the kid outta there.”

“So what you’re saying,” Red Robin drawls, “Is that he’s dead-but-not-really and is only missing because a dead-for-sure person took one look at him, went ‘that’s baby,’ and pulled a Bruce Wayne?”

“Pretty much.”

“Even if it wasn’t intended to be malicious it’s still a kidnapping,” Batman says.

“Well, Wulf did offer to let the kid bring guests back with him-”

“What!?” Everyone choruses.

“Yeah, though given the whole fae-kidnapping assumption I think the kid took it as a threat, but he asked the kid how many of you he wanted to bring as guests. He said none, so Wulf said do not pass go, do not collect two-hundred dollars." Deadman said casually, as if that wasn't a heartbreaking bombshell to drop.

"Anyway, point is, if this really is just one big misunderstanding then you can go talk it out. Ghostspeak isn’t really living-friendly and the living language he did know clearly didn’t help. Lucky you, I can translate. And the Realms are a human-safe environment. Well, the air is breathable at least.”

"Human-safe my ass," Constantine spits. "If the demons I deal with dwell in one little slice I don't even wanna think about the kind of nightmares strolling around the rest of the place."

"We're not leaving Red Hood in there."

The Gotham heroes' words leave no room for argument.

They get down to planning.

***

Fun Fact:

Ghosts do change their names because of the whole ‘holds power’ thing - not in a mind control way, but in an emotional way. If someone can dig up how you died they’re probably gonna say something insensitive. Case in point: people on ghost shows being like “hey *ghost name* we heard *insert horrible thing here* happened to you. Is that true?” Rude. You’re a complete stranger.

Anyway here’re the ghost names.

The trio had been dating for over a year when Sam & Tucker died and it was a very stable relationship. They’d been planning out their future together by that point, down to details like where to live so all of their work would overlap, how to manage Danny’s lack of aging (aka moving frequency), etc. When they brought up thinking of ghost names Danny - distracted - immediately just said, “Well you could just go by Phantom now since you will be in another year or two anyway.” He’s incredibly embarrassed when he realizes what he’s just said, but they’re all happy and engaged by the end of the day. (They tease him mercilessly about that being the world's smoothest yet most clueless proposal ever for the next 10 years)

Jazz & Spike Spook were already mentioned in canon with their sense of humor being explained (you’d think the joke would get old after 40 years, it hasn’t. Not when Danny still pouts when he hears Spike’s full name)

Jack was really excited to help fight ghosts as a ghost to protect Danny (he’s really proud of his baby boy growing up and becoming a king via fighting ghosts). He dies before Maddie and calls himself Jack Specter “after the specter deflector, because I be deflecting [your enemies implied here]” (Danny had to go lie down after hearing this sentence [Jazz’s sense of humor came from somewhere and that somewhere is Jack Fenton. Jack Fenton’s knowledge of ‘hip phrases’ comes from Jazz and Jazz’s sense of humor, also known as brother-torture or simply ‘betrayal’ as Danny claims]). Maddie likes that it fits the family name theme and calls back to one of their inventions (& wants to match her husband).

Dani stay a Phantom, ofc, and is formally ghost-adopted by Danny after he tells his parents everything (his parents formally human-adopt her so she has a stable human-world home if she want it, but she calls them Gran and Gramps as a joke that becomes sincere over time)

Wes goes by Wes Wraith because it’s close to wrath and he is fully and consistently angry about fenton=phantom and also a slight edgelord.

Ida Mason is also a ghost. She simply goes by ‘Wilda’ now (pronounced like wild-uh) and looks shockingly like Ember if she was an adult. And her hair wasn’t made of fire. And also went more pink than blue. So barely like Ember at all lol. She died in the middle of trying to finish knitting a scarf and now her obsession is knitting. She knitted a moped. She knitted a house. Home girl knitted herself an entire island and has not stopped.

The Manson parents have a little door-realm connected to their house in the living realm (like Poindexter with the school) and spend their time pretending everything is normal (like how Poindexter was stuck in the bullying loop but just. Reading the same newspaper/remaking the same dress, watching the same shows/etc).

The Foley parents were perhaps the most normal people on the show. 

When Sam and Tucker died, the only ones who knew what happened were them and Danny - even Jazz didn’t get an explanation until she & the Fenton parents followed them into the ghost zone to find out what was going on - so the police were left to draw their own conclusions.

The GIW had already proven themselves to be reprehensible and overly willing to step on anyone who got in their way. The tech the police found was a collab between Dalv Co & the GIW and with Vlad’s disappearance and the GIW’s emotionless denial no one ever gets prosecuted for Sam & Tucker’s deaths (Vlad has a warrant out for him & the Mansons try to drag the GIW to court but it never goes anywhere). 

The Foleys switch job tracks to take down the GIW/the Anti-Ecto Acts/any other asshole ghost hunters they can find. The Fentons are only exempt because they tell them what happened, explain how their stance on ghosts changed when they found out about Danny, and help the Foleys on their journey.

As ghosts Angela is obsessed with Justice & takes the name Justitia and Maurice is obsessed with ethics (bc if the GIW had any they wouldn’t have made weapons like that in the first place. Literal animals had more rights than ghosts at the point despite them being provably sapient) & takes the name Ethos. (They keep Foley as their last names tho). Yes, Danny does royal-decree them into being Walker’s oversight. Pretty much everyone is a fan of that. Except for the observants, who complain about everything but especially about how much Ethos & Justitia argue with them (what is the ‘greater good’ does not often match up with what is right. Especially when their idea of greater good is ‘eliminate problem via murder or core-crushing before it can become one’ instead of literally anything else).

@mayoota-blog1 @kyrianclawraith, @do3y, @someonebored0100 @omegasmileyface

#dpxdc #Batfam #Justice League #Deadman #John Constantine #poor batfam running the emotional rollercoaster of is he-isn't he #(dead)

[anti-katsuki-lounge]

I actually am trying to remember is you answered this already. But do you have any characters that are essentially “Bakugou but done better”?

I have but it’s been so far back that I can’t even find it 😭. Seriously, why does Tumblr’s search system when searching for stuff in your own blog suck so much?

So Katsuki’s archetype is basically smug prick who learns to be a better person. These characters have similar arcs to Katsuki, but are obviously done way better:

- Superboy/Kon-el/Conner Kent (DC Comics): Easily the best example of this trope, and I’m not saying that cause he’s my favorite character of all time. Going from a smug kid who thought he deserved to be called Superman to someone who carved his own legacy and became a hero who inspired many. His story’s a very powerful one that I love. If you haven’t followed Superboy’s journey in the comics, seriously consider doing so. I can’t express how much I adore this character.

- Teddy Jin (Weak Hero): Another fantastic example. His change doesn’t feel forced, he faces consequences for his actions, and even learns that there’s more to life than what he initially thought. If you haven’t read Weak Hero, I’d really recommend doing so. It starts slow, but once it picks up its pace, it’s a great read, especially if you were a former/current bully victim.

- Ryu (The Boxer): Easily one of the best characters who follows the same archetype as Katsuki. As a character, nearly the exact same as Katsuki, where he’s gifted and as such, bullies those who are weaker. He gets a much needed reality check right off the bat, he faces consequences for his actions, is humbled, and even delivers a heartfelt apology to his former victim by only using the two words “I’m sorry”. For him though, it works because you can see that he’s actually sorry and the apology had some fantastic buildup to it. If you haven’t read The Boxer, please do. It’s a fantastically written WEBTOON with a lot of heart and you really grow attached and invested in the characters that show up in the story.

- Tony Stark/Iron Man (MCU): Goes from doing whatever he wants to realizing that his actions have consequences, so he does his best to be a better person.

- Dr. Strange (MCU): Learns what it’s like to suffer, ends up being more grateful for the things in his life, and learns that you can’t control everything.

I also wanna give a mention to Wolf Keum from Weak Hero. Though I wouldn’t say he’s from the same archetype as Katsuki, they do share similar traits. Both are unapologetic assholes who love fighting. However, where Wolf succeeds and Katsuki fails is that the narrative agrees that Wolf is an unapologetic asshole whereas MHA constantly forces the idea that there’s some good in Katsuki. Except for a fight against the MC, Wolf’s fights are against other assholes, and as such, it’s really fun to watch him be the adrenaline crazy fuck that he is without the narrative trying to tell us that he’s good. He’s one of those characters where he’s clearly bad, but who gives a fuck? In MHA, the narrative wants us to think there’s some good in Katsuki and that he’s going to redeem himself, but when he does shit like bully Izuku or brutally beat his classmates, it doesn’t come off as charming or endearing. It’s just outright vile.

#anti katsuki bakugou #anti bakugo katsuki #anti bakugo #anti bakugou #mha critical #conner kent #kon el superboy #wolf keum #weak hero manhwa #the boxer #ryu baeksan #the boxer manhwa #tony stark #mcu #dr strange