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inbarfink · 10 months

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So when discussing the ending of ‘Over the Garden Wall’ and the nature of the Unknown in general, I think it is important to remember that it’s left deliberately up for interpretation. You know, it’s not a Quiz with one concrete answer we must uncover, but it’s more about our interpretations and personal feelings. Each and every one of us experiences that journey with Wirt and Greg into the Unknown in a slightly different way.

So what I want to do here is not present a Correct Interpretation that will dispute all the others and prove them all wrong and prove myself right, I just want to share my own outlook on the nature of the Unknown. In the hopes that others will like it and it’ll inspire more cool readings and interpretations

So on some level I do agree with the popular theory that the Unknown is some sort of Afterlife - but I don’t see it as a regular Afterlife for human souls, I think it is an afterlife for Stories. This place is where fictional characters and stories end up once they’ve been totally forgotten by the living, ‘lost in the clouded annals of history’. and become.... unknown It is quite literally a place where ‘long forgotten stories are revealed to those who travel through the wood’.

That’s why the Unknown is a mishmash of different time periods and primarily visually and narratively influenced by stuff like fairy tales, ghost stories, children’s books and old cartoons - these stories have a high-tendency to be forgotten and thus get lost in the Unknown (whatever it’s because they rely on oral traditions or because they suffered from very poor preservation historically).

And that is what the theme song, ‘Into the Unknown’ is talking about…

Where can we pretend that dreams do come true? In Stories.

And what are ‘the loveliest lies of all’? Now that would be Fiction.

The entire concept of stories is a huge theme of this song, I think.

Beatrice and her family, Adelaide of the Pasture, Auntie Whispers and Lorna were all originally fairy tales. Maybe the same fairy tale, or maybe they were originally separated before being ‘melded’ together. (If, for example, the last child to Remember them before they were forgotten just assumed the Bad Witch in both the Auntie Whispers and Beatrice stories was Adelaide)

Pottsfield was an old urban legend about a haunted ghost town, Wirt and Greg basically played through its ‘plot’ directly.

Miss Langtree, the schoolhouse and the other associated characters come from a long-forgotten and out-of-print children’s book. That’s why those characters tend to talk in comically-stilted expository dialogue.

The Tavern was the setting for a series of 20’s animated cartoons. (Although obviously set long before that era). The Tavern Keeper was created as a Betty Boop clone and was the main character. The Tavern setting was probably a mere framing device for all sort of musical animations. The reason why none of them can comprehend the idea of not having some sort of Title or Label is because that’s how they were written - all given job-related titles but not named.

Fred the Talking Horse was a main character from a forgotten tradition of humorous oral stories where he was sometimes a trickstery anti-hero and sometimes a straight-up comedic villain protagonist.

Quincy Endicott and Margueritte Grey were characters from a satiric limerick about the greedy rich and their wacky habits. (Quincy was at least inspired by a real-life person since his name appears on a tombstone in the real world)

Possibly the same limerick where the punchline was the status-quo at the beginning of their OTGW ep, that both rivals’ mansions have become connected and they assume the other is a ghost haunting their house. Or maybe they were each from different regional variations of the same limerick about a greedy rich weirdo being lost in their own house and going mad.

Frogland and their little boat might be from a children’s book as well, but I also think that maybe… from the vignettes shown at the opening of the series…

That one might take place outside the Unknown, and shows the real inception of Frogland. Two brothers making up stories with their toy boat by the river. Since they never shared these stories with anyone else, when these two brothers died or maybe just grew up and forgot their boyhood misadventures by the stream - these stories also ended up in the Unknown.

The Fishing Fish we see briefly in ‘Babes in the Woods’ might be a small comedic illustration from a children’s book, or another piece of limerick, or just someone’s random notebook doodle that gained a life of its own first in the creator’s mind and then in the Unknown.

Cloud City, the North Wind and the Queen of the Clouds were also, much like the Tavern, from a very old cartoon.

The Beast was once just a mere Boogie Man to keep young children from wandering off into the woods. Ending up forgotten in the Unknown just ended up giving him a whole world of lost souls to harvest.

Maybe the Woodsman and his daughter were always a part of the story of the Beast. But since it seems that the Woodsman being a lantern-bearer is a fairly recent development - they might have had their own separate story. Some sort of pastoral novel about a family moving near the woods? But their narrative has been ‘hijacked’ by the Beast.

Wirt and Greg ended up lost within the Unknown cause had they actually died in the lake that night - they would have become a Story in their town. I mean we have a moody lonely teenager and his adorable little brother disappearing/dying - on the night of Halloween - after last being seen in a graveyard - with the older brother’s last act on this earth being to hand his crush a cassette of his love poetry. Can you imagine what sort of Urban Legenda you can grow from those seeds?

But as they were not yet dead, and not a Story yet… so they were technically an Unknown story. Between the borders of life and death from a human perspective because they were about to die, and from a Story perspective because they were just about to be born.

And the ending sequence, with the little vignettes showing where all the characters from all the episodes ended up. I think that’s almost like Wirt and Greg back in the world of the living and the real - being able to create happy endings for all of those stories they've met. That’s how the Woodsman’s daughter ended up being alive all along - it was less that the Woodsman's whole tragedy was a wacky misunderstanding all along. But it became so as a gift of thanks by their new storytellers - Wirt and Greg.

Because if dreams can't come true, than why not pretend?

#over the garden wall #otgw #the unknown

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acewizardinspace · 1 year

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One of my favorite parts about jedi fallen order is how Cal's psychometry function both within the narrative and as a game-play mechanic.

As a game-play mechanic it allowed the developers to tell the player background information in a way that made more sense in-universe than there just being a random npc around to lore drop or finding some old journal, ect. It also means the developers don't need to animate cut scenes for every little thing but can still share this information. It also functions as a collectable and a way to reward exploration.

But its use in the narrative is the most interesting. Cal is a survivor of genocide, he is on the run from a government than wants to kill him for existing. He is so traumatized by the loss of his people and the memory of his master who died protecting him that he can't even use most of his powers at the beginning of the game.

Cal is literally haunted by his past.

And that is why giving him psychometry was a stroke of genius on the part of the developers. No amount of running or hiding will ever stop the past from clinging to him. It will always be there in every random object he touches. And this is shown through the plot of the game and his overall goal too. He wants to restart the jedi order, rebuild his family, which is a noble and understandable goal, but under the rule of the empire, not a safe one.

It is only at the end of the game, after he sees the possible result of chasing the past, that he lets it go. He knows that being a jedi is not being held down by your attachments and putting other's needs before your own. He gives up on restarting the order to protect those children from the empire and in doing so lets go of his attachment to the past.

The past is always with him, but it doesn't need to control him.

#cal kestis #jedi fallen order #psychometry #my thoughts #my meta #I am sorry but psychometry as a metaphor for being trapped by your past is so fucking good #am I thinking too deeply into this? maybe but I am just feral about this

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wen-kexing-apologist · 9 months

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Taking Pause for Reflection- Part 1: Respectable Promiscuity and Only Friends

Well we are three marvelous episodes into Only Friends, and are already seeing the ways in which the narrative is making preparations to sow chaos in every single character’s life. By this point we have seen numerous examples of Boston fucking with Mew’s relationship, watched Top hook up with Boston, took note of Ray’s reliance on alcohol, his drinking and driving, and how he abandons his games with Sand the second he can play hero for Mew, and we’ve already unlocked Nick’s #hotgirlespionage era. In short, we are getting complex, messy, shitty, realistic, and three dimensional queer people on our screens.

As we all continue on our Only Friends journey, I think it is vitally important to look at the research that has been done on the subject of representations of queer people, and understand recurring themes in engagement with queer communities that I have personally seen being repeated in the reactions some people are having to the queer characters in Only Friends.

Disclaimer: I am a Westerner, writing this from a Western gay lens, with Western sources, and primarily targeting the Western BL audience with this essay. That said, I would love to hear other people’s, non Westerners especially, thoughts on the themes I will be discussing here.

Anyway…

On the Subject of the Acceptable Queer and Respectable Promiscuity

To make sure anyone who reads this is on the same page, I just want to define the term respectable promiscuity

Respectable: Decent or correct in behavior or character (Miriam-Webster)

Promiscuity: having or involving multiple sex partners: not restricted to one or few sex partners (Miriam-Webster)

Respectable Promiscuity as defined by Jody Ahlm, “captures the negotiations individuals engage in as they enact stigmatized sexual practices, manage sexual reputations, and give meaning to their sexual practices within a specific sociopolitical context.” (2017)

Or in my understanding, how people cope with and justify the sex they have that society may see as morally wrong. Because so much of our world has been captured by this idea that sex, especially non-monogamous sex, sex outside of wedlock, or queer sex is inherently wrong or sinful, it is far more likely that queer people will be accepted by society if they are at the very least perceived to be engaging in respectable sex (aka monogamous, moderated, and more vanilla sexual practices).

…According to this [sexual value system], sex that is ‘good’,’normal’, and ‘natural’ should ideally be heterosexual, marital, monogamous, reproductive, and non-commercial. It should be coupled, relational, within the same generation, and occur at home. It should not involve pornography, fetish objects, sex toys of any sort, or roles other than male and female. Any sex that violates these rules is ‘bad’, ‘abnormal’, or ‘unnatural’. Bad sex may be homosexual, unmarried, promiscuous, non-procreative, or commercial. It may be masturbatory or take place at orgies, may be casual, may cross generational lines, and may take place in ‘public’, or at least in the bushes or the baths. It may involve the use of pornography, fetish objects, sex toys, or unusual roles. (Rubin, 1984)

Late last week I posted a whole essay on cruising culture in the queer community, and the possibility that Boston is a physical manifestation of historical queer cultural practices (a theme that I see continuing in Ep 3 simply with the kind of car that he drives). As part of that I talked about how the combination of the AIDS epidemic and the creation of mobile apps like Grindr have greatly contributed to the reduction in cruising culture, something similar can be said of the creation of respectable promiscuity: “The stigma of promiscuity in gay male culture has roots in the respectability politics of internal responses to AIDS, as well as homophobic responses from outside the community, and continues to haunt discourses of gay male sexuality.” (Ahlm, 2017)

I think a lot about media and media influence on personal beliefs and perceptions, after all media is political. There is a reason that when I think about and talk about media, I am in some capacity thinking about who the audience is and who a film was made for. How many queer films were truly made for queer people? I mean, seriously, think about how many movies and television shows over the past few decades that either were about or included queer people ended in tragedy. Those films aren’t meant for us, they are meant to show heterosexual people the struggles of being queer. We are meant to be shown suffering so that heterosexual people may, hopefully, learn to have some sympathy for queer people. Brokeback Mountain, for example, wasn’t made for queer people, if it was the promotional material would not have straight-baited the audience, if it was we would not have had to watch Jack Twist get beaten to death for being a faggot.

Historical queer activism was fighting for far far more than just marriage equality, but over time marriage equality has become the most popularized and pervasive queer civil rights fight. Now the repeated theme we hear over and over again, a message that a lot of the BLs and QLs are pushing, is marriage equality. We see it in Not Me, Moonlight Chicken, Cutie Pie, The Wedding Planner, Love in the Air, GAP, etc. etc. as a result, if we see sex in a show, we see generally pure, and if not pure certainly monogamous sex in most BLs. While a production company like GMMTV may have some of their talent switch gay pairings (looking at you Mark Pakin, Fluke Pusit, and pre-Khao era First) once they find a pairing that is popular and profitable to them, they rarely split them up across their other shows but especially not within the same show. Truly, we have seen the main pairs mix and matching in shows how many times? Two? Three? Off the top of my head I can only think of…

Earth with Papang and Mix with First in Moonlight Chicken

*gestures vaguely at all of Only Friends*

All of this to say:

In the past two decades, marriage equality has been pushed to the front of LGBT organizing and with it the imperative of appearing ‘‘just like them(heterosexuals),’’ through sexual moderation, monogamy and the disavowal of deviant sexual subcultures. This assimilationist discourse is the foundation of homonormativity and the current politics of respectability in LGBT communities…‘‘Homonormativity’’ is a term Lisa Duggan (2003) uses to describe the assimilationist politics of the contemporary gay and lesbian movement that emphasizes individualism and sexual restraint. (Ahlm, 2017)

Which is a long-winded way of saying that in pushing for traditionally heterosexual practices, and general societal acceptance, representations of queer people have had to be pared down to seem less sexually liberated than our community may actually be (and just look at the way the aspects of queer culture like drag and like…just existing as a trans person are being increasingly associated with sex, sexual deviancy, and then warped in to pedophilia and sex crime narratives in order to turn society at large against us to make it easier to discriminate and eliminate us).

I am not sure how marriage equality was argued in other countries, but I do know that Obergefell v. Hodges, which granted marriage equality in the United States, was argued on the basis of privacy (and is also why people are fucking terrified at the reversal of Roe v. Wade, because that was also successfully won initially on the argument of privacy and was used as a precedent to win future cases like Obergefell). Which means that in arguing for gay marriage to be legally recognized, in order to get the rights that are afforded to us through marriage, we had to shift queer culture in to the spaces and definitions of privacy, rather than the public spaces that were foundational to historical queer culture.

As the Lawrence ruling and the LGBT movement’s focus on marriage equality suggest, mainstream acceptance of gays and lesbians has thus far hinged on the sanctity of domestic privacy and the legitimacy of monogamous relationships. The success of this political strategy has brought about a dramatic shift in public opinion and legal recognition for same-sex couples in the USA, culminating in the Obergefell v. Hodges (2015) Supreme Court decision that extended marriage rights to same-sex couples throughout the country. This acceptance, though, is conditioned on creating a public image of group maturation where being gay is no longer associated with a sexual culture of promiscuity, bathhouses, outdoor cruising areas, and porn theatres. Language of sexual autonomy or sexual freedom has been replaced with the conventional wisdom that ‘‘what you do in the privacy of your own home is your business.’’(Ahlm, 2017)

TL;DR: Homophobia and the AIDS epidemic contributed to a decrease in historical queer cultural practices of public and semi-public, non-monogamous sex practices and the push for rights like marriage equality further contributed to the queer community being pushed towards privacy about their sex lives, resulting in representation of queer culture shifting to the image of the monogamous, sexually moderated, non-kinky homosexual.

Homonormativity, like heteronormativity, privileges whiteness. Homonormativity produces a systemic policing of sexuality and gender, in part through a politics of representation that erases queers of color, poor and working-class queers, and gender non-conforming queers. Guided by an ‘‘ethics of sexual shame’’ (Warner, 2000) the contemporary LGBT movement distances itself from sexual deviants, and more generally from sex itself (Duggan, 2003; Robinson, 2005; Rubin, 1993). (Ahlm, 2017)

A huge part of what got me hooked on Asian BL was seeing representations of queer people that were not just white men with power. Getting to watch two people navigate the political nature of their queerness in conjunction with their socioeconomic status, seeing just the most casual inclusion of trans women (something that like never happens in Western media). Part of what got me so obsessed with KinnPorsche as my first Thai BL was the existence of Yok, who has 0% of a plot about being trans and 100% of a plot around being a surrogate mother to Porsche and just a generally massive party girl. A reason why I like shows like Bed Friend and The Warp Effect so much is because they actually include kink in their shows. (Even though Bed Friend only really does it once with the pet play in Ep. 6 still with monogamous sex, and Jojo can only get away with heavy kink focus in TWE through a heterosexual couple.)

Finding BL gave me ways to see a lot of different flavors of queers, different dynamics between queers, while still being made to cater primarily towards heterosexual audiences. How many queer romances exist in the West? Big Eden (my beloved), two Christmas movies and the butchered corpse of Red, White, and Royal Blue? [do not come for me here, I know there are more, I have a whole syllabus from @bengiyo that has more than that on it, my point is mostly looking at how popular and increasingly, rapidly abundant and easily accessible gay romance is in BLs compared to how popular abundant gay romance is the West]. I loved Gay OK Bangkok because it gave accurate and honest depictions of three-dimensional queer characters, not two-dimensional, spoon-fed perfect gay men. I loved The Eclipse because it gave me extremely morally gray, queer characters. I loved 3 Will Be Free for both the representations of polyamory, and also for the humanity that Jojo allowed Mae to have.

TL;DR Current LGBTQ+ political movements have started shifting away from highlighting sexual liberation as an aspect of queer culture, in order to make ourselves more palatable to the overarching heterosexual society. This bleeds through in to the kinds of media that exist, the types of queer people portrayed within that media, as well as how often gay sex is shown, the type of gay sex shown, and the number of gay sex partners depicted. (Read: generally infrequently, generally vanilla, generally one).

How Respectable Promiscuity Ties in to Only Friends

IT DOESN’T! Jojo, Ninew, Den, and the rest of the team are not interested in creating a story that takes audience perceptions of respectable promiscuity into consideration. All the boys are thirsty, all the boys are fucking, Boston is promiscuous as hell, Top is (potentially) a slut (or at least a former slut), Sand has been in multiple relationships and has had multiple one-night stand sexual partners (no repeats). Mew is maybe not as virginal as he has led us to believe. Every time any gay boy is standing next to another gay boy that they didn’t know like a week before, a third gay person is wiggling their eyebrows like “oh how do you two know each other?” (aka, you fucked?) See: Nick to Boston and Top, Sand to Boston and Nick, Yo to Ray and Sand, Mew to Ray and Sand.

Sex has been and will continue to be abundant in this show. Jojo himself said “[Sex] is coming every episode…I’m screaming for Prince but I love gay slut too. No matter slut or good person they should be equally represented”

There have been no allusions to the contrary. Jojo has presented this as a bacchanal from the beginning. The pilot trailer has multiple sex and/or make out sessions, indications of cheating, First with a goddamn bat, pills, screaming, and crying.

The actual promotional trailer had: multiple sex and/or make out sessions, indications of cheating, First raining destruction down upon some glassware, pills, screaming, and crying.

The interviews with the cast members about why we should watch Only Friends had Neo saying Boston was an asshole, and you should watch Only Friends because it’s hot. In those same interviews Force said he was looking forward to everyone hating him. The playlist that Jojo made ages ago for this show has so many songs about sex, drugs, being cheated on, and breaking up. Jojo tweeted months ago that he had a meeting with the GMMTV office and he had permission to do whatever he wanted. Jojo and co have never once pulled the wool over our eyes as for what to expect from the physical intimacy in this show. We have been promised a sex fest, and we are getting a sex fest. We have been promised some form of a cheating plot line, and we are getting some form of a cheating plot line. We have been promised substance use issues, and we are getting substance use issues.

Yet on tumblr I am seeing discomfort and as a result, alteration of character motivation and action, around behaviors these characters exhibit that result in sex.

...Western cultures generally consider sex to be a dangerous, destructive, negative force (Weeks, 1981, p. 22). Most Christian tradition, following Paul, holds that sex is inherently sinful. It may be redeemed if performed within marriage for procreative purposes and if the pleasurable aspects are not enjoyed too much. In turn, this idea rests on the assumption that genitalia are an intrinsically inferior part of the body, much lower and less holy than the mind, the ‘soul’, the ‘heart’...Such notions have by now acquired a life of their own and no longer depend solely on religion for their perseverance.

This culture always treats sex with suspicion. It construes and judges almost any sexual practice in terms of its worst possible expression. Sex is presumed guilty until proven innocent. Virtually all erotic behavior is considered bad unless a specific reason to exempt it has been established. The most acceptable excuses are marriage, reproduction, and love. Sometimes scientific curiosity, aesthetic experience, or a long-term intimate relationship may serve. (Rubin, 1984)

Boston is not a terrible person for cruising for sex, Boston is not a terrible person for being a slut, Boston is not a terrible person for not wanting to deepen his relationship with Nick beyond just having sex with him. What does make Boston kinda shitty is the fact that he manipulates people to get what he wants, strings Nick’s feelings along, and uses captured images and films of his friends and uses that to call their moral character into question.

Nick is not pure of heart and dumb of ass for enjoying sex with Boston or for wanting to define his relationship to Boston. Subjectively, his actions for acquiring sex with Boston the first time (aka adding his photo to Boston’s phone) is a gay wrong we support for the chaos, objectively that is a massive invasion of privacy the likes of which rival Boston holding on to photos and videos of Ray and Mew together for two years. Subjectively, it is a power play from Nick to have wiretapped Boston’s car to catch him hooking up with another person and I am excited for Boston to potentially see some consequences as a result of this. Objectively this is once again a massive invasion of privacy, and it is entirely possible there will be a lot of fallout as a result of the evidence Nick just acquired, despite the fact that objectively Top and Boston did nothing wrong.

Boston never committed to monogamy, and Top and Mew never officially defined their relationship as boyfriends (yes, I know Top calls Mew his boyfriend at the bar, but he is saying that to someone he wants to stop hitting on him) and we have seen no conversations around whether or not they are exclusive. Is it maybe kinda shitty that Top fucked Boston this far in to trying to become Mew’s boyfriend? Probably. But Top is not an inherently terrible person for having sex with Boston, nor is he an unwilling or inactive participant being pressured into having a second round with Boston (he even initiates the kiss).

On the opposite end, Mew is not perfect or immune from doing or causing harm in the past, present, or future just because he is withholding sex from Top. Mew isn’t dumb or naive, he doesn’t need protecting, he knows what game he might be in, and he is playing it to the best of his ability. Jojo and co are incredibly talented at writing complex characters, the fact that Mew is possibly a virgin, the fact that Mew is aware that sex for him means something deeper than sex might mean for Boston does not mean Mew should be placed on a pedestal of purity.

Much like I think Boston is a physical manifestation of older queer culture, I think Mew may be a physical manifestation of more current beliefs around queer people:

As a result of the sex conflicts of the last decade, some behavior near the border is inching across it. Unmarried couples living together, masturbation, and some forms of homosexuality are moving in the direction of respectability (see Figure 9.2). Most homosexuality is still on the bad side of the line. But if it is coupled and monogamous, then society is beginning to recognize that it includes the full range of human interaction. (Rubin, 1984)

Mew is absolutely playing games with Top, he has said that himself, about holding out long enough to see if Top genuinely cares about him rather than just wants a virgin to conquer. But he has also stated that he knows that if he has sex with Top that he will become obsessed. He wants to know Top, and care about Top as a person, and know that Top cares about him as a person before he will have sex. Everyone around Mew is obsessed with his sex life, desperate for him to lose his virginity, desperate for him to join them on the other side of the line. So many of the other queer characters are trying to publicize Mew’s gay sex life, (including Top who publicly asked him to be his boyfriend), while Mew desperately tries to maintain the depiction of purity that his friends think he is. Which is to say, where Boston is cruising for casual sex, and frequently engaging in public sex, Mew is maintaining respectability and looking for long-term and intimate private sex.

(Also a tangential thought, but I don’t remember Ray saying anything about Mew’s need to lose his virginity, I think that has really only been Boston, Cheum, Yo in part, and even Top have all had discussions around Mew’s virginity or need to have his first sexual encounter).

Conclusion

I want to end on this quote:

Most people find it difficult to grasp that whatever they like to do sexually will be thoroughly repulsive to someone else, and that whatever repels them sexually will be the most treasured delight of someone, somewhere. One need not like or perform a particular sex act in order to recognize that someone else will, and that this difference does not indicate a lack of good taste, mental health, or intelligence in either party. Most people mistake their sexual preferences for a universal system that will or should work for everyone. (Rubin, 1984)

I hope as we proceed through this story, and more characters fuck, get fucked, and fuck up that we are able to interact with the source material and connect with the characters as they are presented on screen, not with what we have shaped them to be in our heads. I hope we are able to separate from the mindset of respectable promiscuity, and refrain from placing false perceptions of purity or morality to characters who do or do not uphold heterosexual society’s understanding of what a good homosexual is supposed to be. Only Friends has never lied to us, the characters might have, the way their dynamics play out might subvert our expectations, but the subject matter, the level of heat, the commitment of gay wrongs is what this show was always going to be. I don’t know about y’all but I am here to sit back, watch my BL boys commit as many gay wrongs as possible within 12 episodes, and write overly academic pieces on sex, sexuality, and queerness in Only Friends for the bit.

Stay tuned for Part 2 where I discuss racism and the commodification of queer men of color.

Sources

Ahlm, Jody (2017) Respectable promiscuity: Digital cruising in an era of queer liberalism, Sexualities, DOI: 10.1177/1363460716665783

Chong-suk Han (2007) They Don't Want To Cruise Your Type: Gay

Men of Color and the Racial Politics of Exclusion, Social Identities, 13:1, 51-67, DOI:

10.1080/13504630601163379

Rubin, Gayle (1984) The Thinking Sex: Notes for a Radical Theory of the Politics of Sexuality- Chapter 9: The Sex Wars.

Acknowledgements

I would like to thank @bengiyo, @emotionallychargedtowel, @lurkingshan, @so-much-yet-to-learn, and @waitmyturtles for reading through this post, adding your thoughts, and helping with edits! Y'all are the best

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chaoticdelinqueerwithglitter · 6 months

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This drabble is born from a really angsty brain riot with Bonten's origins, that happened to me after reading this words from @just-sp-in-inginthevoid :

"Bonten is a memorial for Izana, its symbol, its members’ tattoo come from Izana’s earrings and the (天) ten of Bonten 梵天 from Tenjiku 天竺, the (梵) bon of Bonten 梵天 comes from Brahman 梵. (...) There’s no need for Senju to have the same role as Izana in Bonten if she’s not dead."

(I always pictured Senju being death in that timeline, but the reality of the kanjis being literally THAT... ajfshgsjgejgrjg, the pain of this. Wakui, you know how to break us every timeline! 😭)

Bonten was born from pain.

(drabble of the day that Bonten was created)

Warnings: I'm so sorry, this is just angst and hurt/no comfort. I wrote it as an attempt of coping with canon and how painful is Bonten timeline when you actually look closer to it. It's from Koko's POV and everyone is just broke and devastated in their own way. Again, I'm so sorry :(

(English is not my first language, so be nice please 🙈)

Most people think Bonten is synonymous with fear.

But they are all wrong. Kokonoi knows better.

Bonten is synonymous with pain, it was born in it.

He still remembers the day that Bonten was created, even if it wasn't the official date, any of the executives would pinpoint the exact same moment.

Probably, only Koko could actually offer a coherent narrative of that night. The only outsider of all the chaos unraveling in front of him.

He still has nightmares of what he saw. But is not what happened what haunts him, no. Is the voices, the faces surrounding him.

Wakasa covered in blood, his eyes looking completely empty. His blank stare, like he couldn't believe who this blood belonged to. Benkei's hand on his friend shoulder, tearing up like a baby.

Takeomi curled up in the floor, sobbing next to his sister's body. Saying “it should've been me” over and over, the older man stuck in a loop of guilt and denial.

The former members of Tenjiku looking shocked, not moving a finger for what was supposed to be their gang, their leader. Koko spent enough time with them to know that, even if they were ruthless, seeing the leader of another gang being shot like that... Was too familiar.

Anyone who looked at them could see they never agreed with that. The ghost of Izana Kurokawa still lingered over them.

Kakucho was shaking, his lips trembling. The rain and the blood mixing with red snow in the scarred boy's mind.

The Haitani brothers unconsciously getting closer to each other. Ran pulling his arm around Rindou in a protective way, the younger one allowing it without complains. Both of them staring at Sanzu, terrified with the possibility of being on the pinkette boy place.

Sanzu's screams were the worst of it. The excruciating pain in his voice while he was holding Senju's body. His little sister's body. How he looked at Takeomi, tears rolling down his cheeks, his gaze filled with hate when he spoke to his older brother “I agree, it should've been you.”

Mikey standing there, the void in his eyes while his knuckles kept dripping with South blood. The man's body at his feet.

That gaze, dark and lacking of any emotion. Pure void that swallowed everything around.

(That swallowed them, trapped them like moths that flied too close to the sun)

Bonten was born from pain.

Bonten grew in pain, thrived with it.

And, Kokonoi is sure that whatever destiny awaits for them...

Bonten will die in pain.

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arcaneillusion · 11 months

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Before she was "mad”, Annie Cresta was a Career.

Although Annie is generally depicted as someone who has always been a relatively timid (or even 'weak') character, I think there is a far more convincing argument to be made for Annie being a Career tribute. For the sake of organisation (and preserving my sanity), I've split this into three main points: the purpose of Annie's character, misconceptions about the 70th Hunger Games and the likelihood of Finnick being a Career compared to Annie.

(Note: this ended up being a lot longer than intended, so uhh... sorry in advance.)

The purpose of Annie's character, and how this relates to her being a Career:

Given that District 4 is a Career district, it is not entirely beyond the realm of possibility that Annie received some form of training prior to her Games. It is also worth noting that she was 18 at the time of the 70th Hunger Games (according to the Hunger Games Exhibition, Annie was 23 during the events of Catching Fire, thus making her 18 years old at the time she was reaped). So you have a girl from a Career district who is reaped at the age that Careers tend to volunteer. Of course, this could just be a coincidence - Annie's name would've been in the reaping bowl 7 times by this point (assuming she hadn't applied for tesserae), so it could've just been poor luck that she was chosen. However, I think it's important to consider the purpose of Annie's character when pursuing this line of argument.

One of the most significant aspects of her character is how deeply she is affected by the Hunger Games. Although Suzanne Collins very clearly demonstrates how the Games affect the victors in various ways, Annie can potentially be seen as the personification of this trauma. Almost every time she is mentioned or is present in a scene, the impact the Games had on her is also brought to the reader's attention. During the reaping for the Quarter Quell - the first time her character is mentioned - Annie is described as being "hysterical".

The next significant mention of her is during the jabberjay attack in the arena, and Peeta subsequently refers to her as "the one who went mad".

Annie's character is inextricably tied to her trauma - it haunts the narrative of every scene she appears in. In Mockingjay, for example, Finnick’s suggestion to Peeta (that he simply ask someone for help if he is unsure about whether something is real or not) is inspired by Annie’s response to her own trauma. Even in more lighthearted moments such as after Annie and Finnick's wedding, the Games' influence on her is both alluded to and stated outright. For instance, she is described as being "lost in some daze of happiness", then revealed to be prone to flashbacks / disassociation.

On its own, the phrase “lost in some daze” does not seem to carry too much weight; but given that the words most frequently used to describe Annie are "mad", "unstable", "strange" and now (even in a moment of relative peace and joy) "lost" and in a "daze", it only strengthens the idea that as a result of her Games Annie is, as some might say, not quite all there. Almost every mention of her is tied to the impact the Games had on her. Perhaps even more compelling is a throwaway comment made by Johanna:

Although Johanna is acknowledging that the Games changed all of the victors in some way, there is an implication that Annie's transformation was the most dramatic. "Don't get me started" - as if the Games changed Annie so thoroughly, so completely that hardly anything of the person she was before remains. In short, Annie's character can be seen as a symbol of how the Games (or traumatic experiences in general) can change a person.

So what does this have to do with Annie being a Career?

Assuming that this is the purpose of her character, then Annie herself must have been irrevocably changed by the Games in order for this narrative to work. If Annie had always been a rather timid, 'fragile' character, the difference between who she was before vs after the Games would not be as stark (that is not to say she would not still be traumatised, only that this imagined version of who she was before the Games is not all that different to the person Katniss is introduced to in the trilogy). However, if Annie were to have been a Career, this would further emphasise the theme of how trauma can change a person and make this message all the more impactful.

Picture Annie as a cunning, skilled fighter. Imagine her as being adept at strategising and familiar enough with combat that she can remain level-headed during high-stress situations. Think of her as a tribute that many people were betting on to win - they were that confident in her abilities as a Career. Envision her as being bloodthirsty, prideful - honoured to represent her district and bring it glory. Annie with a sense of superiority and overconfidence, possessing a tendency to underestimate her opponents. Annie with her district partner, who she had known and trained with for years, and trusted enough to know that he would not turn on her before the time came when they had no choice but to go their separate ways.

Now imagine the character we are introduced to in Catching Fire - the "hysterical young woman" whom everyone believes to be "mad". Annie, who seems to lose her hold on reality every now and then, closing her eyes and covering her ears, falling into a state that seemingly only Finnick can pull her out of. Picture the devastation she must have felt when she saw her district partner - someone she trusted deeply and had come to care for - be decapitated right before her eyes. The realisation that no one can truly win in the arena, that she is just a pawn in a game so much larger than herself, and all of her training meant nothing: She would likely die anyway. The despair, the terror, the betrayal, the powerlessness - it shattered her.

To see a victor go from being a calculated killer to a mere shadow of her former self would do more than drive home Annie's role as the personification of trauma and its consequences: It would make the sheer barbarity and inhumanity of the Games all the more apparent.

Misconceptions about the 70th Hunger Games:

Admittedly, not very much is known about the 70th Games, but we do have enough information to put together a very, very vague timeline of events. At some point during her Games, Annie witnessed her district partner getting beheaded, an event that was (understandably) extremely traumatising. This led Annie to isolate herself for the rest of the Games, a strategy that we can assume worked reasonably well... until an earthquake caused a dam to break and flooded the arena. Being from District 4, Annie was an exceptionally strong swimmer. In the words of The Hunger Games: Tribute Guide, citizens of District 4 "can swim like fish themselves." This would ultimately lead Annie to be crowned as victor of the 70th Hunger Games, as she was able to save herself while the remaining tributes drowned.

A common argument against the idea that Annie could be a Career is that all she did was hide for the majority of the Games until the earthquake hit. However, I believe this to be based on a misunderstanding of the events outlined above. Once again, there is very limited information available about Annie's Games. That being said, whilst we know that at some point in the Games Annie isolated herself, we do not know when this was. It is entirely possible that Annie was an active member of the Career pack for a period of time, even if it was only for a few days. Only when her district partner was killed did she go into hiding - and, again, we have no indication of when that was. For all we know, that could've happened a few days before the earthquake broke the dam and flooded the arena, meaning Annie would've been part of the Career pack for the majority of the Games; perhaps it happened only a few days into the Games. The point is (like so much else about Annie) we do not know.

I will concede that because of the lack of information about the 70th Hunger Games, it is of course possible that Annie had no involvement with the Career pack, did not come into conflict with any other tributes, and won purely because she was a strong swimmer. However, based on everything I discussed in the previous section (Annie being from a Career district, reaped at the age Careers tend to volunteer, the purpose of her character as a symbol of trauma, emphasising the barbarity of the Games, etc.) I think it makes far more sense for Annie to have been a member of the Career pack. Ultimately, there is no solid reason, no hard evidence in canon, to suggest that Annie was not a Career tribute. If anything, the details we are aware of all seem to support the idea of her being one.

Finnick Odair — a volunteer, or simply out of luck?

As a quick side note: I do acknowledge that most of the points I have raised are largely based on assumptions. Assumptions supported by canon, but assumptions nonetheless. Having said that, there is one final topic to be explored in the case for Annie being a Career - and that is Finnick Odair.

A simple comparison between Annie and Finnick highlights Annie as the far more likely Career tribute of the pair. Indeed, there is arguably more evidence (however tenuous) to suggest that Annie was a Career than Finnick was. I am hardly the first person to point this out, but I do think it is worth mentioning and is quite interesting to consider.

The two main points of this discussion are 1) the age of the tributes and 2) Finnick's weapon of choice.

Firstly, we know that Annie was 18 when she was reaped for the Games and that Finnick was 14. Given that District 4 is a Career district, it doesn't really make sense for Finnick to have volunteered as at this age since he would be at a significant disadvantage. One of the first things we learn about Finnick is that he was the youngest victor, meaning that before the 65th Games nobody his age had survived the arena. Entering the Games as a 14 year old was just as much a death sentence as entering it at 12 or 13. There is of course the possibility that another 14 year old had won before and Finnick was simply younger by a few months; but even so, we can assume that it was a rare occurrence for anyone under the age of 15 to survive.

Why would a 14 year old boy, who (if he'd even been training in the first place) likely had not completed his training, volunteer for the Games? Why would he volunteer at an age when he was so unlikely to win, especially when Career tributes are known to volunteer at 18, meaning he would be so much younger than his fiercest, most lethal competitors? Why not wait until he was 18 and had the best chances of winning he could hope for? With this in mind, it seems far more likely that Finnick was just another kid who was unlucky enough to have the entry slip with his name on it selected.

What makes less sense is why, in a Career district, no one would have volunteered in his place. I've seen so many possible theories for this, some going with the idea that Finnick was a volunteer and either had very little training (with there being some other motivator for why he volunteered) or had received a good amount of training and was, for one reason or another, chosen to be D4's male tribute for that year. Others follow the theory that Finnick was not a Career, and it was merely a string of unfortunate events that led to nobody volunteering to take his place - for example, there being some sort of tragedy that left District 4 without any Careers-in-training. Once again (take a shot every time I say this lmfao) we do not know the specific circumstances surrounding the reaping for the 65th Hunger Games. However, based on what we can piece together, it makes far less sense, given his age, for Finnick to have been a Career. On the contrary, Annie's age at the time of her Games makes for a much more convincing argument in favour of her being a Career.

As for Finnick's weapon, it has frequently been pointed out that a trident is a strange weapon for a Career to be adept at using. Why would Finnick's training dedicate so much time to becoming skilled with a weapon that is so unlikely to be available at the Cornucopia? Instead, perhaps Finnick simply knew how to use the trident because he was a spear-fisher's son from the district that specialises in fishing.

Moreover, we are told that Finnick was adept at using spears and knives. These are weapons you would expect a Career to have been trained to use, but since District 4's industry is fishing it is entirely possible that Finnick knew how to use these tools simply because he had often worked with them before.

I do think this point about Finnick's weapon is a slightly weaker argument than the one concerning his age. Finnick may have been taught to wield spears and knives during his training as a Career, with it still being possible that he knew how to use the trident due to D4's major industry being fishing - a trade he almost certainly was familiar with, even if only slightly. In the case against Finnick being a Career, I would argue that his age at the time of the 65th Hunger Games is the most compelling point. Of course, there is no reason why Annie and Finnick couldn't have both been Careers. The reason for this comparison is simply to highlight that there is as much evidence to suggest that Annie was a Career as there is to suggest Finnick was. And in some ways, Finnick being a Career raises more questions and doubts than Annie being one does.

TL;DR:

Annie Cresta should not be overlooked just because she does not fit the stereotype of a 'strong' character. If anything, her instability due to the Games is all the more reason to suggest she was a Career. The point of her character is to show how the Games (or traumatic experiences in general) affect those who endure them, so Annie must have left the arena as a completely different person to who she was when she entered it. Most of what we know in canon seems to indicate that she was a Career; in fact, there is potentially a stronger case to be made for Annie being a Career than Finnick. Since we know so little of Annie Cresta much is left up to the interpretation of the reader, but this does not negate the fact it makes more sense for Annie to have been a Career based on the details we do have.

#thg #annie cresta

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rithmeres · 5 months

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no shade to the first two thg movies i think they are really quite good as films (even if they should not have been kneecapped to get a pg-13 rating) but i'm two chapters into the first book and there's already so much stuff that adds to the depth of the story that the movies couldn't possibly have included.

like, katniss doesn't like peeta at all and dreads interacting with him because she hates feeling indebted to anyone. the fact that peeta comes from an abusive family, and that they were only eleven when peeta saved her life with the bread, and he burned the bread on purpose. or madge the mayor's daughter, katniss's one friend besides gale, who first gave her the mockingjay. or the way that katniss's father haunts the narrative at every corner. she is always thinking of him, always remembering what he taught her, always feeling his absence. or katniss's complicated relationship with her mother, the way she used to blame her for letting her children starve after their father died, but she has worked to be less angry and start to forgive her mother for her grief. gale's cruelty that eventually consumes him and kills prim is there too, he's not yet the callous monster he will become and his love for katniss and desire to protect his people is true, but the seeds of pointless and destructive anger are there in him from the beginning.

or the tesserae system, how in exchange for a meager supply of grain and oil children can choose to enter their names more than once. and the tesserae compound every year, which is how gale gets his name put in 42 times by the time he's eighteen, when a rich eighteen year-old would only have his name in seven times. the poor children exchange their lives for just a little more food to keep them alive just to be reaped and killed for entertainment. and the people of the seam are of a darker complexion (possibly indigenous-coded) while the richer folks in town are the blue-eyed blonde-haired ones, and this race-class divide is upheld by capitol policies like tesserae that favor the richer and whiter people even within a place as catastrophically poor as district 12. district 12 is so poor that the peacekeepers and government officials turn a blind eye to all kinds of illegal hunting and trade because they're going hungry too. district 12 has had 2 victors in 74 years. district 12 only contains eight thousand people.

and that's just the first two chapters

#thg reread

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completeoveranalysis · 8 months

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Of Yūko's customers, which ones you find most memorable?

Most memorable customers, you say?

I hope you don't mind me using this as an excuse to make an arbitrary list by way of answer. (Arbitrary lists, my beloved...)

Yuuko's Customers In Order Of How Well I Remember Them

(Though I will exclude all the bigger characters for fairness. So, Syaoran, Watanuki, Lava Lamp, Fai, Kurogane, Doumeki, Himawari, Seishirou, Ashura, Tomoyo, etc, etc. Regular xxxHolic customers only!)

10. Birdcage Customer

What was this about? Was he even a customer? We just don't know!

But the thing most memorable about this whole situation is the most pressing question: WHY DO YOU HAVE EVIL WOLVERINE'S SYMBOL ALL OVER YOUR HOME? It's even on his front sign!

WHO ARE YOU?????

9. The Liar

Mostly at the bottom because I can't resist the irony. She's the first big customer we see - but what do we really know about her? Absolutely nothing, because she lied every step of the way!

What can we really remember about someone who never actually told us anything about herself?

Though I guess you could say her ending causes quite an impact.

8. Monkey's Paw Customer

Did I forget this had happened? Perhaps!

She's one of those cases where the cause and effect are so clear that the rest of the cast might as well not even be there - and I think most of her story IS told through scenes entirely from her perspective.

I think the most memorable thing about her is the Sheer Audacity of hunting down a monkey's paw and being convinced that, actually, she already knows what it does so it can't possibly go wrong. Love that for her. Would kill for this confidence.

(Not literally - but she kind of did that also)

7. Ame Warashi

Her impeccable style. Her winning charm. She's an icon.

I had just completely forgotten that she was also a customer at one point.

She makes up for it for being absolutely great in every scene she was in, but what are you going to do in a list based purely on how well I remember the customer part? Woops! My bad!

6. Karasu Tengu

They get huge points for this being a Central Event in the narrative, but also I completely forgot they were in this as customers. The entire plot scenario? Incredible! Character defining! Et cetera!

The actual Karasu Tengu themselves? Woops! I forgot they were there. My fault though!

5. The Computer Addict

I love this one. She's so ahead of the curve that she was addicted to the internet back when you had to be on the pc to use it. Honestly, relatable. I also went through a phase like this as a young teen, so the struggle was real.

Little did we all know that in the present day the accessibility of the internet would be so rampant that she literally wouldn't even need that pc to indulge her habits anymore. Oops!

But that aside Yuuko is peak during this arc and I love everything about it. Especially the fact that Yuuko just hangs out on message boards in her free time? Wonderful information. I can do so much with this.

4. Oops! All Ghosts

Another incredible storyline. The twists are preserved by some sneaky panels from Watanuki's perspective and Yuuko's morally grey approach to the whole situation is wonderful. What if you wanted to get rid of the ghost in your home, only to find out that YOU were the ghost all along? It has the DISTRESS. It has the CONFLICT. It has the TRAGEDY. 10/10

3. Haunted Photo

Another customer with Peak Audacity. Trying to wish away the consequences of your own actions? Committing something awful but being unable to actually look at the proof yourself? The ultimate wish being an anxiety inducing curse that is sure to fail? Love it.

It's also one of those juicy situations where the morality of the situation basically drives itself. The customer causes her own problems and can't actually be saved - and doesn't deserve it either.

And honestly I think CLAMP should get a lot of credit for having the haunting effects of a photograph slowly turning around in a purely static medium. They really pulled that off.

I still love the evil smile in the photograph the last time we see it. PURE memorable.

2. The Twin

WE LOVE HER? WE LOVE HER.

Being consistently cut off and run down and overwritten and slowly clawing your way out of the situation through the sheer desire to be your own person?

And then the answer is a haircut?

It's another glimpse into the side of Yuuko that really does try cut people a good bargain. The wish could have been taken in any number of ways, but Yuuko went for the easiest and most affordable way that would genuinely help the customer actually fix her life on her own. She didn't specifically need supernatural help for this, but it was the route that presented itself, and it was the one that got her the help she needed when she needed it. Very hitsuzen, very relatable, very identifiable storyline that sticks with you.

Just like the final entry!

1. Kohane

Listen do I even need to explain this one.

Kohane is like THE storyline. It's THE example of what it's all about. It's not entirely supernatural in nature but completely heart wrenching. It has Watanuki playing a central role in fixing the problem, setting up for his future (or at least, what I assume it will be). It ties xxxHolic to Tsubasa and hints at a secret tool that will help with someone later.

And it has Kohane! You can't go wrong.

#I'm not counting the ghost who tries to kill Watanuki #because she was lonely #Or uh... all the other ghosts that try to kill Watanuki #Didn't buy anything! Not customers!#replies #traditionalartist #not liveblogging the reservoir chronicle #xxxholic #Oh am I doing a ranking list for no reason?#YES ABSOLUTELY #Listen I love it #I'll rank anything for any reason #But also #The thematic links between all the longer Customer arcs?#The overlaps between the computer addict the twin and kohane?#The line between the haunted photo and kohane's mother?#Wonderful #I love how they play with themes all the way through #But in different flavours and in different stages

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familyagrestefanblog · 2 months

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The existence of the Ox miraculous is such an unnecessary ugly detail when you think about Ladynoir and how Chat Noir served as the punching bag and scapegoat for Ladybug, Alya as Marinette's actual partner in season 4, and the whole team in every single way pre-s5

The Ox gives the power of immunity even against any other Miraculous power. One would think with Adrichat's self-harming tendencies that canon had Marinette make entirely about herself because "they're haunting her so much", and her still narratively entirely unchallenged tendency of leaving Chat Noir behind on the battle field as sacrifice or bait to possibly have whatever the hell done to him so she can be save and sound while she and everyone else can look and be cool on his expense

With all that, one would have thought that if Canon Marinette truly loved Chat Noir "sooooooo much" and is oh so haunted by his self-harming behavior and him always getting hurt so she sidelined him "for his own good"

Then how come at no point did Marinette do the actually caring thing by giving Chat Noir the Ox miraculous since he's ALWAYS left behind BY HER so she can leave the battle field and execute her plans with the others save and soundly? If her Chaton's well-being was oh so important to her and it always "pained her so much" to see him getting hurt then why was the Ox only used 2 insignificant times by Ivan at the end of season 4 when it could have saved Chat Noir ALOT of suffering all the way through?

Or the turtle. Or ANY OTHER Miraculous for that matter?

Why was Alya getting two miraculous in Hack-San perfectly fine with Marinette but heaven forbid Marinette is actually expected to ACT like she gives a damn about Chat Noir's well-being as his leader, guardian, partner, and friend and not just the show having her claim superficial words that hardly have anything to back them up once they actually have to mean something?

Its almost as if Canon inherently doubled down on having Marinette be the kind of leader who will only do things in a way that primarily benefit HER while everything else gets swept under the rug because she isn't maliciously intentioned and then never brought up again. And unfortunately it was her who was written to prioritize making an unnecessary team of 18 miraculous holders no one ever asked of her to form (Su-Han even told her NOT to give out the miraculous like candy),

so Marinette was just made to not consider Chat Noir either at all or simply not as worthy enough of any kind of consideration in her entire leadership/ guardianship or actual safety, support, or ANY KIND of resource since that wouldn't be narratively about her, now would it?

She can't have Chat have the Ox because she might need Ivan as Ox in 4 months and she doesn't want to have to ask Chat to get it back or end up NOT getting to use this ONE other Miraculous out of a whole ass box, because that would involve a basic ass conversation Marinette can't have apparently or her not getting to use all of the miraculous however she pleases at any given point

The horror. Now she would have only 14 miraculous to work with!

As per usual, count me fucking unimpressed by Marinette's writing. The negligence towards Chat Noir on even the most basic level is insane and she was declared the epitome of leadership and kindness for this.

Cool that Marinette already decided in her head that Ivan is suitable for the Ox miraculous and he should get it in future, but Chat Noir needing help and protection wasn't some theoretical case, it constantly happened right in front of her eyes and even by her own freaking orders too because she never thinks of him in ANYTHING and the show glorified the hell out of her as leader for doing all that

Why is looking into ANY detail only making Marinette's side of Ladynoir so much worse ever since season 4? There is no escaping this! Just don't add the Ox with this power or actually have Marinette be a good leader towards Chat Noir. But noooooooooo.

#ml writing critical #Ml Marinette critical #Ladynoir conflict salt #Marinette is unfortunately still an awful leader to Chat Noir but can't be called out for ANYTHING #No matter what price Adrien has to pay for it #Rip Ladynoir #And Rip Marinette I once loved so much #Ml season 4 salt #Ml season 4 critical

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phoenixkaptain · 2 years

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I love Tim’s first appearance in comics. I love it. I adore it. God it’s so perfect in every single way.

First of all: stalking. He’s stalking Bruce, he’s taking incriminating pictures (this is where the photographer Tim thing comes from), he’s stalking the Teen Titans, he knows where Starfire lives. Good golly he’s stalking everyone. Like a little mini Bruce, stalking away. Kori: “How did you know where I live?” Tim: “No time for questions, I’ve got to find Nightwing.” Kori: “???”

I love that Kori’s kind of creeped out. I would be too! A kid just knocked on my door and basically said “Yo, Starfire, do you know where Dick Grayson, known to some as Nightwing, is? No? See ya.” Kori’s right to be creeped out.

(God god god I want I need I yearn please tell me the first time Starfire sees Robin III she says something like “I feel like I’ve met you before…” I need Starfire to realize that Tim is the creepy stalker kid. I need Starfire to be like “Dick, not to judge you or your family, but what?” I neeeed iiiiittttt)

Tim 1.) knows about Dick living with Kori, 2.) knows that Dick kept another apartment, 3.) broke into the safe in Dick’s apartment then replaced the wall that was in front of it, and 4.) it’s heavily implied that he has been doing all of this on his bike with a backpack. Tim has been biking across the country with his dumb little coat and his not very big backpack or, at the very least, he biked all the way to where Haly’s Circus was set up. Maybe he did both! This kid is an absolute maniac and I adore him.

I love that Tim makes every single thing he says as ominous as possible! He’s just: “Dick. You need to return to Batman. He needs your help.” No wonder Dick is confused and a bit concerned and kind of creeped out!

Also, I really like the Haly Circus bit, if only because Tim spends most of his parts of the comic internally fanboying over how cool Dick is, and it’s super cute. Tim at one point is just like “Wow, Dick Grayson really is the very best!” and he’s so happy to spend time with Dick, why is he so cute???

Tim saving Batman and Nightwing from the rubble of a building is a very good visual representation of Tim’s ongoing thematic struggle to keep Bruce and Dick from collapsing under the weight of Jason’s death. It’s hanging over both of them, everything is different, Bruce keeps trying to lock Dick out and pretend everything is find and Dick is trying to help him but can’t do anything because Bruce never gives him the opportunity to. Bruce is on the second floor and Dick is in the basement and Two-Face blows up the building and they’re nearly crushed under the rubble.

Tim coming in at this point is great, because he uses a mixture of what Bruce and Dick both did to enter the house. Dick comments, in the comic directly before this one, that he’s too big to fit in the coal shaft, a narrative mirroring of Dick being too old to be Robin anymore. He doesn’t fit in the costume, but more than that, he doesn’t fit in the role anymore, and nothing can force him to fit. He goes in through a window instead.

Bruce breaks through the front, through a window, as subtly as a bull in a china shop (thank you, Dick Grayson, for your incredibly on the nose comments in times of great crisis). Bruce is trying to hurt himself, he’s been trying to hurt himself for the past issues since Jason’s death, and this is just compounded by the way he’s chasing the feeling of being happy again, the feeling he gets when he swings through the air, the feeling that isn’t the same without Jason by him. This is furthered by him mistakenly calling a young boy “Jason,” and him almost calling Nightwing “Robin” multiple times. He’s stuck in the present while the past haunts him and the future looms in front of him, and he wants to be happy again but can only see making himself happy as hurting himself.

Tim doesn’t take out Two-Face, but Tim does sneak into the rubbled building through the coal shoot that Dick couldn’t fit in (and he’s in the Robin costume! He’s so cute!!). Then, when he finds Batman and Nightwing stuck under the rubble, he’s forced to brute force his way out and move the rubble off of them. It’s a mixture of how Bruce and Dick handled things, but more than that. Bruce went in through the window, a distraction, in a Robin-like move. Dick snuck in through the window, in the shadows, in a Batman-like move. Tim manages to take both roles and mix them together, coming in sneakily but brute-forcing when there’s no other option. Tim has always been the Robin the most similar to Batman, but it all begins here, with Tim being the most prepared character in the comic. More than just the most prepared character, he’s doing the opposite of what Bruce and Dick are doing. While Bruce and Dick keep disappearing without another word, Tim keeps appearing right when the narrative has forgotten him. Instead of being an outright distraction like Dick and Jason were in the past, Tim plays a diversion.

Tim’s whole character in this storyline is someone desperate for things to be balanced again. He’s scared for Bruce because Batman is his hero. He’s scared for Dick because he doesn’t want Dick to hate him. Tim doesn’t want anyone to hate him, which is why, earlier, he’s very polite even as Dick is like “Alfred, this is Tim, he showed up after stalking me for a while and he knows our secret identities.” Tim wants Bruce to keep living. Tim is the one who says the hard truth to Bruce, that he isn’t acting normal and that everyone’s noticed. Tim says it because Alfred and Dick both tried and failed.

And the panel of Tim, in the Robin outfit, standing shadowed by Bruce as Batman is just a brilliant piece of visual storytelling. Even without the captions, you can see that Tim is standing up to Bruce, is out-stubborning Bruce by being simultaneously brutally honest and clever. Tim is supposed to be the ray of light at the end of the tunnel, the light in the darkness, the Robin to Batman, and it’s so good.

Anyway, I really liked this storyline and I really liked Raven appearing to just be like “btw Nightwing, we all love and support you, but we’ll back off if that’s what you really want.” Also the throw-away line in front of Commissioner Gordon: “he found it out while he was inside of your body.” What was Gordon thinking right then? I love it.

I also love Tim, but that much is obvious, let me explain. He took a bunch of pictures of Batman being beat up by Ravager just to show them to Dick to get Dick to realize there’s a problem. Tim does not actually interact with Batman or Bruce Wayne in any way until he rescues Batman and Nightwing. Tim doesn’t set out with the intention of becoming Robin, he sets out with the intention of making Dick Robin again because he believes that Robin is what Batman needs. Batman needs something that makes him stop and hesitate. Something that reminds him that he’s more than just Bruce Wayne.

It also has the unintended side effect of Tim saying the funniest fucking line in the whole storyline: “This was the best day of my life.” Like, excuse me??? You almost died! Multiple times! You drove from Haly’s Circus to Bruce Wayne’s house in the morning, presumably in awkward silence because you told Dick you’d tell him everything on the way to Gotham, but only actually tell him anything when he’s with Alfred. When Dick shows up with Tim, Dick tells Alfred that he barely knows any more than Alfred does! Alfred just met the kid, he only knows his first name! Tim did not tell Dick one single thing on the entire ride to Wayne Manor, he didn’t even tell them his name was Tim Drake! Every single bit of information they get out of Tim is pushed and prodded and pulled out, Tim is the least forthcoming character of all fucking time.

Dick shows Tim the Batcave. For what purpose did he do this? Just to storm out dramatically? I have no idea, why did Dick show the child this, I’m lost. Tim has been sitting with Alfred for hours by the time he finally convinces Alfred to drive him out! Alfred gets a single phone call from the Teen Titans and Tim is still there, so we know he didn’t leave or anything. What were they doing? Did they talk at all? Or was it another Nightwing situation where Tim just sat there in awkward silence?

Not the point, Tim almost gets beaten up by Two-Face, gets yelled at by his hero, has to berate his hero, and he’s still like “What a chamring time this has all been, thank you for the experience, hope Dick has fun being Robin again.” Tim is a maniac, he’s nuts, he’s absolutely buckwild, I love him more than oxygen.

Side note: I love when Alfred (while Tim is berating Batman, like you do) says “The kid would make a good politician.” And Dick says “He’d do more good by Batman’s side.” It made me laugh. I also love Dick: “I couldn’t let a twelve-year-old wander around a circus all by himself!” Tim: “I am NOT twelve! I am thirteen.” Tim also introduces himself to Alfred like “Hello, Mr. Pennyworth, what an honour to meet the man who Batman confides with, the stories you could tell!” and then walks in like that won’t raise any questions. Alfred is confused, Dick is confused, Bruce is confused, Kori is confused, the circus people are confused, the only one not confused is Tim himself because he’s a wild child and he probably had ten contingency plans up his sleeve, just in case.

10/10, pretty good storyline. Batman #440-442 and the New Teen Titans #60-61. It goes like: 440, 60, 441, 61, 442, making it a five parter. It came out in the nineties, I believe, and yes, Dick is wearing his silly little flared collar

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