ah yes, a mental health crisis just in time for the end of the semester. delicious.
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one thing about me is that i'm gonna make remus and james besties every time.
"oh that's literally sirius' job" you say?? WRONG.
to me, sirius and james can meet at any age. any time. any place. and they'll click instantly because that's who they are. they're cut from the same cloth. they can read each other's minds. they're linking pinkies down the hallway. their souls are made of the same stuff.
but remus and james??? REMUS. AND. JAMES???
they're besties. they are best friends. they aren't cut from the same cloth. it's harder for them to figure each other out but james looks for remus first in a crowded room because he can already feel sirius' presence. it's james' constant "are you okay? do you need anything? i'm here for you" that he doesn't have to do with sirius because sirius just knows. it's remus giving james the steady constant in his life that james gives so many others.
[LOOK AWAY IF YOU HATE JFP AS THE SUN METAPHORS NOW]
james and remus are the sun and the moon people! the sun and the moon!!!! like, the sun is also a star. you get me? this is why james and remus bestieship is so special to me. this is the relationship. this is the way.
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vista
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I really, really wish people who don't have the capacity to properly take care of animals would simply accept and acknowledge that about themselves. This isn't even a post of me trying to be mean or judge anyone, I'm sure most people go into getting an animal with good intentions, but intentions and actions are different. If you don't have the time and the space and the care an animal needs, the animal will suffer. The fleeting joy of having a kitten or puppy or anything else doesn't last forever and they aren't toys to be put down and forgotten once you've moved past the inital excitement. If you don't have the ability to properly care for an animal, just accept that and simply admire them from a distance.
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How much chuck could a chilchuck chuck if a chilchuck could chuck chil
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I know we collectively agree that Hiccup isn’t romantically inclined, and his getting married and having kids didn’t make sense in the epilogue, but consider: Hiccup getting married for political reasons.
It’s a marriage of alliance, which is recognized both by him and his partner, and they enter it without expectations of romantic involvement. Since they’re now married, they live in the same castle, spend time together, and Hiccup finds he really likes his spouse. They’re funny, get along with his friends, and has the same interests and values. They both probably speak multiple languages. She understands why Hiccup is so dedicated to making the Wilderwest better, and holds similar views. She’s a good politician (her job after all, was to be an ambassador). Hiccup likes spending time with them, and the feeling is mutual. They’re not in love, they have their own lives, but they’re dedicated to each other and eventually decide to raise children. They teach their kids how to train hawks and hunt with dragons, riding, history, the Languages, and all the necessary skills of their world. They’re not in love and they’re happy together.
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I've been thinking about how Vash always seems to be hungry. Or at least, that he's shown eating quite often in the manga. Happily having his salmon sandwiches. Eating an entire box of donuts in the side car. Knowing the conversion rate of bullets to pizza. Seeing a flower and immediately wondering if it's edible. Pondering his life over breakfast. It's a really cute little character detail about him - he likes food.
But then I kind of started to think about the angel arm and its specific brand of destruction. How there were no bodies to be recovered. Nothing but a crater left of July, left on the Fifth Moon. It's all been incinerated. Devoured, even. Tristamp takes it even a step further and makes the power something akin to a black hole - a yawning drain; a constant destructive hunger.
Vash is clearly terrified of this potential for destruction, and for very good reason. But it's not separate from him as some kind of "power he can't control" - it's his arm. It's literally his arm. It is him. Vash is scared of himself, scared of losing control. He does what he can to repress it, even subconsciously (the gaps in his memory whenever it activates). He can't control it in the moment, so he takes steps to preemptively push it down, to avoid the use of his abilities entirely, to hide himself away.
I talked a bit in a previous post about how there are probably several interrelated reasons for Vash's chronically avoidant behaviour, but I'd like to throw one more into the ring and suggest that it's not just a matter of not deserving to want things, but maybe also that he's afraid of wanting. That if he allows himself to even think about what he wants personally that he'll want too much, take too much, and that the only cure in his mind for this is to give and give repeatedly.
I wonder how starved he is for love. Vash loves hard, after all. Once he loves (and I’m not talking about the broad, distant love/compassion he has in general), for better or worse, he carries them around with him forever, long after they've passed. Does he feel like it'd be selfish to admit this kind of want? His love isn't really a passive thing after all - it's the drive at his very core; a mournful inferno he is just barely suppressing. Does he remember how to love in a way that doesn't consume him entirely?
Is that part of the reason he checks out at signs of intimacy? Diverts gifts towards others? Tends to accept kind gestures only when under an assumed name? Intentionally starves himself in Tristamp? Runs and runs and runs? Is he afraid he won't be able to stop hungering? That allowing himself to want means his want will become insatiable?
I just have to wonder how much of his avoidance of connection is being scared that he will cause more destruction (to them? or to him?) by trying to take far too much into his hands than he ever caused by turning his back and running.
...of course I may just be entirely deranged here sorry.
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if escape rooms as team building exercises became popular im not sure if id be more excited or terrified
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Feel free to put the exact moment/further details in the tags if you’d like :) for me they had that flavor of chemistry as early as their s1 gala clinking glasses scene but I think it was “ugly ugly boy/you big dumb hairy baby twat” that fully sold me
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I think the general idea for Batman (and DC/Marvel in general) canon is basically just the multiverse model. Like the mainline comics get respect for being the first one to exist, and of course you get the obnoxious idiots who whinge about how and deviation from the comics is Bad and Wrong, but otherwise the various different shows and movies are all their own seperate canons. Like BTAS Batman has his own canon, with only Dick and Tim as Robins and ending with him passing the Batman identity to Terry, but no one expects that to impact the comics. (Well, beyond massively popular characters from the other canons like Harley Quinn inevitably showing up in comics too.)
Basically, what I'm trying to say is that Batman as a story is big enough and has so many canons that it's really not unusual to be a Batman fan without ever reading the mainline comics.
It's an entry point thing. So take, I don't know, Middle Earth, for example. (Though technically, as broad as that phrasing is, even that isn't accurate because there are other places outside of Middle Earth that are still within the same universe. Don't come at me.)
There's capital C Canon, and that's the original books as penned by J.R.R. Tolkien (though even he dabbled in some metatextual rewriting with the retcon of the Ring between The Hobbit and The Lord of the Rings but we won't get into THAT right now.) The world of Middle Earth as a whole was created starting in the 1930s as a piece of literature up through J.R.R. Tolkien's death in 1973.
From there, though, it gets trickier. The stories of Middle Earth et al have been transformed and added to in the intervening years. Bakshi created an animated movie in the late 1970s that, because it is told in a different medium, by necessity tells a slightly different story. Is that canon? The live-action trilogies from Peter Jackson in the 2000s and 2010s, those are again different and diverging stories from the books. Are those canon? What about the added materials from Christopher Tolkien, as revised and published from his father's materials by the estate? Are those canon? What about the Amazon Prime television series? The Veggietales movie? They're ALL "Middle Earth" and all likely have functioned as the initial entry point for someone and therefore ARE capital C Canon for someone, but by design or circumstance each displays a different version of events and characterization that will necessarily conflict in small or large ways.
With comic-based canon, it can be even more complicated because Hollywood has a habit of skinning comic properties and dressing up new little blorbos in the names of older comic characters. Even I know the Nolan Batman movies look noooooooooothing like the Silver Age Batman comics and the Birds of Prey Cassandra Cain has no relation at all to any other Canon or canon depiction of her, as far as I'm aware.
So, yes. "Batman as a story is big enough and has so many canons that it's really not unusual to be a Batman fan without ever reading the mainline comics" because defining canon in and of itself is such a HARD and complicated thing to do. And I also understand why folks with a much more simplistic and rigid definition of canon (aka, their own specific, personal entry point to the world and characters) can feel so weird when they encounter someone else with a different definition.
But also I think there's an argument to be made that when the Arbiters Of Official Canon (in this case, DC) have aggressively rebooted and rewritten THEIR OWN CANON so many times without regard for continuity or even inherent internal logic, then there is no absolute authority of Canon or canon and we can all do what we want with the understanding that when you or I or anyone else gripes about "canon" and "characterization" we're speaking only within our own pocket of the bramble.
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If it helps, I've been following you for a long time (i still call you jiang in my head since that was the username i knew you as lol), youre like one of my biggest art inspos and the first thing I do when I get paid is check to see if your comms are open and I just want you to know that u can see your progress in every single piece you draw even in your sketches it's so obvious to a fan that you improve with every piece and I think your art is so dear to me (at the very least) and I want you to know that I've always viewed your art as ethereal and it's just all around really pretty.I hope you learn to love your art the way I love it <3 have a good night and in the morning I hope you wake up to warm light and continue to have the kindness you have after seeing whatever post you saw that made you have a good outlook tonight :)
im gonna start crying agaiiiiin
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After House is gone and Chase takes over the diagnostics department, Foreman inevitably becomes instantly afraid of making the same mistake with Chase that he did with Thirteen. He's the dean of medicine and that makes him Chase's boss. And he knows that he's always had a problem with putting his career over everything else, because he's never felt like he deserves to be cared for by another person. He loves Chase and with Chase he feels safer than he has ever felt before (not safe, mind you- just safer).
Of course Foreman doesn't want to just give that up just because he's the dean of medicine. Except now House is gone and he doesn't have anything that makes him feel like he belongs there. He's just that black teenager that got arrested and he's convinced that that's all people can see. He's not a successful and intelligent doctor, he's just a guy who's unhireable everywhere else.
No one else sees him that way, maybe, or at least they don't say it to his face, but he needs to prove them all wrong anyway. And there's only one thing he can think of to prove that he belongs at PPTH and that he's qualified to be dean of medicine. He needs to prove that he's better than the famous Dr. House's department. So he starts undermining Chase's diagnostic decisions at every turn, always insisting on swooping in at the last minute to solve the diagnostic problems for Chase.
After work one day, Chase asks Foreman to respect him at work, tells him that he feels incredibly insulted by his behavior and that there's no justification to behave the way he does. Foreman instantly gets defensive because from his perspective, Chase wants to undermine him at work and prove to everyone watching that Foreman doesn't belong at PPTH. So he escalates the behavior at work, tells Chase's new fellows to run every test and every treatment by him, refuses to approve anything that isn't painfully obvious.
Chase doesn't see that Foreman is trying to protect himself and prove to himself and everyone else that he really is deserving of everything he has. He definitely doesn't see that Foreman feels like he never deserved to be with someone like Chase who makes him genuinely happy and that he feels like he needs to be the best at everything just to be allowed to be loved. Foreman doesn't tell him any of that.
So when he's finally had enough, Chase leaves PPTH and he leaves Foreman. Foreman never opens himself up to another person again. No one likes him, but at least they respect him.
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there’s something here i think. maybe
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Interesting thing about Lincoln.
As a person and a politician, he was defined by his way with words. He was a lawyer, which involves speaking in courtrooms and appealing to audiences. He rose to national prominence because of how well he did in a series of public debates. He wrote speeches that have lasted through the ages because of their concise yet vivid phrasing.
He understood the world through the lens of storytelling. He had anecdotes for every situation, and constantly used them to provide metaphors explaining his stances or his strategy or his view of an issue.
As president during a Civil War, a huge part of his job was crafting the narrative explaining what they were fighting for. The Gettysburg Address reframed the national narrative so the founding moment of the country wasn't the ratification of the Constitution--as the South claimed--but the Declaration of Independence that listed the ideals that all the states should be held to. Of course, the South was doing the same thing, so that the conflict was not only a battle of muskets and cannons--it was a war of stories.
And he was killed by an actor.
In a theater.
He was struck down by an opposing storyteller in a palace of artifice. An actress made a point of cradling his dying head in her lap so she could have a part in the drama. He lived by stories and died as the center of one, in a place made for telling such stories.
It's poetic and tragic and so shockingly fitting that the war of stories claimed him as its central victim.
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