#sometimes in the same panels and interviews

[endiness]

okay, i have gone through probably 50+ s2 interviews of hc researching this so far and i have to say that at this point i really don't see how he wasn't deliberately trying to manipulate the fanbase and the media against the writers and the show to get them onto his side. (and also, like, a very specific, extremely toxic section of the fandom at that.) (it's the sexist incel gamerbros. i'm talking about them.)

"I wanted to represent as much of a book-accurate Geralt as possible and a lot of the fans did as well, and so I campaigned really hard to make sure that he was more verbose, he sounded more intellectual, his choice of words was more thought out and that his approach to Cirilla and everyone else wasn’t antagonistic. Because it initially came across as he was just grumpy all the time with everyone and everything and I really wanted to show this three-dimensional character […] It’s gonna be tough to do the stuff which is as brilliant as Sapkowski’s writing, but it’s something I’m always gonna campaign for and it’s hopefully fit into the vision of the show."

there are so many interviews (ie virtually every interview out of 50+ with the exception of maybe, like, 3) where hc says the exact same thing about how he just cares so much about book accuracy, specifically where geralt's characterization is concerned, and that he really started to push for a more book accurate geralt in s2 and wanted him to be more verbose and intelligent and show that he isn't just a one dimensional character who just grunts and says hmm all the time like in s1 — and at no point does he ever take any responsibility for how that was due to his acting choices in the first place because he would cut his lines.

he also just straight up lies about the situation because the writers originally wrote geralt as being more verbose and book accurate in s1 but then changed the way they were writing him due to the acting choices he made. and yet he acts like that was never the case and that geralt was never originally written that way and he pushes this idea that a book accurate geralt went against lauren's vision. even though, once again, that was the original vision and it only changed due to him.

and on the extremely rare occasion (i'm talking, like, maybe 2 con panels here) that he ever takes any kind of responsibility for his role in all of that, he still waffles about and tries to present this image that he wasn't really cutting that many lines and they weren't really that important anyway and it didn't really matter:

"I didn't even cut that much. Just little bits when someone says how they feel, I thought if Geralt says nothing, and maybe the well-known grunts or hmms and sometimes the occasional f-word, people can take from that what they will."

even though that can't be true as confirmed by joey:

"Henry likes to cut his lines, 'cause he's lazy. No, he literally just likes to cut them. He likes to do more up here [frames his face with his hands] and just with face and hmms and grunts. There's a lot of hmms, and so I often have to take a lot of his lines and turn it into a lot of my stuff so that the plot happens."

and even hc himself confirms this and what joey said in a s1 interview:

"All the grunts, I either added or I didn't say anything and just grunted instead. It was often up to the other actors to go, 'I think he's not gonna say anything now.'"

i also have to point out that hc directly links his push for a more book accurate geralt to reading comments on reddit as i think that's very relevant to what section of the fandom exactly that he's pandering to and why he's been so vocal about it while lying about the role he played in everything and what actually happened:

"I’m on all the Reddit forums. I’m reading all the reviews. I’m literally trying to get everyone’s information. Some of it is not useful, and other criticisms are incredibly useful. I take it all in, and I look forward to bringing it even closer and closer to Sapkowski’s writing. I think any of those criticisms, they often lie in things like I was saying—we don’t have the advantage of a long involved conversation or dialogue with Geralt, so they are criticisms which I think I was prepared for. So for me, it’s about seeing that, understanding it, and working out how I can do my job better within the framework provided, [how to] appease and make those people feel comfortable that I do actually understand this character—and love this character just as much as they do."

"As a source for information, it's really helpful for me to see what everyone's saying, what everyone's thinking, and to see how much my thinking falls in line with whichever side of that spectrum it is and whether I'm doing the wrong thing, for example, by campaigning hard for the book Geralt to exist or whether I'm doing the right thing."

and just another important thing to point out imo: virtually the only times hc ever takes any responsibility in any capacity whatsoever for his own role in the show not adhering to the books (which even then he barely does and it's still always with a lot of excuses), it's only ever at con panels — which are far less likely to get picked up by news outlets and seen by a broader audience — and not in formal interview settings. (except for, i think, one interview he gave early on when s2 first went on hiatus. but even then, it still has the same problems that the con panels have where he comes up with a lot of excuses that don't match what happened.)

then there's an interview hc gave where he went on about how he added some book dialogue into a scene and he made it out to be like it was some kind of rebellion against the writers and he didn't consult them as he was just going to do what he wanted, consequences be damned:

"I did not feel like having long discussion about whether I could add this bit somewhere. So I just did it, said the words in front of the camera, and was ready to face the consequences."

and meanwhile what actually happened was that lauren eventually let hc have free reign and rewrite a scene that he was unhappy with. which, y'know. kinda fucking weird to present what happened in the way he did.

and then there's him pushing this narrative that the female characters — namely yennefer and ciri — were given more depth and focus than geralt and the male characters as if that came at their expense and all of which is somehow due to lauren's women-centric vision of the show as if that's somehow opposed to how the books themselves are:

"On season two, I wanted to bring as much of 'Book' Geralt into the show that Lauren's vision and that the plot would allow. That's a tricky thing to do, because the plot, as Lauren has said, is very centred around bringing women into the centre of The Witcher."

"In Season 1, there wasn't really much of an opportunity for expansive dialogue which Geralt is known for — in the books, he's often known to monologue — because we had two original origin stories which were the center point of the show."

"Lauren’s vision was more of an ensemble piece than the first Witcher books. It’s driven a lot more by the characters of Yennefer and Cirilla."

"I wanted to make sure we really explored as much as showrunner's vision could allow. She has her own plan, so I’ve got to toe that line between book Geralt and Lauren’s vision."

"I wanted to try and bring as much of the book’s Geralt into Season 2 as possible, and as much as the vision, the plot and storylines would allow. The toughest part for me was finding that balance between the showrunners’ vision and my love for the books, and trying to bring that Geralt to the showrunners’ vision."

"It’s important for me to have the character be three-dimensional and it’s tricky to do, as I was saying earlier, because there’s a certain vision and there’s a certain set, storyline and plot. And so, it was about me trying to find Geralt’s place within that."

"There’s only so much space to provide the same character from the books within the showrunner’s vision. But, I did my best to provide a bit more of a three-dimensional character with a bit more emotionality."

"It's important to me that the men in the story are three dimensional as well."

like, first off — and not to continually reiterate this but — that's not true. in s1, geralt was originally written as being just as verbose and intellectual as he was in the books and that only changed due to hc cutting his lines and we know that joey often had to take his lines, too. so there was, in fact, always plenty of time for geralt to be book accurate and for yennefer and ciri to have their own focus. these things were never mutually exclusive and it's definitely some kinda take to imply otherwise.

secondly, while it is true that geralt is the main character of the short stories, ciri is the main character of the main series starting from blood of elves, the book that s2 adapted. and despite claims otherwise, her pov has always had the most focus — yes, even more than geralt (sans baptism of fire, obvs.) and it's not like ciri is the only female pov, either, or that there aren't other important female characters that make up the series. there's yennefer, triss, milva, philippa, fringilla, nimue, condwiramurs, kenna — and that's just off the top of my head. there are plenty more where that came from. women and their stories have always played a central role in the books. nothing about that goes against them or is unique to lauren's vision.

and just with boe in particular, like. triss's pov is either focused on more than geralt's or at least about as much as his depending on how you want to break things down. and with dandelion following very close behind them, too! like, ciri may be the main character of the main series and geralt may be the main character of the short stories and their povs are the most focused on overall, but the books are still very much an ensemble piece made up of a collage of many, many povs to paint a full picture of the universe. and, yeah, the women make up a huge part of that. so the show focusing on ciri and yennefer and the women — and, yes, the men as well because it does actually do that! — is um, still book accurate. so y'know, why the fuck is he presenting this idea that's somehow not the case.

in general, hc emphasizes in a lot of interviews how much he fought for "male characters to be three dimensional." which yeah, given the context of everything else, is some suspicious kinda phrasing because it gives this undertone that the show wasn't writing three dimensional male characters in the first place as opposed to the women and that it's only due to his efforts that anything changed.

also, i have to highlight this quote of him talking about the three dimensionality of men because ~curious that he omits women from the list of people real menTM can be loving and caring toward:

"I believe that real men are very sensitive. They are very capable of doing things which can be violent, if possible, or necessary. But at the same time, they are incredibly capable of love and caring amongst men and towards children and family and all sorts."

and then there's the way hc talks about changing things which comes across as so suspicious, too, imo. especially when there is every other cast member to compare him to. because the way the rest of the cast has talked about this is that they all very consistently say that the whole process is very collaborative and that lauren is very much willing to hear them out about their thoughts and concerns and that it really feels like a team effort and that everyone is working together. and meanwhile the vibes that hc gives off is either "me vs the world (ie the writers)" or "but there's nothing that i can really do to change anything and it's all on the writers~" either way, his attitude very much comes off like all bad decisions are the writers' fault but meanwhile any good decision was due to him and him alone (or maybe the rest of the cast, but definitely not the writers.) like, weird af to play it off that way especially since every other cast member didn't seem to have any problems and they all gave credit where credit was due ie to lauren and the writers.

in conclusion, it'd be one thing if hc had just taken the l and admitted that he is the one who fucked up geralt's characterization in s1 and so he sought to rectify that in s2. but yeah, he doesn't really do that. instead he lies over, like, 50 times to create this narrative of him pushing for book accuracy as if that's somehow in opposition to lauren and the writers and as if they didn't originally write geralt book accurately in the first place and as if he played no role in the lack of book accuracy at all. and then that there's also him pushing this subtle (or not so subtle) narrative about how the women were taking a more central role as opposed to the men and that's somehow unlike the books and something purely due to lauren's vision, too? even though women have always played a central role in the books to the point where ciri is the main character of the main series? and that he's directly linked this narrative he's pushing to reading comments on reddit? (and that he also has a history, since s1, of trying to cater to game stans?) yeah, i just don't see how this doesn't add up to him trying to manipulate the media and audience — especially the worst parts of the fanbase — against the writers and the show and onto his side.

(also just one last thing i'd like to note as i find it super weird that when hc was asked about giving freya any advice, he immediately shut down the notion that he would ever do anything like that and he would never offer her any unsolicited advice and he would only ever give her any if she came to him first. like, there are literally s1 and s2 interviews where freya talks about hc giving her advice. i mean, maybe she did come to him in the first place, idk. but the immediacy in which he shut down the idea that he would ever do anything like that as if offering someone younger than you advice and being a mentor to them is wrong… weird. sus, even. like, why are you scrambling to cover your ass for something that's not even bad and, also, why are you lying about it by omission in the very least.)

#anti henry cavill #!txt: the witcher #also just a friendly reminder that hc didn't even know the books existed when he started pursuing the role #and he had only ever played the games and he actually thought that the books were based off them #(and yet still never picked them up at all or y'know googled the series despite being such a massive fan) #and he's only read the full series once in 2018 right before he got cast #and he's never played the dlc either

[deancasbisexual]

jensen ackles is an enigma. you never truly know what he's thinking or feeling. everytime you think he's gonna zig, he gives you a zag. everytime you think you've figured him out, he says or does something that throws you off his trail. he's the human embodiment of "never let them know your next move."

jensen ackles you are a very confusing man. I do not understand you. and I like that about you. I think.

#idk how he has said both pro destiel things and anti destiel things #sometimes in the same panels and interviews #he confuses the hell out of me #he's gotta be fucking with us right? #destiel #jensen ackles #dean winchester #supernatural #spn #deancas

[deva-arts]

She's corrupting him with brushed hair, skincare and head scratches. Soon he might actually be tolerable.

On a side note who gave him that smarmy shirt. Someone, anyone. Go compost it.

Bonus scribble and speedpaint under cut!

Making the ratman want to go back to the sewers

Video!!! A video!!! I love ibispaint's niche little features <3

#sonia is really pushing it with her outfit but vincent does not particularly understand or care about the concept of cleavage lol #soniasanderstag #vincent is so odd to draw for me #vincenttag #they are so silly #When asked what she likes about vincent #sonia says: lmao idk he's stupid sometimes i guess haha also can i use the bathroom #she went to the bathroom and proceeded to jump out of the window to evade the interview panel entirely #when vincent was asked the same he said: shes okay i guess. #then he proceeded to insult the interviewer with a thesaurus' wealth of words until she cried and flew to a little farmer town to woo ellio #they are friends #the world will never know if vincent actually likes the scritch scratches. #(he does. he just has trouble articulating when he feels safe or at ease most of the time. being cared for at all is pretty foreign to him. #she's socializing vincent like a feral kitten and it might be working somehow #while vince is still learning and adjusting to the shiny new world of humane treatment chock full of new layers to his hierarchy of needs #sonia is just happy to chill and have a friend. a kooky weird friend that regularly talks about wanting to fight bears nude in the forest. #sonia is the kind of person that can get along with anyone #given the right amount of time to reach them #Golden retriever personality vs feral hyperactive racing dog personality #Vincent: Oh. This actually feels... Not-pain? is there even a word for this? f*cking yikes bro. ew. cringe. I want more actually #ARK_SYSTEMA

[ghostofwriting]

Kildare Split Part One: Angel

Chapter One: Angel

Rafe Cameron x Reader

Note: Thank you all for commenting, liking, reblogging, and interacting with the KS smau's! I really appreciate you all and thought that I would give you a little treat for being so nice. I can't sleep so here is part one of Kildare Split's story, more specifically y/n and Rafe's. Hope you have fun getting to read about the behind-the-scenes. This is absolutely not edited.

Warnings: none, bad writing, Rafe being mean.

Word Count: 3,710

Synopsis: Everyone has noticed that there's been a shift in how Kildare Split acts around each other. Rafe and Y/N used to be so close, they were always pictured together, and always shared stories of each other and for the last few years, there has been nothing from them. A behind-the-scenes look at what went down between everyone's favorite band.

The audience claps as the interviewer closes out the interview. The four of them stand up and start shaking hands with the man. One of the Jimmys or Seth or maybe even Jack. She doesn’t know. She just wants to leave. She’s so tired. It’s been such a long day of pretending. 

Y/n’s the first one to make it backstage, she breathes deeply, her back against a wooden panel. 

“Hey, you okay?” a voice comes from behind her. She puts on a smile and nods her head. 

“Yeah, Top. Fine.” He nods and gives her a half smile. 

Things aren’t the same as they used to be. They haven’t been the same in so long. Two years? Maybe three. Everything is such a blur. Time mending together. Touring helps a lot. It helps time pass, and it helps distract her. Being on stage helps too, that’s the only moment that she can pretend that everything is okay and believe it. She can look at Rafe and smile at him and it feels like before. 

Topper leaves her alone, he goes back to the guys, hanging back with them as they talk to their manager. She walks into the dressing room, gathering her stuff and waiting for Sarah to text her that they’re ready to go. 

Rafe walks into the room, alone. 

“Good job tonight.” He doesn’t look at her. He just starts shoving his belongings into a tote, grabbing some extra snacks that the show provided them. 

She’s so angry. Even still. Even after all this time. She wants to scream at him, beg him to explain himself but she can’t. So she stays quiet. 

“This has to stop.” He says, pausing his actions, still not looking at her. 

She looks at the back of his head. His hair starting to grow out from when he buzzed it, bleached from his album shoot. 

She wants to speak but she can’t. It’s like the anger chokes her up, this ball of fire stuck in her throat and she can’t get a word out because all that will come out is lava. She wants to hurt him. Wants him to feel a fraction of what she felt. And even then, she doesn’t even know if she’s in the right. Two years later and she’s still mad at him, even if she shouldn’t be. 

Sarah tried telling her to talk to him, to work it all out for the sake of the band. From her perspective, the band hasn’t suffered. The band is doing better than ever and she thinks that she deserves an award for not killing Rafe on stage. 

Sometimes she wishes she could put everything behind her and just try and be his friend again. They may never be best friends again, but she could speak to him at least. She thinks she’s civil with him though. He’s not dead so that says something. 

Rafe just sighs and sits on the counter, pulling out his phone. He’s probably texting her. His girlfriend. No, the fiance. The one he cheated on her with. Or well, sort of.

+++

Rafe and y/n met when they were 10 years old. She was friends with Sarah and always went over to her house. She thought of Sarah as her best friend until she met Rafe. Maybe it was love at first sight or a little kid crush but she grew attached. She would not leave him alone. Luckily for her, Rafe was the same way. He always followed her around, asking her to play when he saw her on the beach, at school, or if their parents ran into each other at the grocery store. 

They became inseparable and soon they added two new faces to their duo. Topper and Barry. It was early on that they knew what they wanted to do with their lives. They would put on shows for whoever wanted to watch. They would sing at the top of their lungs and smash around on every surface they could find. 

Soon after, y/n had asked her mom to put her in guitar lessons. She picked it up quickly but she always enjoyed singing more. She had bragged to Rafe about how fun her vocal lessons were and he convinced his father that he wanted to join too. It was contagious because soon enough, Topper and Barry had each claimed an instrument that they practiced every day after school for hours. They drove their parents insane. 

Rafe said that they couldn’t have two guitar players in the band and Topper refused to drop lead guitar so y/n did. Rafe was mad at Topper first but y/n reassured him that she could pick up bass quickly. They became Kildare Split on a blisteringly hot summer day in Barry’s garage. Sarah, John B, and JJ watching their rehearsal. After that, they played shows whenever they could. Dive bars, small fairs around town, and busking outside venues where established bands were playing. 

It took them from the ages of 12 to 17 to get discovered but they never let up. When they finally got signed to their label, y/n remembers crying in Rafe’s arms. She was so happy, their dreams were coming true and she was doing it with her best friends. 

Little did she know that everything would fall apart so fast. 

Childhood is pretty much lost when you’re playing stingy bars full of drunk people and drugs at 12 years old. She thought that it would get better once they had protection from managers and label heads. She was wrong. It almost became worse. Drugs were everywhere. At 17 getting drugs offered to you by a 50-year-old man who controls your entire career is pretty terrifying. She didn’t think she could say no. The boys didn’t think they could say no. It was intense. Some of them made it out better than others, and the others, well, that’s the downfall of fame at such a young age. 

There was an entire year where she probably spent half of it high out of her mind. She went from doing it out of fear of losing her career to craving it, needing it. Rafe was the same way. Topper had tried to help them both but they were too far gone. She remembers going on talk shows, but not which talk shows or who they talked to or what they talked about. She looks back on those days and feels a pit in her stomach. Losing such a big chunk of her young adult life that she can’t relive hurts. 

That’s when it all started. She was high and drunk, and Rafe was high and drunk and one thing led to another. They had never crossed that line before. After her initial crush went away, she had never thought of Rafe that way. When it happened, it felt like someone had thrown a bucket of cold water over her head. She woke up the next day and immediately regretted it. She apologized to Rafe, told him that it could never happen again and bolted. 

That’s when she cleaned her act up. She couldn’t risk their relationship, for their friendship and the band. 

One thing she should have known is that Rafe didn’t care. He wanted her and he was going to have her. And who was she to shove all her bottled-up feelings back in their little box? Who was she to deny him?

So they start their little song and dance. At first, they keep it hidden from everyone. If Topper and Barry were to find out, they would be so incredibly upset and they would tell them to stop. 

She can’t stop. She doesn’t want to stop. Not as long as Rafe wants her. 

She gets clean and she tries to help Rafe get clean too. He relapses time and time again, crawling back to her, asking for another chance. She’s been there, she knows how hard it is to get clean so of course she gives him all the chances he asks for. 

They hook up on and off for a year. They never become anything official because Rafe isn’t in the headspace to be in a relationship. He needs to focus on himself and she wants to help him and if he needs her to be his friend, that’s what she’ll be. 

“You’re friends with benefits with my brother,” Sarah says stunned. Topper and Barry had found out and ran to her to get her to talk some sense into Rafe and y/n. 

“It’s not like that.” Sarah looks at her incredulously. 

“Are you or are you not fucking my brother?” y/n doesn’t know how to respond so she stays quiet. Sarah is scary when she’s mad.

“It’s not because he’s my brother, y/n. It’s because of what he means to you.” y/n shakes her head, smiling softly. 

“Sarah, I promise you, it’s okay. Rafe and I have an agreement.” Sarah sighs and looks at her with concern.

“I just don’t want you to get hurt.” She should’ve taken Sarah’s advice. She should have put a stop to everything that minute everyone found out. She was too far gone for him though, she couldn’t leave him, not when he needed her. 

Everyone warned her. Everyone told her that it would end badly. 

“I just want you to know that if he does something, those boys will choose him. You’re the odd variable y/n, know that.” Cleo had said to her one night when they were in the tour bus, the boys off on a run. 

“I am just as important to them as Rafe is.” Or she had thought. 

On one stupid drunken night she tells Rafe that she loves him. He gapes at her not knowing what to say. 

“It’s okay, you don’t have to say anything.” She understands, of course, she does. It’s not like that between them. 

The doesn’t stop her from crying in Barry’s arms about it. She hiccups and sobs into his chest about how much she loves him and how he will never look at her that way. Barry just listens and holds her. She falls asleep in his arms. She feels so safe with him. Her best friend. 

Shit hits the fan all at once and so fast. 

Sarah sits her down one night after a show. Her adrenaline is still pumping, she wants to go jump around with the guys and run laps around the venue. 

“Sar, can we do this later?”

“This can’t wait.” The tone in her voice brings her back down to earth. It’s serious. 

“What’s wrong?” y/n knows it’s about Rafe before Sarah opens her mouth. She feels it, there’s a shift in whatever the hell universe she’s been living in. Her face feels hot, her ears are ringing, and she feels like she starts to shake. 

“Rafe is seeing someone.” Of course, he is. She’s y/n she’s just his friend.

A friend that he sleeps with. A friend that has stayed up all night with him as he detoxed. A friend who drove him to and from meetings, that drove him to rehab and told everyone that he was on vacation. She was the person that he would run to when any little thing went wrong, she held him as he cried about their career not going anywhere and having to go back to work for his dad. She let him sob in her arms about all the shit that they have been through during the lift-off of their career. She was there for him, always for him and he promised her. He promised that he would always be there for her that it was only her. That he only ever wanted her and when he got his shit together they could be together. He told her that he wasn’t sleeping around. He didn’t have time for girlfriends, he didn’t have time to put in the work on a relationship because he could barely put the work into himself. He told her that she was the only one he was ending his nights with and waking up in the mornings with. He promised her the world and it was all just a lie. 

Just as fast as her body starts shaking, it relaxes, she takes a deep breath and looks at Sarah, the look of concern still on her face. 

“Who?” she asks lowly. 

“This painter, named Sofia.” The name rings a bell. She thinks she’s seen her call Rafe a few times. 

“That’s okay. We weren’t dating.” Sarah’s concern grows so y/n smiles at her. 

“Let’s go back out there.”

“Do you want me to call Cleo?” Sarah asks. 

“I’m good, Sar.”

And she is. Or at least she’s trying to be good. She has no right to be angry. They weren’t dating. He doesn’t owe her anything. 

They walk into the room where the guys are playing video games. Waiting for the fans to leave the venue before it’s safe for them to leave. 

“Hey! Great show tonight angel!” Rafe says looking away from the screen at her. She gives him a short smile, her face pensive. 

Cleo’s words ring in her head, those boys will choose him those boys will choose him those boys will choose him.

She knows all three of them like the back of her hand. Topper's lip quivers when he lies. Barry doesn’t look you in the eyes. And Rafe, Rafe’s ears turn red. 

She has to know if the two boys, men, that she grew up with and calls her family, would keep that from her. 

“So who’s Sofia?” She watches as all three of them tense. She’s looking between Barry and Topper but she sees Rafe turn to look at Sarah with anger between his brows from her peripherals. 

She looks for the cues and hopes that she can’t find them. It’s hard to miss when Barry doesn’t look up from his controller but is frozen, quiet. She looks at Topper, his mouth open, trying to find something to say.

“I don’t know, some person we commissioned probably.” She can’t help the breathy sob that escapes her lips when she sees the quiver on Topper’s. 

She swallows hard, she turns to Rafe, shaking her head at him and backing away. 

“You’re a liar. You’re a fucking liar. All of you are.” She backs into the hallway, her eyes still floating from one to the other. 

“y/n-” Topper moves towards her but she holds her hand out and cuts him off.

“No. Stay away from me. I never- I-” she chokes on a sob. “ I never would have done this to you. Don’t talk to me, don’t follow me, just stay away from me.” She turns on her feet and books it out of the room and hallway, she hears Rafe chewing Sarah out but doesn’t stay long enough to hear what Sarah says. 

Things are awkward, to say the least from then on. She stayed in her bunk and silently cried herself to sleep. She wants to go to him, ask him what she could have done, ask him what happened and when he knew he wanted to stop things with her. He doesn’t come to see her that night, or the next night or the night after that. 

At first, she thought it was because he was giving her time to cool off but on the third night of complete silence from him, she walks into the dressing room of their show in Nashville and a pretty girl with short hair sits on the couch. 

“Hi, I’m Sofia. You must be y/n.” She extends her hand out and y/n takes it. 

“Nice to meet you.” y/n says. 

“You too, sorry about how things went down.” Y/n scrunches up her nose, her head tilting. 

“What?” She asks.

“I mean, I knew he had to choose eventually, he just didn’t get the chance to tell you.” She feels like she’s going to throw up. She wasn’t planning on hating Sofia, but she knew. Sofia knew that y/n existed and she still kept on seeing him. 

She walks out of the room. 

That same night, everything changed. If he had just apologized, if he had told her that he fucked up and he was too drugged up to think clearly, she would have forgiven him. That’s not what happened. 

She runs into Rafe in the lunch area and can’t hold in all her feelings. She needs to know what he’s thinking and wants to ask him to explain himself. 

“Rafe?” He doesn’t acknowledge her. 

“Can we please talk?”

“God Y/n, I don’t want to fucking talk. I’m so goddamn tired of you moping around this place like you have any right.” He explodes at her, his face red. 

“What?” She’s shocked, he’s never talked to her like this. 

“You’re just some girl I fucked okay? I needed to get off and you were always there. You were just a fuck. I don’t care about you like that.” He pauses. His words sank into her like knives. 

“I’m going to get clean for her. Sofia, she’s worth it.” He walks out of the room without saying anything else to her. She feels her eyes start to water, chills running up and down her body.

How could he be so cruel? How could her best friend of so many years say he doesn’t care about her? How could he disregard her feelings and belittle her to be just someone he fucked? She thought they were friends. She believed that they would come out of this situation unscathed but he didn’t even see her as a person. 

The people she thought cared about her most in the world, didn’t care about her at all. They all chose someone else. They didn’t choose her. 

She had never felt so alone in her entire life. And for the first time since they started their journey as a band, she wondered if any of it had been worth it. 

+++

“I don’t think it can stop.” It’s the first time you’ve spoken to him directly and not on stage or in an interview in years. 

“What do you mean?”

“I’m going to move out of LA, back home probably or New York with Cleo and Pope.”

“y/n.” It’s not Rafe’s voice saying her name, it’s Barry from behind her. She turns around and looks at him, looks past him and Topper, and then back at Rafe.”

“I think we all know this has been building up and it’s getting really hard to pretend all the time so um-yeah I’m going to go, I need a break after the tour’s over.” She gulps down the ball building in her throat. She needs to get through this. She hates putting the band on the back burner and hates that she’s to blame.

“What are you talking about?” Rafe asks her, getting off the counter.

“It’s just a break. I think we should announce a prolonged hiatus and just do our own thing for a bit.”

“We have an entire third album to record,” Rafe says incredulously.

“I’ll keep writing and you can send me the vocals you want me to lay down. It’ll be fine.”

“You’re breaking up the band over some stupid grudge?” Rafe asks. 

“That’s not what I’m saying. I just need some time.” It’s not a grudge.

“You have got to be kidding me, y/n, come on. I know how much you love touring and making music.”

“I do,” her voice breaks, “I just need time away from all of you.”

“You need a break from us? What did we do?” Barry pipes in.

“You left me alone. You let him,” she points at Rafe, “belittle me and make me feel like nothing. You isolated me for two years.” Rafe scoffs. 

“You did that yourself.” He sounds hurt more than he does angry. He’s different now. He’s better in a way. He hasn’t apologized to her but he’s good now. He’s clean. He got clean for Sofia. Because she was worth it and y/n wasn’t. 

“Because I was hurt, Rafe! You broke my heart. I fucking told you that I loved you, I was honest with my feelings for you and you never said anything back and then you told me you didn’t care about me!”

“I wasn’t in my right mind.” The tears are still gathering in her eyes but she refuses to let them fall. 

“If you had just apologized to me, this wouldn’t have happened but you said some nasty shit and never looked back and I was just so alone.”

“Do you know what it’s like to have no one to talk to on tour for months on end? That’s what I have had to go through for years because I don’t trust any of you! Because you hurt me and never apologized.”

“I’m sorry. I know it’s late but I’m sorry.” Topper is the one that speaks up. 

“Thank you, but it’s too late. I need some time. I need to heal so that the band can continue because I don’t think I can do this for much longer if I stay.” Topper nods, agreeing with her. She gives him a thankful smile and breathes in deep. 

“Okay, so we finish the tour, and a week or so later we announce that we’re going on a break. We’ll still write and record and we can even release the album but I won’t be doing press for it.” She looks at all three of them and nods. There’s a finality to her words. No room for argument. 

“And you have your solo album to figure out and do press for, maybe you can even tour it. You’ll be fine.” She says to Rafe, more words than she had said to him directly in a long time.

“I’ll see you all soon.” With that, she walks out of the talk show’s dressing room, towards the exit of the building. She was going to finish up this tour. She could do that and then she could rest.

#rafe cameron imagine #kildaresplit au #rafe cameron x reader #rafe cameron #outerbanks au #rafe x reader #rafe obx #rafe cameron au #rafe cameron smau #rafe outer banks #rafe x you #rafe fanfiction #rafe fic #rafe imagine

[bao3bei4]

why zines? how zines?

i was on a panel at fanworks con 2023 about zines today. it was a lot of fun! i decided to turn my portion of the talk into a post for my friends who couldn’t make it to the panel. 

this post includes my thoughts on: 

why make a zine

how to generate ideas for zines

how to finish your zines

how to build an audience for your zines

so why zines? what are they? [ZEENS, rhymes with beans], pronounced that way because it’s a shortened form of the word magazine, are basically just that: self published magazines. but why make a zine over, say, a blog post? or any other piece of art. 

i have basically three reasons. the first is that making little books is cool. it’s genuinely awesome to make physical zines and have the product of your labor in your hand. it’s a great feeling to finish a project and feel a concrete reward, and a lot of times we don’t get that in our lives.

the second reason is that zines give you absolute editorial control. you can put anything you want on a page. whatever layout, whatever order, whatever fold, whatever content. you name it, you can do it. this is something other venues rarely give you. for artists, it’s phenomenal. and for the rest of us, it gives us the ability to become artists for a little bit, as we lay things out.

the third reason is that zines can be absolute shit. in fact, the more shit they are, the more diy and punk they are. they have an incredible lineage of stolen copy paper and anarchist politics. all that to say, is that there are no standards. the zine ethos is say what you wanna say. it’s tremendously freeing to go fuck polish and respectability, i’m making my project.

because of these three reasons, i want to encourage you to get started making zines by describing common challenges and worries and giving you several practical tips for each on working past them. so, in order, they’re “i don’t know what to make a zine about,” “i struggle to finish projects,” and “no one will read my zines.” let’s get into it.

first up, “i don’t know what to make a zine about.” i think this one is pretty common, even for experienced zine creators. sometimes you’re in the mood to make things but you have no clue what. a lot of people suggest to just go with random words or whatever pops into your head, but i’m picky! i find that unsatisfying! so here are some tips for people in the same boat. 

ONE: what’s distracting you? work with it. because anything can be a zine, let the things you’ve already done serve as inspiration. photos you’ve taken can be formatted into a zine. is there a game sucking up your attention? make a zine about it. the song stuck in your head can turn into a lyricbook, forgotten works in progress or sketches can be resurrected, cannibalized, or even published as incomplete zines. if you’ve been busy with real life, maybe the recipes you’ve been making—even if, especially if, they’re struggle meals, can turn into zines. interview your most interesting friend. summarize a book you read recently. even if you’ve just been doomscrolling, that’s a zine too! i got a zine last weekend called bay area newsreel which was collecting recent articles about local news from leftist perspectives gathered up into a handy volume. your attention is a gift, so look at what zine fodder it’s accumulated for you naturally. 

SECOND: add a twist. sometimes i have an idea but it isn’t quite right. it just seems too straightforward. so i try to develop along a single axis of content or form. what this means is basically go against your instincts, or rather, your first impulse. that first idea is very hard to walk away from, but doing so often gives you an idea that gets you unstuck. so for content, add a different perspective. for me this is often a theoretical approach. when i was stuck on my scum villain zine, turning it into freud zine let the words start flowing. next, on form: present it differently than your first instinct is to. if my first thought is “essay,” i try to figure out how to chunk out the information into modules or how to add interactivity or what kind of illustrations to add. if my first thought is “this could be a fic or comic,” i try turning it into an essay. saying things a different way often gives you a new perspective on the content as well. 

THIRD: copy! make your take on the same thing as someone else. it’s not stealing—well, ideally it isn’t. make your original take and give credit where credit is due and ask permission if necessary. but engage with the medium!!! making zines without reading zines is the same thing as trying to write a paper without citing sources, or a novel without reading your contemporaries. that is, you can do it, but it’s hard. zines are a genre into themselves so figure out how to situate yourself in their ongoing dialogue. an example of this from my own practice is that i own a zine about queer gods and mythological creatures from chinese history. reading it i was like. why don’t they talk about this. why don’t they talk about that. and that became the basis for my own zine, guaitai the strange and the queer which focused on queer chinese history and literature instead. different zine, same inspiration. 

all of my ideas suppose you have SOMETHING going on. what if you truly have nothing. my advice? adapted from my “how to write an essay” blog post, is to read a book. read an article. read something. and then post about it. and then turn your posts into a zine. don’t start entirely from scratch — give yourself a scaffolding. so first. read something and tell someone about it. i wasn’t lying about calling myself a consummate poster. it’s a big part of my thought process. 

second up, what if “i struggle to finish projects.” i’m no stranger to having a bunch of half finished half started projects lying around. but here are some zine-specific tips i have for addressing that.

FIRST! go smaller; go shittier. reduce the scope of your projects. make one pagers, lists. once when i was feeling stymied, i made a physical zine about movies i’d watched that month, just listing them with a couple bullet points on each film. i eventually turned it into a bigger digital zine where i listed movies i’d watched over the past several months with more thoughts on them, and nicely formatted. but that was something that came out of reducing my scope from “i need to write a manifesto on a movie i’ve watched recently” to “well i can just tell people about it” to “i can say two things about it.” and something actually got finished.

SECOND. your friends are a great tool for accountability. something i like to do is zine jams with my friends. nothing fancy, it’s just we’ll sit down for an hour and go we’re going to make something in this hour. or, for a bigger scope, we might work separately but commit to making a zine that weekend. it’s nice to have community and it’s nice to feel a little bit of a friendly deadline. i recommend this even if you DON’T have problems finishing zines. it’s a good time. 

THIRD. a lot of times if the words aren’t coming easily, it’s because i’m not trying to say the right thing. keep in mind that your zines don’t have to be “content.” this little paper zine i made about movies wasn’t made to share online; in fact, it’s not available online. i didn’t make it according to what other people would see or be interested in. you can and will burn out on making “marketable” content. corollary to this: sometimes what i have to say is something i DON’T want to share online. it might not be that it’s boring, it might be that it’s too personal. and i share a lot online, i write personal essays after all. but some projects i stall on because they’re really just for me, and i’m again, focused on making content. so this piece of advice is about rejecting the tyranny of the imaginary audience. 

and the next challenge is about embracing that audience! what if no one reads your zines, something that’s entirely possible. well there’s plenty you can do about that.

FIRST. cultivate zine community. read other people’s zines! talk to them about their zines! this greatly increases the chance that they will do the same for you. don’t go in expecting reciprocity; do it for its own sake, but it’s a great place to start. try asking people at zine fests if they’d be willing to trade with you, for instance. 

SECOND. write for yourself. it’s cheesy but it’s true. you really have to. if you’re not proud and happy with what you’re making on its own merits, what’s the point. now because this is a cop out tip, i’m not counting it as a tip on its own. 

so SECOND PART TWO. make your zines more accessible. if they’re not free, make them free—yes, you deserve to be compensated for your work, but it’s up to you to decide if you want a bigger audience first. if your zines aren’t short, make them shorter. make them short enough that you can post their entirety on social media or something else easy for your audience to consume. it’s a big ask sometimes to get someone to download your pdf! if they’re physical, hand them out to people you meet. remove all the barriers to entry.

THIRD. related to this, change medium. if you’re not making physical zines, try printing them out. if you’re not making digital zines, try digitizing them. both of these offer access to new audiences and new people who might be more interested in one form than another. 

i hope these thoughts encourage you to make a zine! if you do, please let me see it. i love reading zines. 

#x

[russellsppttemplates]

From the start, it was you (George Russell)

The heart doesn't seem to choose by team colours

Note: english is not my first language. This is the first driver!reader I've ever written, so I hope I've done a good job. Also, I did not plan to post this piece specifically now, but seems fitting with the whole shitshow that has been going on the past couple of days. Also, this is a plot I've seen written a lot, so I know there are many other pieces that are way better, and hopefully my take on it isn't too bad!

Thank you so much to everyone who likes and reblogs, your feedback is appreciated 🤍 and I'm taking requests so if you have any ideas or concepts you want to share, feel free to do so as I'll try to get to them the best I can!

my masterlist

Tw: race collision, medical exams, curse words, gender inequality comments

Tag list: @myloverjk-blog

Your purple race suit made you stand out amongst all of the other kids as you walked back from the podium, proudly smiling at your trophy, "Y/N! We're here!", you heard your father as he waved so you'd know where they stood, "congratulations, darling! That was an impressive overtake you did there in the last lap!", he praised, scratching your head before placing a kiss there, "I was trying to get first, but I couldn't get it", you admitted it, looking sideways at the boy who you couldn't take the first place from.

George Russell was a tall boy, same age as you, so you often raced against eachother. While you had become friends with some of the other kids, Russell wasn't one of them. It began when you tried to congratulate him for his P3 a few years ago, stretching your hand out politely, a smile on your face as he turned his back to you, mumbling something as he walked towards his parents. So, you weren't the best of friends if anyone asked.

"Y/N, darling, go stand next to the boys so I can take a picture of you! It will be such a good memory for when you're older!", your mother said excitedly, making you, George and the boy that finished his race behind you on each of your sides, smiling at the camera and hoping it would be as quick as possible, not wanting to stand next to him for a second longer than you should.

.

"I have your media day schedules here", Mary said as she handed you and Oscar your respective schedules, "Y/N, you're going to get interviewed with Charles, Yuki, George and Fernando", she stated as she then moved on to Oscar, explaing a few things to him since he was going first.

"And Y/N, while you're in there, try not to kill George, even with your eyes, okay?", she advised, tapping your shoulder softly as you looked at her sideways, "last time you were both in the same panel, you managed to be out of qualifying", she nodded, "only because our car wasn't that reliable, and we all know how theirs is", you pointed out, smiling sweetly and hoping to get on her side, "you're lucky you don't annoy me too much, Y/N", she smiled back.

The team had made many improvements to the car, granting you and Oscar the possibility to aim for higher places on the grid, and since you were a nerd about all things engineering, too, you loved when you were asked about the topic. But lately, the questions about the car seemed to get asked to your teammate Oscar, leaving the excuse that "the journalists already have the information they need", and because they didn't want to be accused of not asking you questions like it had happened before, it seemed to divert to other topics.

"Y/N, here", one of the journalists waved, grabbing your attention, "With the recent events and new propositions from the F1 Academy, do you think the sport is going to suffer from having a bigger opportunity that's being given to women in motorsport?", your heard him say, making your blood boil.

Despite the constant raised awareness for gender discrimination and discrimination in motorsport, especially in the last couple of years, some people still had it pretty engraved in their system, and while sometimes it came out looking a little bit more subtle, this one didn't even bother to soften the edges.

You'd be lying if you said this was the first time you heard these comments directed at you, or that you thought it would be the last, no matter how much you wished some sort of disciplinary measure was taken, "I woul-", you began before you heard a loud clash on the floor and felt water on your legs. The trousers you were wearing were soaked around your thighs and knees as George got up to grab the bottle that belonged to him, "I'm so sorry, Y/N", he apoligised as he put the lid back on, "I think it's best if we call it a day, hm? The next group needs to have this cleaned before they come in here", the Mercedes driver said as everyone seemed to agree and get up, bidding goodbye as Charles and George stayed until the end.

"Careful, don't slip", the monegasque driver said, making sure you wouldn't fall and walking out of the room with you, "figures the guy wouldn't even be here to check if everything's fine", you muttered as Charles chuckled, "you two really are like the cat and the mouse".

"He's not even here! He just flew off to his fancy room to delight in the joy of making fun of me", you grumbled, bidding goodbye to Charles as you found yourself by the entrance of Ferrari.

Walking the distance to meet your team, Mary was the first to get you, "I'm sorry they asked that", she said, "it's a good thing Russell spilled his drink", she teased, knowing you wouldn't want to dwell on the comments for long. It hardly solved the problem and you'd look into it in the team meeting when the time called for it, "promise you won't take him out in the race?".

Laughingly at her assumption and the fact that she had managed to pull you out of your misery as you walked to you driver's room, "don't worry, and tell the guys downstairs to now worry either, they're not going to have to build me a new car either", you flashed a smile before closing the door, changing into another pair of trousers you had brought with you.

.

"You're starting P4, Y/N", your race engineer said over the radio, "we are going to give it our all to support you and help you".

"And I'm going to drive the beat I can for you guys. Today, we get orange flying around and its going to be because of the Papaya team", you smiled under your helmet, "Oscar is P6, so I think we can even aim for a Podium, depends on how things go", you said.

As soon as the lights went out, you reacted quickly and passed the car that had been sitting next to yours, your race engineer confirming your third place and giving you a run down of all the grid changes.

"Do us proud, you're doing well, good pace", you heard on your speakers. You were enjoying the drive, analysing the data without team and looking for the right opportunity to overtake Charles, "go after the next turn, Y/N. Charles' tyres are not looking so good, so we think you have the upper hand there. George's car seems to be having some issues, too, he won't go after you", the pit wall channeled in your radio.

You looked in your mirrors as you were about to make the overtake, having patiently waited to reach the specific turn and going with it, confident that you would be able to overtake the red car.

A fraction of a second, you would always say, was game changing in Formula One. A decision to overtake or stay back, to accept the call to the pits or a new strategy, sometimes all it took was less than a second. And it also took less than a second for your car to start spinning, making you remove your hands from your steering wheel and brace yourself for the collision that would soon enough happen.

The impact wasn't as hard as you had expected, having felt most of it in your hips and shoulders. Groaning, you opened your eyes to see the damage, hearing "Y/N, can you tell us if you are okay?" over the radio.

Pressing the button, you heard the equipment's buzz, "I'm okay. I'm sorry about the car, guys", you gulped, adjusting yourself, "another car tapped me, right? Are they okay?", you asked, "George's fine from what we've heard".

After the marshalls confirmed you were free to go with the medical car to get checked over, you were back in the hospitality as the race continued, "doctor said I'll have some bruises, nothing too bad though", you gave them the report as you apoligised and thanked everyone on your side of the garage.

"Turns out they'll have to build you a new car after all", Mary offered as she hugged you, "if Russell had been more careful, this could've ended differently", you groaned.

"From what I've heard, he was trying a risky move and the car had an issue and locked up. He lost control of it and his front wing tapped your rear wheels just about enough to cause the crash", she explained, "it's not like he purposefully wanted to take you out", she reasoned.

"I know, it's just not ideal", you sighed, "we could both be in there". On the screen, Oscar was sitting P2, having successfully overtaken Charles a few laps in after the race resumed.

Even though George was far from your friend, you still wanted to check if he was okay, specially after seeing the impact the crash had on his car, too.

Walking to the Mercedes hospitality, a few people stopped you on your tracks briefly to express their relief on seeing you up and about and wishing you well before you found yourself by the glass doors.

"Is George here? I'd like to see if he's doing alright, but only if that's okay, I'm sure you're busy", you asked one of the media girls, Holly, recognising her from previous encounters.

"He's in his driver's room, yes, let me walk you there", she smiled, walking with you and knocking on the door, "George, may I come in?", she asked before he gave a positive answer, "Y/N is here, she wanted to talk to you", she stated, backing up so you could be seen, "yes, that's alright", the tall man said as Holly held out her arm, gesturing you to walk inside the room as she closed the door behind her, most likely going back to work on the race content.

"Hey", you waved awkwardly, "I don't have any other way to contact you, and asking your team how you were didn't seem... right? So, yeah, I came here", you gulped, suddenly feeling a weird pressure to act properly, whatever that meant.

"I'm good, barely got a scratch since I was able to stop the car before it hit the barriers", George explained, "and you? It looked pretty bad", he checked.

"I have some bruises, I think the adrenaline is slowing down now, so it's a bit painful, but nothing major", you clarified.

"The car had some issue and there was not way to control it, I just let it go because there wasn't anything I could do. I'm very glad you're okay", he half smiled as he looked at you.

In all the years you've known him and interacted with him, there had never been a time where he was this relaxed and smiley around you, not even when he had overtaken you in the last lap of the race. And while it was new, it was also comfortable.

"Me too, it looked scarier than it felt, though", you offered as he grabbed his water bottle to take a sip from it, "Oh, close the lid properly on that one", you chuckled playfully, not imagining the backlash and reaction it would have.

The new and comfortable mood turned back to the old and expecting one.

"Do you really think I'm that clumsy to drop a bottle like that? I wanted to get us out of there, to get you out of there because they were asking sexist questions", he stated, "and I didn't do it because I thought you couldn't defend yourself, because you sure know how to stop your foot and put it down, but because they don't deserve your time like that. Hell, I wish you spent that little time with me instead!", George yelled out, not missing your shocked expression, "maybe there was a time that I didn't like how you just showed up and got things done, but in the end, it's not because it's you, or because you're a woman. I wanted to be the one to show up and get things done, because I admire you so much", he gulped.

"So you're saying it's my fault that I've been labelled a bad sport because we constantly fight out there? That's why you've hated me?", your defensive side turned up, not dwelling on his kind words.

"I'm not saying it is either of our fault! I'm just trying to explain to you that I don't hate you like you think I do", he put his hands on his hips, walking around his room, "you might hate me, and that's fine, you know? I'm not going to be the one to tell you how you should feel, that's not how it works, but I have never hate you.

"I might've said I hated you when we were little, but that's because you probably stole my place on the podium, and even that was probably well deserved. I never thought I'd feel like this about you", he concluded.

"And what is it that you feel about me? Because I would like a warning should you want to beat me up to deal with all it is that you're feeling...?", you gestured to his stance. Was he saying he didn't hate you? Did he have other feelings that were actually in the happiness section of the emotion wheel and not near the anger section?

Chuckling, he approached you, "I have had feelings for you since we started driving in F2. At first I thought it was just the thrill of the competition and of having someone to challenge me, and when you got the Mclaren seat, I was so happy that you'd be racing against me", he further offered, "I don't know when it came out that we hated eachother, and when you didn't seem to feel otherwise, I tried to hate you, or at least dislike you, and it wasn't working, so I just let it go however it went, and it's led me here. And I'm being honest with you, so laugh all you want, or deal with it however you want to", he raised his hands as he excused himself.

"George, I nerve said anything because I can't afford to say those things. How many rivalries have you seen in motorsport? So many, and many more that are not written in books and shown off in videos. And none of them have apoligies to offer, or rather, the very few that have done it, turned out okay. But if I was the one to talk about it? A female driver talking about how she cares that her colleagues and her have a good relation and that they don't hate eachother like the press wants people to believe?", you scoffed, "That's not on my books, that's not something I can consider.

"And I don't hate you, George. For Goodness' sake, I came here to see of you were alright. Any other person would've yelled that you ruined their race, but I understand that there are things we can't control and shit like this happens. It sucks, but that's how it is. Like Charles says all the time, 'sometimes it's like this'", you giggled, "I actually think you're a pretty decent guy", you blushed.

Over the years, the bickering had only spurred you on even more, and maybe it wasn't just the thrill of seeing him so on edge that made you continue to do so.

"So you're saying you've never hated me?",

George said as he offered you his chair to sit down as he prepared tea for both of you, "Maybe I didn't like you so much when we did karting, but that was just because you were really tall and actually gave me fair competition", you winked.

#george russell imagine #george russell x reader #george russell fluff #george russell fanfic #f1 x reader #f1 imagine #f1 fanfic

[uselessheretic]

i'm in a permanent state of smug right now, but i think it's funny that whenever whatever weird interpretations anti izzy people have get disproven, they never acknowledge that it happened or that they spent a large chunk of their time insulting and facilitating the harassment of fans who had the correct interpretation.

like izzy and queerness for example. last year when it was still a bit more early in the fandom, it was considered controversial to suggest that izzy could be gay. got insulted for it, called homophobic, and harassed while people gloated about how stupid it is to think that he could be queer. over time that slowly fizzled out since there was, ya know, interviews with david jenkins and cast panels that repeatedly confirmed that izzy is queer, but even a few weeks ago you could still see posts saying how problematic it is to focus on izzy instead of any of the actually canon queer couples.

a bit adjacent to this, but it's the same energy where people harassed others for more than a year for saying that yeah, sometimes ed is violent and has trouble controlling his anger. literally only a week back, you could find posts saying that people thinking that ed was going to be in a dark place and hurting others in s2 were racists misinterpreting canon. turns out! ed was in a dark place and hurting others!

we said that ed was going to continue to be violent and dark, but that it would be portrayed sympathetically as part of his storyline around growth. yall said that he would never be violent, he's going to be soft, and thinking he'd hurt the crew was problematic. and yes, trying to kill your entire crew (and successfully killing half of them!) is violence, you fucking walnuts

we said izzy would have a sympathetic character arc where he will be integrated into the found family, not killed off or treated like a villain. yall said he was going to die within the first few minutes (apparently you said it enough that the creators even made a fucking joke about it in the show lmao) and if not he will be a villain the crew hates and will never accept. kinda a far cry from the crew straight up protecting him from ed, being referred to as part of their found family ("he's a dick but he's our dick") david jenkins saying that this season is about izzy and his growth as he leaves a toxic relationship, and stede and izzy having a friendship arc where izzy's training him lmao

just months and months and months of nonstop posturing and bullshit with a self appointed moral crusade to prove how other people were doing fandom wrong and that yall had a duty to correct them

#the izcourse

[preservationofnormalcy]

[It is January of 2022. I’m entering a wing of the DC Office site that looks older than the others. The carpets are a strange brown, vintage looking, and the lighting casts an almost yellow pallor over the wood paneled walls. I can practically smell the cigarettes. I pass by an empty room labeled “social media office” - boxes piled up by the door. Maybe they’re going to be using it soon. They’ll need it.

I approach a door labeled Necrocommunications, knock lightly twice, then enter. 

I am greeted with the sound of a voice drifting softly across the room. A few chairs and tables sit around me, the same vintage style as the hallway before, the same browns and yellows. A high desk is across the room, and a woman is seated at a control panel. She has black curly hair, done up in an old fashioned style, a polka dotted blouse, and though she’s facing away from me, I can see the edges of cats-eye glasses. 

The panel she’s working at is huge, and resembles the type of switchboards they used to use in the ‘50s, dozens of physical wire connections crisscrossing the device and attaching via plugs. The woman has a headset, one ear covered in a bulky speaker, with a microphone near her mouth. She speaks casually, with an incredibly heavy New Jersey accent.]

I] Oh, him? He’s circled, babe. Taken as hell. Mhmm. And he still asked you? Ain't that a bite. So now you know he’s out of the question and yarding on. Dodged a bullet, hun.

M] Irene? 

I] Oh, god, hold on. My appointment is here. Yeah. I’ll call you later, beautiful. Caio. 

[She hung up the call, taking her headset off and turning to me. She looked like she was straight out of my grandfather’s high school photo album, including the color. Her skin was almost grey, it was so pale, but she didn’t seem like she was sick. She looked me over with a smirk and a raised eyebrow, leaning forward on her desk.]

I] Well, hello Miss Meghan Hendricks. What can I do for you, sugar? 

M] I’m here to interview you for my audit, Ms Donofrio. 

I] All business, aincha? 

M] This is my job.  

I] ….yeah, you’re right. Sorry. I don’t get cute visitors much. 

M] Right. 

I] Pull up a chair, hun. 

M] I’ll just stand. This won’t be long. I came here because of your Occult Communication Tools poster. 

[She sits back with a dramatic sigh.]

I] Yeah, took me forever to convince them to let me do that. We had agents using spirit boards, pendulums, casting runes, tarot cards, ghost boxes, all kinds of shit they brought from home. Bought from Walmart, or worse, a thrift store. I was always telling them, honey, baby, you gotta use our stuff, we maintain it, we disinfect it of ectoplasmic residue, lockout-tagout procedures, the works. It’s so, so unsafe to use anything but our tools. Sure, you gotta do paperwork when you check it out, but it’s better than somethin’ following you home…

M] Right into it, I guess. That’s what Necrocommunications does, right? Talk to the dead? 

I] You bet, sugar. The dead, demons, angels sometimes when they ain’t on our plane or in realspace. Other little spiritual twerps and bugaboos. 

M] I’ve been asking this a lot in the last few months, but…you can do that? Consistently? 

I] Consistent enough to make it worthwhile. S’not perfect. Fails most of the time, depending on who you’re calling. 

M] How so? 

I] Well, some people don’t wanna be called. Some people are chatterboxes. We got a list of likely contacts who we suggest people contact, but…we do other people sometimes, too. Always worth a shot, I say.

M] How does it work? 

[At that, Irene winced slightly and wagged her head from side to side.]

I] We got theories, but more importantly we got procedures. We know different things work for different people. Sometimes it’s cultural. The method that contacts Mr Smith may not work for Mr Chan, y’know? 

M] It’s mostly for information gathering, then. Like the Board of Infernal Affairs.

I] Information gathering’s a big part of it. Someone died with a secret? See if they got loose lips now. Also, y’know, helps with hauntings or gettin’ rid of little jerk spirits. 

M] You mentioned disinfection….

I] Yeah, yeah, there’s….risks, y’know. Sometimes the person you contact ain’t a fink, you know, and they start a whole new haunting. Sometimes one spirit’ll lie and say they’re another. Then they follow you home, start leeching your energy. Happens less when we cleanse the tools. Which is why there’s procedures for this, and every Office staff member in the building is trained on at least the basics.

M] Is it….is it only for Office personnel? Is it something I could…

[Irene’s face grows into a playful smirk as she hears the hesitation in my voice, leaning her face in her hand.] 

I] You got fifty cents? 

[She leads me into a back area of the office. Lining the walls in storage containers are row upon row of spirit boards, each box with a paper listing the dates each was used and then cleaned, along with the name of the person who did it. There are other items, too - pendulums, bags of runes, spirit boxes like you see on ghost hunting shows, and other devices and artifacts I don’t recognize. Irene’s attention, however, is on a phone booth at the end of the room. It’s clean but battered, clearly old and used. It has no door, but an open front, and above the phone itself is a depiction of a figure on a boat, with one word beside it: “Charon.”]

I] We confiscated these in the 80’s. It’s easier to use this one than have to sign out spirit board, y’know.

M] Weren’t you just complaining about that?

I] I complain about a lot of things, sugar. 

[I approach, standing before the phone in disbelief. Irene senses my hesitation.] 

I] Put in the money, then use the keypad to type out the person’s name. It’ll take it from there. Who you gonna call? Grandma? Mom?

M] My brother. 

I] Ah. Shit, honey.

M] He died in California. Two summers ago.

[As I reach for the receiver, I see Irene’s face freeze in some sort of concern.]

I] H-honey, that…was he in—

M] Yes. 

[I put my hand on the receiver, and I feel her hand on mine. She’s cold. She’s so cold and clammy that I jump slightly and look her in the eyes. Her face is sorrowful and scared, searching me.]

I] Honey…you won’t be able to—

M] You said—

I] If he was in…there’s no one there, sugar. He’s gone. 

M] I know he’s gone, but you said I could—

I] No, no, he’s…if he was…he’s gone, gone. There’s nothing left of him. You can pump quarters into that thing all night long and you won’t get anyone.  

M] H…how? I was…I was on the phone with him when it—

[As I watch, her eyes go wide, and she covers her mouth.]

I] Th-that’s how you remember, isn’t it? Thought you were just…in the Office but you hadn’t known about…that’s how you remember.

[I let go of the receiver. I can’t feel my fingers. I’m shivering, but not from the cold.]

M] I know how I remember. What I want to know is why everyone else forgot.

#office for the preservation of normalcy #interview #necrocommications #necromancy #microfiction #sci fi #horror #writers on tumblr

[thedarkmongoose]

okay, so. the hannibal panel at c2e2.

this might be a hot take, but it was a rehash of basically every other interview they've ever done. regardless, i highly enjoyed attending the panel and getting to see a live interview between them with lovely fannibal friends. they have a great dynamic and it was heartwarming to watch in-person.

it's been 11 years since the show aired, so they probably stuck to the same/safe questions/answers bc hugh and mads didn't remember much of it. which is fair! but even they looked exhausted from the same repetitive questions and were itching to hear something new. mads did answer one of the q's which was like, "what was your favorite memory on set?" with "there's tons of them. the problem with favorite stories is that you can't remember them. but when you're in the midst of it, it's funny and crazy. but when you get the question, you can't remember." which is true.

and also tbf (i think) hugh said that he flew in and got drunk with mads. if i remember correctly, they joked about how hugh was late for his first fan op (bc the had such a good time drinking the night prior), but mads made it a point to say that he still showed up to his. 😂 mads also said he missed hugh and it was sweet. you could tell he was being genuine.

thus, you have 2 hungover older actors doing a panel about a show they did 11 years ago at an event that was hastily thrown together at the last minute. it's no surprise they played it safe. the fan q's were pretty lame tbh. some were what i consider inappropriate. but hugh/mads seemed to light up at the silly questions the most. (which ofc, they're there to have fun). the fans would cheer/clap/shout "i love you!" after everything they said, which you could tell was grating on them after a while. like there were definitely appropriate times for commotion, but it happened after EVERY SINGLE QUESTION/COMMENT. (it's impossible to focus in a setting like that) also the "hugh dancy loves fake blood" bit got old real quick and you could tell he was over it lol.

on top of that, bc it's a reunion, they probably went for the nostalgia angle vs trying to do something contemporary. it's the safest way to ensure the guests/fans have an easy, fun time. the moderator had the right energy and knew how to ask questions/transition the convo properly. just the questions themselves were not interesting or new. they also cut the panel like 10 mins early.

the only real "new" bits we got was hugh dancy's answer to the q "why did will graham wear glasses sometimes?" his original answer from back in the day was "because i thought it/will would look cool with blood on his glasses" but his updated response was sth like "because it helps shield him from the world"

that's all for now lol. i'll post more panel bits as i remember them.

#c2e2 #c2e2 2024 #c2e2 hannibal #hannibal reunion #hannibal panel #hannibal #hannigram #nbc hannibal #hannibal nbc #hugh dancy #will graham #mads mikkelsen #hannibal x will #fannibals #chicago #thedarkmongoose #.txtpost #will post more later

[jackoshadows]

I have always felt that Benioff and Weiss replacing Jeyne Poole with Sansa on the show was when the writing for the Northern plot became extremely moronic and everything that happens there in seasons 6-8  totally careened the show off the tracks. And reading some of GRRM’s more recent interviews only confirms this for me.

This is D&D on why they made the change:

And it’s because of Turner’s strength, Benioff continued, that it made sense to give Sansa a dramatic storyline this season and to use Ramsay’s engagement for that very purpose. In fact, the showrunners first thought about putting Sansa and Ramsay together back when they were writing season 2. “We really wanted Sansa to play a major part this season,” Benioff said. “If we were going to stay absolutely faithful to the book, it was going to be very hard to do that. There was a subplot we loved from the books, but it used a character that’s not in the show.”

It’s very clear now that GRRM thinks the lack of fake Arya is the biggest change that took the show in a very different direction compared to the books. It’s interesting that when he refers to the butterfly effect slowly ballooning into a huge dragon effect he is referring to the lack of fake Arya in the north. Clearly this is important for GRRM because he has been talking about this from 2011 (to D&D) to as recently as 2022.

At a convention in 2013 GRRM said this: 

In a convention panel this year, George said on the record that he had no idea what they were doing with Sansa or where they’re taking her storyline, which now makes sense perhaps. He was not pleased when he was talking about it, so who knows what’s going to happen with her! Knowing GRRM, that could mean they’re going off the canon reservation, and/or that they’re going to be making a lot of shit up

This was GRRM commenting in 2015 about the Sansa in Winterfell plot:

Let me reiterate what I have said before. How many children did Scarlett O'Hara have?  Three, in the novel.  One, in the movie.  None, in real life: she was a fictional character, she never existed. The show is the show, the books are the books; two different tellings of the same story.  

There have been differences between the novels and the television show since the first episode of season one.  And for just as long, I have been talking about the butterfly effect.  Small changes lead to larger changes lead to huge changes.  HBO is more than forty hours into the impossible and demanding task of adapting my lengthy (extremely) and complex (exceedingly) novels, with their layers of plots and subplots, their twists and contradictions and unreliable narrators, viewpoint shifts and ambiguities, and a cast of characters in the hundreds. 

And yes, more and more, they differ.  Two roads diverging in the dark of the woods, I suppose... but all of us are still intending that at the end we will arrive at the same place. In the meantime, we hope that the readers and viewers both enjoy the journey.  Or journeys, as the case may be. Sometimes butterflies grow into dragons.

This is GRRM in August 2022, before the premiere of HOTD (When he started getting more critical of D&D’s adaptation) when asked about whether HOTD was canon or not

It opens a very large area for discussion. And I’ve been asked about this by various other interviewers in various forms and interviews past. And I often respond with the question for the questioner how many children did Scarlett O’Hara have?

They (D&D) started making changes even as early as season one . And I remember I had discussions with them back in season one. When I was more involved in the process, when we’d discuss things and the fact that they removed Jeyne Poole was a very early thing.

They actually said, oh no, Jeyne Poole is in it. You see the girl that’s sitting next to Sansa in the one scene in the feast at Winterfell. Yes, that’s Jeyne Poole, but you never hear a name and she’s not in it, but I did tell them. ‘Yes, but there’s the butterfly effect’, as I called it, deriving from the famous Ray Bradbury story, A Sound of Thunder, crush a butterfly the Jurassic and suddenly you changed all of human history from that point forward.

Unintentionally. A little change in a long narrative can have big changes further on. And now, Gone with the Wind didn’t have to worry about that, cause those two children that they removed never had any impact on the story. And Margaret Mitchell didn’t go on to write 6 more novels in which the children grew up and became the leader of the Ku Klux Klan. Whatever the hell, you know, she might have done with those two boys.

And I think they were both boys, and Rhett’s daughter was a girl. So she didn’t have to deal with the butterfly effect there. You know, when we remove Jeyne Poole from season one, then you don’t have Jeyne Poole to be the fake Arya, as happens in the book. So what do you do then? The butterfly effect has done that.

There is then a discussion in there about how The Expanse was a far better adaptation (I agree!) because the book writers were actually in the writer’s room and involved in the process of combining characters and plots.  And then GRRM says this:

They (Expanse writers Ty and Daniel) would be in the writer’s room and the showrunner, who was not them, initially, would say, we’re gonna remove this person. And you know, Ty or Daniel would say, we could do that. But then when you get to season four, there’s gonna be a problem because you took that other thing.

The butterfly effect can have that, but getting back to the whole issue of canon, the butterfly effect affects the canon. But there’s also sometimes deliberate changes in a show where the showrunners or the writers or the studio, the network, or wherever it comes from, goes in a different direction. So what we’re doing at this point in the history of A Song of Ice and Fire, Game of Thrones, Westeros, whatever you wanna call it.

Yeah. We have two canons. We have the show canon, the Game of Thrones canon. And we have the Song of Ice and Fire canon. And in the book canon, obviously, still writing The Winds of Winter, I’m sure you all know that, and then there’s another book beyond that. And as I write them, and I’ve said this in a previous blog post, I always knew that things were gonna be different, but as I’m writing, as the stories are coming alive, and the characters are coming alive, taking me further and further away from the show.

So there’s gonna be some very considerable differences, and the book canon is gonna be quite different from the show canon as we get deeper into it.

So this is GRRM very clearly spelling it out that replacing Jeyne Poole or fake Arya with Sansa on the show has split wide open the book and the show canon with there being a GOT canon i.e what happened on the show and a book canon i.e the events with fake Arya in the North.

GRRM even mentions how the Jon Snow sequel is tricky because the show’s canon is now different to the books.

Their version of Euron Greyjoy is day and night from my version of Euron Greyjoy and similar changes. There are two different canons. Now, because most of these shows that we’re developing, almost all of them are prequels. I think it’s a single canon. Because all of these prequels can lead up to Game of Thrones at the beginning. The one that’s a little trickier is the Jon Snow show, cause that’s the only sequel. That being said, it’s a little tricky. It keeps me busy and I don’t know what’s gonna come, but we do have, as I say, a number of different shows in development, every one has a different showrunner.

This is why it simply makes no sense when people combine the show and the books when talking about these characters. When certain book plots and show plots are selectively chosen and combined to argue about this or that character’s endings. The one has nothing to do with the other.

As the author himself has made obviously clear, when D&D replaced Jeyne Poole with Sansa, the show split from book canon and became it’s own thing. Everything from that point forwards on the show is Game of Thrones and not A Song of Ice and Fire. To know what happens to book Arya, Jon, Dany, Sansa etc we need GRRM to finish the books with his characters and the story he is telling.

#ASoIaF #GOT #GRRM #Arya Stark #Jeyne Poole #Sansa Stark #D&D

[silverwhittlingknife]

When people say that Dick “has a temper” what do they mean?  Is he the type to blow up over an inconvenience, be impatient, or rage-quit?

Ahhhh, I had a lot of fun with this. Thanks for the ask, anon. <3

My main feeling about Dick's temper is it's an important part of his characterization, and it's a fun part of his characterization, but I also try not to overemphasize it? A lot of my thoughts are here; also @theflyingwonder has some good panel collections here and here and here if you want to see what Dick generally looks like when he's grumpy about something.

General thoughts / caveats:

Anger is obviously not the only emotion Dick ever feels!! He feels many other emotions too!! The fact that he is capable of getting really angry sometimes does not mean that he is angry all the time!!

He's a person who feels emotions very deeply - anger, love, loyalty, etc. - but also has a very conflicted relationship with his emotions. He aspires to be perfectly controlled, like he imagines Bruce is, and he's ashamed of moments when he loses control. Because he's wound pretty tight and represses a lot, his emotions can be a bit explosive when he loses his grip on them.

I would never describe him as "an angry person." He doesn't walk around fuming at the world and looking for things to be mad about, y'know? He's a person who wants to be optimistic and tries to be optimistic. This very much includes when he's Robin.

He wouldn't blow up over an inconvenience unless he was already really upset about something more serious. But yeah, if he's upset about something important, sometimes he'll lash out at whatever's closest.

He's methodical and focused; he'll sometimes get impatient when he's, say, bored by his friends' TV preferences, and in general he gets restless and likes to be moving, but if he's got a challenging task to complete he's completely capable of hyper-focusing on it.

In his civilian life, he generally has a pretty good grip on the anger - so e.g. I don't remember him ever shouting at Clancy or civilian friends in general. When a reporter tries to get dirt on him by interviewing his neighbors at his apartment complex, they universally gush about how nice he is.

Meanwhile, in his vigilante life, he's got a rigid moral code and a rigid sense of duty. He cares a lot about helping people and protecting civilians, and he's emotionally-fulfilled by it, and he can be very kind. But he's also a super-intense person who takes his responsibilities seriously, and he'll get sharp with people that he feels aren't being serious enough. He only screws around when he's with people who are very serious themselves, like Bruce.

In an argument, Dick's generally direct and confrontational: he'll snap at you to your face, not sulk behind your back. Even when he's being a bit more passive-aggressive, he's not subtle about it. If Dick's annoyed with you, you'll know. If he doesn't like you, he makes it obvious.

Jean-Paul: I've seen you with Robin - you like Robin. Dick: You got a problem with Robin? Jean-Paul: No! I like Robin, too. He's an exceptional young man. I just mean... it's obvious when you like someone. And equally obvious that you don't like me. (GK 14)

Dick's just a very dynamic character in general, rather than a static one. When he's relaxed, he can be very easygoing and friendly; if you get off on the wrong foot with him, he's prickly and often harsh. He's got a very serious core, a strong sense of principle, and a passionate sense of loyalty to the people he cares about. Here's a light-hearted moment with Dick and Tim fooling around playing tag:

Dick (grabbing Tim from above): Gotcha! Tim: Augh! (B: Transference)

This is from the exact same arc as the panel at the top - but before Hugo Strange almost kills Bruce. And just in general I think this panel is a good reminder that Dick does all kinds of things that are not about being angry, that he's also the person who keeps Tim fed and repeatedly saves him from falling, that sometimes he'll pour his heart out to Bruce, that he really really really loves his friends, and so on.

Now, all that said, if you would like an extensive deep dive into Dick yelling at people (and really, who wouldn't? yelling is fun!), I've collected a super-long list of quotes which I've attempted to corral into organization. Below the cut:

Dick vs. criminals

Dick vs. Bruce

Dick + list of reasons he gets upset

Dick + annoyance at friends/teammates

Dick + lashing out at loved ones (rare! but, uh, very memorable)

Dick + first meetings with future siblings (+Steph)

In conclusion

Anger at Criminals

Dick's temper is an important part of how he thinks of himself: he's intensely self-aware about his temper and also conflicted about it. It comes up most often when he's fighting criminals, especially when they're threatening people he loves:

Dick (internally): At first, I couldn't believe what they were saying… but as the truth sank in, I felt a rage growing so great inside me - that it felt like I was just a part of the anger, instead of it being a part of me. Kid!Dick: Those animals! They murdered my mother and father! I'm going to the police! Bruce: No... not yet. (Secret Origins 13) Deathwing: You've been so angry for so long, Dick. Learn to accept it because you have no choice. You will become me, Dick, and I know because I am your worst nightmare! I am you! Dick: Never! I'm not you and I'll never be you! Yeah, I get angry. Sometimes I get so pissed I want to break everything in sight. But everyone gets mad. Everyone gets frustrated. But I don't fight out of anger! I fight when there's something wrong that needs to be stopped! And that's why I'll never be you! I don't fight to kill - I fight to protect! And what you said about Batman - well, pal, screw you. He's the best mentor anyone ever had! (NT 100) Dick (internally): I hit him harder than I should. Not sure why. It worries me that it feels so right. (N 2) Dick: I thought I was more in control than that. But I lost it. Tim: It was made right, Dick. The Joker is alive and not well in a maximum security cell. Dick: It’s not right with me. I never thought I could be a killer. I’m wrong. There’s a part of me I never saw before. The rage. I never felt anger like that. I feel like it clawed me up inside. (N 64) Dick (internally): Nothing Jason says can be taken for truth. He says Tim is dead. I'll need more proof than his word and an empty cowl. Because right now, I need to keep that hope alive. If for nothing else, then to keep me from losing control… and I won't let that happen. Can't let that happen. Can't. Dick (punching Jason): WHERE IS HE, JASON? Jason: Depends on what kind of life he led. Dick (breaking Jason's nose, then internally): There goes his nose. Control your anger. (BftC 3) Jason (internally): Dick is different from Bruce. In the way he fights. In the way he thinks. And the way he feels. And he gets angry. Really angry. That anger, it'd make him a great Batman, if he'd let it. He's trying too much to be like him.  The good son. Man, I hate him.  (B&R 25)

So something you'll notice about all of these moments is that Dick isn't proud of his anger. He doesn't experience it as cathartic, and he isn't proud of the things he does when he's angry. His anger is an enemy; it's the person he doesn't want to be, to the extent that after the fact being angry almost feels like an out-of-body experience, because in the burn of anger he'll do things that his conscious mind rejects.

I tend to think of anger for Dick as akin to a temptation. He's strong and talented and smart. He's capable of really hurting people. He also believes - viscerally, fiercely - that it's wrong to do so.

Worth remembering: Dick's big confrontation with Zucco, in most of his origin stories, involves taking the photo that gets him arrested:

Dick (remembering): Twenty-four hours later, we were on the trail of Boss Zucco... and when he murdered his own henchman, I took the photo that sent Zucco to prison! (Secret Origins 13)

And in Batman: Year Three, he's furious when he thinks that Bruce might have arranged for Zucco to get killed - when Dick's calm and thinking clearly, he believes it's wrong to kill even people who are clearly evil. It's only when he's swept up in emotion that he'll get violent.

Anger at Bruce

... Look, I had to give Bruce his own category.

Dick and Bruce have a lot of fights. Like, a lot of fights.

Now, this isn't at all particular to Dick! Dick's just one of many, many, many people in Bruce's life who periodically get fed up with him. So I wouldn't gloss this as Dick being unusually short-tempered - post-Crisis Bruce would provoke a saint (and does! at one point Clark briefly votes him out of the JLA!). And Dick doesn't always get angry when Bruce is being a jerk to him - sometimes he's just discouraged, or depressed.

But at the same time, Dick's not a pushover, and when he's sufficiently provoked, he'll often track Bruce down to confront him / demand an explanation / demand better behavior / etc. Paradoxically, I actually tend to see these confrontations as an expression of Dick's faith in Bruce. He gets angry because he expects better.

Here's a small sampling of Dick-angry-at-Bruce moments (some confrontations, some where Dick's just fuming on his own):

Bruce: Listen to me. Dick: Listen to you? You hand Gotham over to that nutcase altar boy. You leave this kid out to dry without a snowball's chance. Then you throw everything you’ve lived for aside like it was nothing! Killing this creep doesn’t make you as bad as the scum we hunt. It makes you worse. Because they never stood for anything. (R 8) Dick: If you say anything about 'finding myself,' I think I'll puke. Bruce: I thought you'd be glad to see me back. Dick: That depends on why you came back. Bruce: To take up the mantle again. To take back my place. Dick: For how long this time? Bruce: Not now, Dick. We can talk about this when - Dick: Right now. We're settling this right now, Bruce. (R 12 - Bruce has abruptly reappeared in the Batcave after leaving Dick and Tim in charge during Prodigal)

Dick: It was you who told us to stay out of Gotham. I’ve got a life here. I can’t just walk away from that. You’ll have to - (Bruce hangs up on him) Damn you! (N 34 - Bruce has been AWOL for months and now abruptly summons Dick to join him in No Man's Land) Dick (internally): Bruce is playing martyr. Keeping us at a distance. […] Why does it have to be this way with us? WHY? (He punches his car, and his hand comes away bloody.) Uncontrollable rage. The same rage I felt when I killed the Joker. Thought I had it under control. (N 65 - Bruce is accused of murder and freezing out the Bats) Bruce: What are you doing out of bed? Dick: You did it again, didn't you? You pushed everyone away! (N 99) Bruce: I assume this isn't a social call? Dick: What the hell is the matter with you? I mean, aside from the obvious! Ignoring the many layers of denial, and the fifty feet of psychological body armor that you throw up to avoid feeling anything! Aside from that! And the pathological need to control everything on Earth and beyond! Ignoring all that! What exactly is your compulsion, your burning desire to deceive, lie, and manipulate the only people who give a good god damn about you?! Bruce: You getting to a point? (O 21 - Dick just found out that Bruce was secretly funding the Outsiders)

Dick's relationship with Bruce is Complicated (TM), because he's also incredibly loyal, and - despite everything - he loves Bruce a lot. A lot of Dick's anger comes out of this frustrated loyalty - Dick feels betrayed and hurt because he loves Bruce so much. Here's a panel from later in Outsiders 21:

Bruce: You shouldn't place that much faith in me. Dick: I have more faith in you than anyone.

Reasons why Dick gets angry: an incomplete list

So if Dick isn't really the type to, say, rage-quit a game, then what does he get angry about (other than criminals and Bruce in general)?

I've tried to loosely categorize what seem to me to be the main things that can make him lose his temper:

as above, somebody Dick loves has been hurt and he's furious at the person who did it (so e.g. trying to kill the Wildebeests when they threaten the Titans, trying to kill Hugo Strange for trying to kill Bruce, lashing out at Tumult when he hurts Tim),

he's feeling attacked or betrayed and he's lashing out in self-defense (so e.g. a lot of the fights with Bruce, punching Roy after Roy fires him in New Titans, or calling Roy a junkie when Roy tells him he's just like Bruce in Outsiders, or yelling at Tim when Tim's insisting he should be Robin again),

he's angry about a lack of loyalty (so e.g. he's furious and feels betrayed when he learns that Bruce has replaced him with Jason; he's angry at Bruce for picking Azrael as Batman instead of Dick; he's angry at Tim when Tim suggests Bruce might be a murderer)

he's jealous (so e.g. he's hurt and angry when Kory marries someone else; his resentment of Azrael is much more about Bruce than it is about Azrael)

he's angry at another vigilante for behaving too violently/irresponsibly (so e.g. he has multiple fights with Kory insisting that she can't kill anyone; he's similarly furious with Bruce when he thinks Bruce has tried to kill someone; he snaps at the Titans in general after a failed mission; he's harsh about Tim and his team during Graduation Day)

he's unhappy and taking it out on someone else, often to drive them away (so e.g. he snaps at Donna and Alfred when he's depressed about Kory's marriage - arguably there's some supernatural influence here, but IMO he'd do it anyway; he gets snappish with Tim when he's depressed about his own lack of progress with Chulo/in Blüdhaven and also when he's actually mad at Bruce about Jean-Paul; he's very harsh to Babs and Wally when they try to comfort him post-J:LL; arguably most of his behavior in Outsiders after Donna's death falls under this category too),

he's unhappy and he's taking it out on an inanimate object (so e.g. smashing things after hearing about Kory's potential marriage; punching his car until his hand is bloody after Bruce has been a jerk to him, smashing a sign when Babs is jabbing at him by comparing him to Bruce),

his privacy is being violated by paparazzi (Dick hates photographers and will not hesitate to punch them or destroy their equipment)

I think something important about all these reasons is... they're understandable? It's not surprising that Dick is upset about the woman he loves marrying someone else; it would be stranger if he wasn't upset. It's not surprising that he lashes out defensively when he's feeing attacked - this is an extremely common thing to do! Dick's anger isn't a weird cloud of rage that just descends on him for no reason; he gets angry when he has something to get angry about.

That said, he does have particular things he's especially touchy about - loyalty, privacy, control, etc. And his anger can be physical - he does break things.

Dick + annoyance with friends/teammates

Dick calls a team meeting to rebuke the Titans in Titans 13

This is lower-key, so I wouldn't always describe this as anger per se, but it feels relevant: Dick can get snappish if he's in a bad mood, though he'll usually back off if it's pointed out to him:

Dick: Half this world goes to hell in a handcart and you do nothing? Donna: Hey, don't shout at me because your personal life has gone crazy. We had a crisis… Dick: You had a crisis? Who hasn't? And my personal life, for what it's worth, is a: just fine, and b: none of your business. Do me a favor and go. I want to be alone. (NTT 18 - Dick's upset because Kory is marrying someone else)

Dick: Roy! What the hell is this? Why is Lian in the way? She should be in a crib or something, not where people can step on her. Roy: Dick, my daughter is in nobody's way, and I'm watching her every move. Dick: Oh, yeah? Well, I've had it - Roy: Dick, your friends are here to help you and you're not making it any easier. C'mon, pal - calm down. Dick: You're right. I'm sorry. This is all getting to me. Roy: Really? The immediate world and I never noticed. (NT 100)

Dick (surprising Tim): You should've known you wouldn't hear anything. Not in this wind - but if you'd been downwind on the other side, you might have scented me. Tim (startled): Nightwing! Dick: You did want to meet - or do you just like playing computer games? Now let’s make it snappy - I’m in New York on my own business. Tim: And a big fat hi to you, too. (Showcase '93 11 - Dick's upset because he's blaming himself for someone Chulo murdered)

Dick: He didn't send you to check up on me? Tim: Huh? Dick (scowling): Don't play dumb. Tim: Batman? I came down on my own, Dick. What's with the attitude? Dick: Sorry, Tim. I haven't been making a lot of progress since I got here. (N 6 - Dick's self-aware here - he's on edge because he thinks he's doing a bad job)

Babs: Okay, calm down, take a deep breath, and explain again why you’re so angry… Dick: Why am I angry? I’m not angry, I’m–I’m–I’m dismayed, okay? I’m dismayed that there can be a Robin who believes Batman could be guilty of murder! How could that happen, Babs? How could that happen?! (GK 26) Kory: You could say goodbye to your teammates. Dick: They're not my teammates anymore. Kory: They noticed. (TT/O Secret Files 2005)

You'll notice that several of these include Dick backtracking and apologizing. He doesn't hold grudges or fume forever! And Dick's generally self-aware enough to realize why he's snappish once he takes a step back:

Dick: I…I’m sorry…I know this isn’t your fault. Here I’m attacking you - and you’re probably just as scared as I am. I just feel so frustrated. Batman could always remain calm in a crisis. I guess that’s just another difference between us. Maybe I’d be better off if I just cut myself off from all feeling like he does. (NT 77)

Something Dick generally isn't apologetic about: Dick is intensely self-critical about badly-done vigilante work, and in a team setting, he's not that patient with other people's mistakes.

Here's Dick calling a team meeting so he can scold the team in Titans 13:

Dick: Lock the doors, sit down, and pay attention. And that's an order. ... Our performance against Tartarus and the HIVE was unacceptable. Each and every one of you should thank God you weren't killed.

Here's an argument between Dick and Donna in Graduation Day 2 - the context is that Young Justice just screwed up an earlier fight, and Tim's berating himself and Conner while Dick and Donna eavesdrop (you'll notice that like Dick, Tim tends to be pretty self-critical + impatient with teammates):

Conner: The Titans got their lumps. Tim: No, the Titans got our lumps. They were looking out for us. There we were, shoulder to shoulder with the inspiration for Young Justice. And we lose half our team and half of theirs. Conner: Tim, I bet they were a lot like us when they started. Tim: No, I don't think so. (Donna and Dick are eavesdropping.) Donna: He's being awfully hard on himself. Kind of reminds me of someone. Dick: I don't know what you're talking about. Donna: You could tell him he's wrong. Dick: Is he? Donna: We stepped in it plenty of times, Dick. Plenty. We got beat by Dr. Light. Completely pantsed by Trident. We had the ill-conceived idea that the Mad Mod was a threat. There was that time in South America when we left Garth in the sun for three hours. Lots of stuff… We even got kidnapped by Count Vertigo. How embarrassing was that? Dick: I didn't get kidnapped. I got nabbed when I was coming to save Roy. Donna: Nevertheless, they could use a kind word. Dick: I'm not sure a kind word is what they need.

The upshot is that Donna goes to comfort Cassie while Dick goes off alone.

Again, the point is not that Dick goes around fuming about his teammates 24/7! He cares about the Titans and trusts them to watch his back; he feels the same way about Tim.

But in the heat of the moment, he'll sometimes get snappish or impatient, especially with people he's close to. The friends that Dick has who stick around are the ones who are tough enough to stand up to him, and who understand him enough not to take his occasional moods personally.

Dick + lashing out at loved ones

This one's a bit meaner. Dick's really good at picking out other people's insecurities, which he almost never uses against them ... but when he's retaliating, he's got an instinct for what will hurt the most:

Dick: No, I won't stop it. How dare you tell me what to do when you screwed up so badly Raven could be dead by now? Who knows what Mento did to Gar and Vic? Maybe your failure killed Kole. No, I won't stop. I won't! Donna (punching him): Shut up, Dick! Shut up! Shut up! Shut up! Shut up! I don't want to hear anymore! Dick: But you're going to, Donna. You made me listen to what you had to say. But you don't like hearing the truth about yourself, do you? The perfect Donna Troy maybe isn't so perfect after all. (NTT 19 - Dick's under an ambiguous amount of Brother Blood influence during this period, but he's also just really upset about Kory, and I tend to interpret BB as "reducing his self-control" not "he's a totally different person")

Bruce: I didn't expect to see you again. Dick: I heard about Jason. I'm really sorry, Bruce. Bruce: You weren't at the funeral. People asked about you. Dick: C'mon, Bruce - talk. Don't turn your back on me. I'm here… now. Bruce: You were lucky. When you didn't listen to me, your injuries weren't fatal. Of course, by the time I properly trained you - Dick: Bruce, c'mon…lay off. I'm not here to fight. Bruce: Then don't! Dick: Are you blaming me? I left, so Jason replaced me, and because I left he died? No way, pal. Jason wasn't me. I was a trained acrobat. I could think quickly in perilous situations. But why did you let him become Robin before he was ready?!? Bruce (punching him): Don't you dare blame me for Jason's death! Don't you dare! (NT 55 - this fight is ofc 110% Bruce's fault even before the punch, but Dick absolutely is blaming Bruce for Jason's death here) Dick (trying to punch Roy): GET YOUR HANDS OFF ME, YOU TRAITOR!  Roy: Dick, I'm your friend… Blast it, man - why are you doing this?  Dick: Friends don't turn on friends, Harper. I've been there every time you called me. I sat up with you all night while you were detoxing. That was not a pretty sight.  (NT 101 - Dick's upset about getting fired as team leader)

Dick: I disgraced myself and my uniform. Both uniforms. I have to learn to live with that or quit. No more surprise visits, Babs. Don't make me sorry I put an elevator in this building. (BoP 37)

Roy: Look at you! Your greatest fear in life, the thing that eats at you - is that you're terrified of becoming Batman!! A cold, detached, emotionless loner. I've got news for you, that's exactly what you are. You've become the man who raised you. Dick: Yeah…and you're just like the man who raised you. A shallow, self-loathing, womanizing thrill-seeker. Except he was never a junkie. (O 16) Gar: I guess it doesn't bother you that your new teammate killed your old one? 'Cause it sure bothers the hell outta me. Dick: Enough. I'm here to find Kory and Tim. I don't need Terra's best friend lecturing me about loyalty. (TT/O Secret Files 2005)

Dick + 1st meetings with future siblings (+Steph)

I hesitated including this on the list because it's lower-key and not always anger per se, but I think a lot of times when people say Dick "has a temper," they're not necessarily talking about his angriest moments so much as pushing back against the idea that he's happy or welcoming all the time.

If you're reading post-Crisis canon, Dick's a prickly introvert who can be slow to warm up to newcomers in Gotham. He's not exclusively cranky by any means! But he's not all smiles, either. Here are some snappish moments from first meetings with Jason, Tim, Cass, Damian, and Steph:

Dick: They'll probably switch to another lab, now that you've spooked them. Jason: Then it's no big deal! We'll just locate their new digs and bust them when they take possession. Dick: Wrong! I'll locate the new lab all by myself! You're going home to tell Batman how you screwed up tonight! Jason: Come on... (from Dick's first meeting with Jason in B 416 - Jason attacked a group of criminals too hastily)

Dick: Now, who the hell are you? Tim: That doesn't matter now. Dick, look at this please. Dick: Kid, I don't like games. (from Dick's first-technically-second meeting with Tim in LPoD - Tim's been chasing him all around the circus, and although Dick doesn't yet know this, also broke into his apartment)

Bruce: You can trust her. Dick: Six months ago, that would've gotten you further than it will now. Now, I'm not sure it's enough. Bruce: What more would it take? Dick: An explanation of who she is for a start. (from Dick's first meeting with Cass in B: LotDK 120 - Bruce went AWOL for months and has now resurfaced with a protégé) Jason: It's a new world. It's not all backflips and balance bars. You were good. Were. But Gotham needs a tougher Robin now. Dick (internally): A sneaky, mean little punk. Maybe you hired him before the Joker could. (from the retold version of Dick's first meeting with Jason in N 104 - Bruce gave stupid instructions leading Jason to misunderstand and pick a fight with Dick)

Dick (internally, when he notices Damian's makeshift Robin costume): Damian's costume. Note to self: smack a clue into this kid. Damian: You're embarrassing me! Dick: You do that just fine on your own. (from Dick's first meeting with Damian in N 138 - Damian's probably scared, which means he's snarky; he's making rude remarks and resisting Dick and Tim's attempts to protect him)

Dick: What in the hell were - are - you thinking, throwing someone so reckless into the field like that? Babs: Gosh, Dick - I'm sorry I haven't spent more time trying to train a murderous little twit. (from right after Dick's first meeting with Steph in BG 5 - Steph accidentally froze Damian)

How much you weight these moments depends a lot on your personal aesthetic preferences! I love conflict, and Dick's initially kinda thorny relationships with his siblings are part of why I enjoy him as a character. I don't feel the need to "fix" this kind of grumpiness and honestly I don't even really see it as a flaw? Dick's not morally obliged to like his future siblings on first meeting them, and if he never got snappish with any siblings ever, no matter how annoying they were being, he'd be a lot less interesting to me personally.

For me, Dick's prickly side adds an important nuance to his characterization, and makes it more compelling. He's a human being, not a conduct book! His strength is that he's willing to reconsider his first impressions, not that he never has negative first impressions.

That said, obviously genre and context matter! I have enjoyed plenty of softer takes on the Batfamily in fanworks, and in a softer, gentler world like e.g. WFA, it would be weird to keep Dick's grumpier moments. Also, Dick obviously isn't 24/7 harsh to his siblings - he can also be really empathetic and protective, and although he never gets especially close to e.g. Steph, he does change his mind about her, and he's ultimately a huge source of emotional support to Tim and Damian (they grow on him! ... eventually).

In Conclusion

One of my favorite Dick stories of all time is Nightwing 139, and I think it nicely encapsulates how I see Dick's anger - it's an important contrast to his softer side. He's a person with an instinctive temper, and compassion and understanding aren't always immediate or easy or effortless for him. But he's also a loving person with a big heart, and it's the love that always matters to him in the end.

Here's Dick discovering that Tim is thinking about using the Lazarus Pit, getting angry, and leaping down to try to physically stop him ("He may not stop you, but I sure as hell will!")

Dick (sarcastically): So, Robin... you think maybe we can hug this out?

It's important to me that Dick's first instinct is to have a physical fight, not to try to talk! He does all the wrong things before he does the right thing! He doesn't magically know the right thing to say to Tim right away!

But doing the right thing matters to him, and Tim matters to him, which is why he gets there eventually. When Tim tears up Dick softens at once:

And in the end Dick backs off and lets Tim make the choice, which isn't easy or instinctive for him either! But it's the right thing to do, and it's what Tim needs to pull himself out of the power struggle and realize he's making a mistake, and then Tim stammers apologies and Dick reassures him and they do hug it out, and it's very tender:

Without Dick's anger, you don't have a lot of his stories. But his anger doesn't define him - he doesn't let it. As Dick puts it,

"Yeah, I get angry. Sometimes I get so pissed I want to break everything in sight. But everyone gets mad. Everyone gets frustrated. But I don't fight out of anger! I fight when there's something wrong that needs to be stopped! And that's why I'll never be you! I don't fight to kill - I fight to protect!

And that's a big part of why I think he's great.

#dick grayson #anyway this is a huge disorganized list but uhhh. enjoy? sdfsf #it's tricky to write about this because it's not like i don't enjoy super-soft takes on dick - i do! #dick's anger isn't gonna have a place in every single story especially in fanworks #and often part of the point of fanworks is to give us the softer moments that canon doesn't! #Dick often gets softened to contrast with other characters in fanworks and that makes sense too #but at the same time Dick's sharper edges are so important to me in the comics and a really big part of why i like him #and a big reason why a lot of nuDick's writing leaves me just bored #(i am a gremlin who likes to have gritty conflict in my comics!! softening things is what fanworks are for!!) #yes post-Crisis Dick can be prickly but he's prickly because he's a serious person who lives in a serious world with consequences #his parents' deaths MATTER to him. doing vigilante work right MATTERS to him. he gets touchy BECAUSE he cares so much! #and Dick's struggle with his emotions is what makes his softer side feel more real and meaningful to me <3 #ask tag #prickly dick grayson my beloved

[exstasyplague]

My analysis/view on SatoSugu ☆

Some disclaimers: I am a fanfic author and I do personally ship the two yet I will try to keep my thoughts as objective as possible for the sake of this post. I will include my perosnal points of view as well but 'll keep them separated from the "canon facts." Contains manga spoilers.

Are they gay?

This is a funny question yet it's the best way to start in my opinion. Short answer: they don't fit inside a label. I think the best word to describe their bond is intimate. Emotionally, it's at a place in the middle of love and appreciation and I don't think this balance is constant, sometimes it might have leaned more to one side, sometimes more to another. From an emotional point of view, they could very well be in a platonic situation.

The physical aspect is not a detrimental side for either of them in regards to one another. What makes their connection so special is the fact that it happened before Gojo Satoru became officially the strongest, before he was burdened with so many things. However, he was never free. The beginning of his very existence caused a deep disturbance within the Jujutsu world. For Satoru there was never a childhood, there was never a normal life, only a path of emptiness.

Gege is good at making his characters. Especially the villains/ good guys parallels. Just how Yuji came to the realization that he is Mahito and Mahito is him, the same parallel is drawn between Gojo and Sukuna, only Sukuna is what Gojo would've been without Geto. Both the strongest sorcerers, the difference is that Satoru got surrounded by love and his mentality evolved from "the weak ones are pathetic, I don't want to look after them" to "I will push everybody up along with me through teaching and have pupils even stronger than me, allies."

Back in highschool, Gojo was young and somewhat arrogant. His power was like a blanket for him; despite not understanding Geto's philosophical things and not agreeing with them, Gojo also, unintentionally, gave a meaning to the things happening to him "I am the strongest."

Even in the current ongoing fight (Sukuna vs Goatjo), the panels sometimes speak about love, but not in the way we would normally think; it's about the feelings of the strongest, different from the perception of average folks like us. Nurture vs Destruction.

Gojo had the power of being evil without any repercussions. Being the strongest, nothing could hurt him. He always showed his compassion towards Riko through small gestures, such as staying more at the beach, teasing her etc. Him wanting to go on a killing rampage under the pretext of 'not feeling anything' was Gojo's way of showing his disgust at the fact that hundreds of people were celebrating the death of an innocent girl. Being the strongest didn't matter. She was dead.His conviction shattered. However, he had so much trust in Geto's morality and mentality that he followed his advice. That is the kind of person he was for him. Even in Jjk 0, Suguru said that he didn't think Satoru would have any trust left for him— he did.

The only one who could understand him, speak with him, treat him like a human. His one and only. Gojo liked the fact that they were the strongest together because he also had someone to lean on.

In the manga, Naoya, the head of a powerful branch of the Zen'in clan talks about Toji. He said that as a child, he expected him to be a miserable man since he had 0 cursed energy yet when he saw how powerful and proud he was he got scared of him. He mentions that the only one being able to understand Toji was Gojo.

Only... Gojo is stronger. Toji couldn't understand him, he called him a monster. He got drowned in petty feelings characteristic to what Sukuna would call weakness and got himself killed.

Gege also mentioned in an interview that he wanted to give his characters abilities similar to Bankai (Gege legit started making manga because of Bleach, what a God) Bankai is a reflection of the soul in Bleach projected onto the swords of the Shinigami. Same with Domain Expansions in JJK. Gojo's literally repels everybody around him, it's called Infinite Void and it shows the way in which he looks at the world and views himself. Untouchable. Out of reach. An overflow of information.

Even if Bleach is a pretty stereotypical Shonen creation (don't get me wrong, I love it but the plot is pretty basic) when the protag. Ichigo was fighting against the main big powerful villain, Aizen, he said that he could feel Aizen's sword wavering with loneliness. This very concept applies to the powerful peaks of Jujutsu Kaisen. The path of power is lonely. Kenjaku himself said that Gojo is truly in his element when he is fighting on his own, the ones around him can become a liability really quickly. This of course, when it's about fights where he has to put in some efforts. That's why nobody is interfering with his Sukuna duel.

Satoru started being truly alone after Suguru left.

Another waver of his conviction. But this time, not only about not being strong enough. He didn't do enough. Ever since Gojo unlocked his techniques and became powerful, he wasn't allowed to be human anymore. He had to do mission after mission, take over the missions unfinished by others, he was expected to do everything and be the saviour of the Jujutsu World. With Suguru, he was human. Yet, just as Suguru said 'it was a busy summer'. No more space for one another.

Geto was also strong. A special grade. He too became lonely.

For Sugru, having a meaning was fundamental. His cursed technique was a constant reminder of how awful non-sorceres are. He would eat their malice, who tasted like a cloth wiped in puke and shit and whereas he understood Satoru, nobody understood him. He himself said that nobody has any idea just how bad curses taste.

When Itadori was eating Sukuna's fingers in the beginning, he would choke, cough complain a lot. Geto had over 2000 curses. He had exorcised and ingested again and again and again. The only humanity around him was Satoru, his best friend. And that got taken away by the Jujutsu world and he remained alone with his own despair. He went on his own path, feeling useless and misunderstood, still viewing Satoru as a friend but also as a term of comparison. He got left without meaning and so he forged himself a new one. He became really similar to Sukuna, with no regard for the ones beneath him, the monkeys. But also, ironically enough, Suguru stopped being the strongest. He viewed himself as weak. He doomed himself. He wanted to feel necessary— he was desperate. He thought he was saving the Jujutsu world.

They were probably meant for tragedy. And that's the sad part. Satoru would've outgrown him regardless but maybe Suguru wouldn't have chosen such a radical path. Toji's existence, an anomaly, broke the flow of their fate. (approx quote from manga) That's why he is more relevant to the story than people believe. Sure, he is sexy as fuck but Toji is literally the beginning and the end of an era, he is everything.

Gojo's second waver pushed him to become a teacher. He had grown and chose a smart path, preserving the youths, the future; no more mass murder. Suguru remained stagnant with his hatred and eventually died. For him, I'd say his life stoped the moment Riko died. His potential as a sorcerer came to a plateau. Everything came to an end so it was only a matter of time before his body died as well.

Back on Gojo's humanity. The funny thing is that this point was proven by the readers of the manga themselves, lol. When Satoru got sealed, he got shat on hardcore. Like, you can't imagine. Reddit and Discord servers were eating his ass up worse than they do now with Sukuna for using Mahoraga. Gojo got blamed for Nanami and Kugisaki (rip my angels, still praying for Nobara), he got blamed for Sukuna taking over Megumi and probably he blames himself too— what "mistake" did he make? Showing humanity when being met with the corpse of his best friend, his only catalyst, his only balance, the only one to ever make him feel normal and give him his Blue Spring, the most beautiful moments of his life. And Kenjaku knew that Suguru's corpse was the only thing to make Satoru waver. In the manga it's clearly stated that despite more than one minute having passed in his mind, physically he stood still for 6 seconds. Even his most regretfull, sorrowful crisis lasted him an inhumane amount of time.

And Gojo too, was the only thing that caused the remaints of Suguru's soul to attempt strangling Kenjaku. (which he admits has never happened before. and suguru is dead— gojo literally triggered the residues of his soul). That's what I mean by intimate.

Even if the concept of soul is often spoken about, their souls are connected. That's how much they mean for eachother.

Perosnally I find this relationship to be perfectly beautiful as it is, without any flaunt of erotica needed, kudos to Gege. I still enjoy writing angst and smut based on their dynamic tho XD. And I don't agree with the ones calling them straight and being so eager to deny them or resume this deep connection to just friends. Like sure, they are not gay-gay but they are... linked. More than friends, more than family. Gege themself said so when speaking about them. I think it's a very clear statement.

If you like the way I think and view characters, check my fics, lol. Much love <33 exstasyplague on A03.

#jujutsu kaisen #jujutsu analysis #suguru geto analysis #character analysis #satoru gojo analysis #sukuna analysis #satosugu analysis #satosugu #gojo x geto #geto suguru #gojo satoru #jjk manga spoilers #jjkmanga #jjk analysis #analysis essay #satoru x suguru #toji fushiguro #jjk toji #jjk essay #jujutsu kaisen analysis #in depth analysis

[eretzyisrael]

by Kylie Ora Lobell

Dutton is just one of many journalists who has chosen to ignore facts, instantly side against Israel and spew lies to the public. From the outside, it looks like Israel’s supporters are losing the information war, as there seems to be an endless wave of fake reports about the country, always putting it in a negative light. 

But Murray, who has been in a similar fight for years against progressivism in the West, is convinced he is making a difference. To him, there is a reason to keep fighting.

“I think I make a lot of headway,” he said. “My view is that 1,000 lies can be corrected by one truth. Obviously social media is testing my theory in real time, but I still believe it. Whenever I’m in a debate with someone who is fervently anti-Israel, I tend to find that audiences appreciate you introducing new facts or little known or unknown facts to the debate. They appreciate that people are pushing back against this. Is there a percentage of the population who simply won’t listen? Absolutely. But the majority of the public is still available. They do listen. And it’s to them that I speak.”

When it comes to Israel, Murray said there are people who “absorb the mainstream media each night, and then they call for the killing to stop and think it’s being done by Israel. In such moments, it’s very important that a voice speaks up and gives courage to others to speak up as well. I have a favorite quote: ‘All I have is a voice to undo the folded lie.’”

Sometimes the lies and criticism come from the Jewish community itself, like when Senator Chuck Schumer (D-N.Y.) spoke up against the Israeli government, or Bernie Sanders (I-Vt.) demanded “No more money to Netanyahu’s war machine to kill Palestinian children.” Why does Murray think this is happening?

“Chuck Schumer, whom I respect, is probably playing a domestic political game in the U.S.,” Murray said. “He’s an intelligent man, and he must know that every Israeli leader would be doing the same thing as Netanyahu [in the aftermath of Oct. 7]. If America had thousands of citizens taken hostage – relative to its size – and tens of thousands murdered in one day, America would be doing much more than Israel is doing, and Schumer knows that. I think it’s about a domestic political game playing out in America, which I regret, because this issue is above politics.”

As a staunch defender of the West and its values, Murray is compelled to support Israel because, as he said, it’s on the front line of the civilized world, defending the West. “Israel has recognizable ethics and culture,” he said. “It’s different, as all countries are, but it’s part of us.” What baffles him – and many others – is the fact that Westerners in America and Britain are supporting every country in the Middle East except for Israel.

“Israel is the one country in which Americans could live in the Middle East,” he said. “I’ve spent enough time in other countries to know this difference. A lot of people don’t. Israel is a core part of the West. When people ask me, ‘Why do you support Israel?’ I say, ‘Why would you support every other country but Israel?’” 

#douglas murray #the truth #truth #israel #hamas #gaza

[siflshonen]

Which aspects of Katsuki's personality are his honne and which are his tatemae? And which traits overlap? Could you elaborate on that?

In my opinion, almost all the things he does are both, but they are also...not. This is kinda what makes it fun, I think.

Maybe somewhere between DvK 1 and the remediation arc, I'm fairly certain his crappiest pettiness has all been absolutely truthful and honest, but the exaggerated application of it to create a specific impression has been a ploy. I'm pretty sure that it's mentioned explicitly that Katsuki likes people to assume he's dumb and brash before doing something clever so he gets them off guard, and this is kind of like that. It's better for him if others think they know his motive and are framing it as totally petty and selfish. It's not untrue, but it's not the whole truth.

Katsuki also prefers to get his point across in as few words as possible, so if you don't catch a second implication or a ham-fisted double-meaning ("I" and "we" can be ambiguous, so any statements by the end of the manga that are, like, "I'm gonna help Deku!" OR "We [as in all of 1-A, of which Bakugo is now comfortable identifying as a part of]'re gonna help Deku!" are both true at the same time), the message probably wasn't meant for you in the first place.

The most consistent trait I'd say Katsuki always has is sensitivity. He's an extremely sensitive little git, so the biggest shows of his true, unfiltered self always get me because it's when his cup runneth over so much that he can’t put any kind of spin on it: His eyes while captured by the sludge villain (upon reflection, this might be the single most important panel of the manga, actually), him totally failing to grapple with and communicate his feelings to Izuku at the end of chapter 1 (this is a bad example - instead of saying thank you or crying like a little twerp, he totally tried to front it like he didn't need Deku's help, which was about as see-through as a piece of cellophane. Idiot. Still a great moment, though), crying outside the school after DvK1 ("I'll beat you all!" Sure, kid), the moment he hits Izuku in the face during their exam against All Might (there's no freaky smile in this moment - he just freezes and hits him in unbridled anger), the end of the Sports Festival when Todoroki is knocked out - he grabs Todoroki's shirt and is about to have a breakdown (did you know this is my second-favorite moment? Did you know that the US fandom's assumptions about Katsuki's motives in this moment made me want to start beating them to death with my bare hands? Did you know I walked away from this series after that because I couldn't stand how little emotional intelligence people have in the US? Were it not for the laws of this land, I would have killed you, western BNHA fandom), DvK2...

Katsuki's emotions are big. They are probably bigger than he is, honestly. Deku's are, too, and so are several other characters, but that doesn't negate my statement.

I'm of the opinion that Katsuki throughout most of the manga, though not so much after these most recent (404 and up) chapters, is actually quite shy about anything that isn't kicking someone's ass or showing off an ability he knows he can perform well. So, sure, he can perform when ass-kicking just fine, but during interviews or simple conversations with his classmates, he clams up and/or just acts like a total bullshitter delinquent as a cover. He's a sensitive little baby and needed to be treated as such just as much as he needed to be told he could be a little shit sometimes and get his ass beat into the dirt! Both were required!

#bakugo katsuki #ask #people who say they don't like how the narrative coddles him never wanted him to do better in the first place #air quotes on coddles #because sometimes that is actually the thing that has to be done #sorry! you have to love the difficult person sometimes #sorry! Izuku loves him! #sorry! katsuki does not actually have all the power in their dynamic #in fact he does not have the power in any dynamic most of the time! #not sorry! I also fucking love him!

[canmom]

Comics Comints: Witch Hat Atelier

Welcome back to Comics Comints, the series where I comint on comics.

First up! Comics Comints now has a proper archive. Enjoy larger images, alt text, and tags for navigation.

Tonight, it’s time we did a manga! If you recall that post about paneling and time from a couple of weeks ago, you know it’s one I liked rather a lot...

Witch Hat Atelier (とんがり帽子のアトリエ Tongari Bōshi no Atorie)

(writing and art: Kamome Shirahama (白浜 鴎), trans. Rasmus-kun, #dropout and Project Vinland scanlation groups. I’m going to be using the name romanisations decided on by #dropout since they’re generally a lot better than the official ones lmao)

Ahh, Witch Hat Atelier. A truly wonderful comic, such that it’s tough to know where to begin.

Sometimes I compare it to getting my hands on a whole new Berserk, because Shirahama’s drawings have that same sense of being exquisite: gorgeously flowing cloth and hair and perfectly placed hatching, overwhelming confidence and attention to detail, an old-school romantic fantasy world you could really fall into. (Also I think she draws faces kinda like Miura does.)

Witch Hat Atelier begins with a girl called Coco living in a fantasy world in which the population is divided into humans and witches. Not unlike a certain Akko, she idealises magic. But she ends up performing magic by accident, unleashing a spell that turns her mother to stone. After this, the kindly Professor Quifrey, who definitely harbours no ulterior motive, breaks the taboo and lets her into the secret: anyone could do magic with the right tools (a pen and special ink), and the witches are maintaining an elaborate masquerade for the sake of containing terrible magical superweapons.

Or at least, the dominant Pointed Hat Witches are. Their enemies, a conspiracy known as the Brimhats, want to break these artificial shackles... and for reasons we don’t yet know, they see this novice witch Coco as their key.

Anyway, the thing that got me to read Witch Hat Atelier was this video...

...by manga youtuber Lines in Motion, which analyses Shirahama’s inventive panelling. It’s really nicely edited and a great primer on the principles of comic composition.

Anyway, per that video, Shirahama took inspiration from not just other manga, but old school European illustration like John Tenniel and Arthur Rackham - and good old Moebius of course. Unfortunately, this video doesn’t provide its sources, and I struggle to find some kind of interview where I can get the artist’s own words. Still, looking at her style, she’s not shy about gesturing to Art Nouveau, or the general tradition of European etching.

And when Shirahama uses colour - sadly only occasionally, though I can understand why! - she deploys beautiful watercolours that call to mind the same tradition (and perhaps certain recent manga like The Girl From The Other Side).

So, before we dive into talking about the comic itself, let me see what I can dig up about Kamome Shirahama herself and her inspirations. She studied art in Japan, at Tokyo University of the Arts, and starting publishing comics in the seinen magazine Fellows! in 2011; this led to a bizarre lucky break when her art was noticed at Comic-Con by someone at Marvel, which gave her a foothold into the Western comics industry, starting with this character Doctor Strange in 2015 (source):

Even seven years ago, you can see Shirahama could really fucking draw. This apparently continued with various other covers for DC and Marvel; meanwhile, having finished her two-year project Eniale & Dewiela (エニデヴィ, Enidevi) about an angel and devil brought together by a mutual enthusiasm for fashion, she embarked on Witch Hat Atelier in 2016 which continues to the present, with 64 issues available at the time of writing.

All this results in perhaps a perfectly optimised Art Build: both her parents are artists, she went to art school, she’s got a familiarity with both Japanese and Western illustration styles to fuel her. And that’s also perfect material for Witch Hat Atelier, which is about - among many other things - the struggles of learning art.

That word Atelier is interesting to me. In Japanese, it seems like アトリエ atorie is not an entirely uncommon word for an artist’s workshop even in the present. In English, its scope is generally much narrower: it refers to a particular tradition of art schools that began in the middle ages and lasted roughly until photography, whose primary function was to teach students how to draw in perspective using a variety of mechanical means like wire grids or sight-size techniques.

(a painting by Jefferson Chalfant of an atelier from the late 1800s - source Wikimedia Commons. I’m vaguely amused by the thought of this guy Chalfant showing up to the atelier and flexing on the students by painting not just the model but also all the other students, the room behind them, and thumbnails of all their paintings.)

Nowadays you’re most likely to hear the word ‘atelier’ in the context of the Atelier series of games, in which you play as a young witch and your atelier is essentially an alchemist’s workshop where you brew potions. I don’t have enough data to say how far the association between ateliers and magic goes - I’ve seen at least one more instance (Maria Umineko uses the word) - but in any case...

‘Magic systems’ in fantasy fiction are tricky things. Without some care, they can just be colour that carries very little thematic weight. Fortunately this is very much not true of Witch Hat Atelier. The basic premise of its system is that magic is created by drawing precise circles with certain symbolic elements whose size relationships combine to specify the magic effect. It’s explained in some detail, although there’s enough vague that Shirahama can have some real fun with the imagery.

The important part, though, is that while it’s not exactly the same as representative illustration, it’s close enough to it to be analogous. In Quifrey’s atelier, Coco meets a group of young students who each have their own styles of magic. Riché, for example, was treated cruelly by an arrogant teacher who insisted on orthodoxy, and now stubbornly insists on practicing only her own specific magical techniques; an important turning point sees her learn how to lean on other people without sacrificing her personal style. Coco has some skills she can lean on as a tailor’s daughter, but still has to drill fundamentals like learning to draw in a single smooth confident stroke.

It’s not quite as ‘trials of an artist’ as something like Blue Period (no spoilers, I’ve only read a bit of that), but it is a deeply compelling element of the mix...

However, magic is only somewhat like illustration. It’s also useful. And this leads to a fascinating subtheme around disability. One of the rules the Pointed Hat witches operate under is that they can’t use magic on the human body. So when a boy Coustas’s legs are injured by haywire magic, witches can give him an adorable deer legs wheelchair...

...but he faces many of the same obstacles as a real wheelchair user in a world not built for access. Coco and her friend Tartar try to figure out a method to help him without breaking the rules, eventually coming on the solution of creating a flying cloak as a new accessibility device, seemingly to everyone’s satisfaction... but then (spoilers) Coustas runs into a Brimhat who’s like “actually we have no compunctions doing a transhumanism on you” and give him legs back (if weirder), turning him against the MCs. But that same power is one we just recently saw used to forcibly transform people against their will. It’s an interesting mirror of the common ‘disability in sci-fi’ question; Coustas’s struggle is not merely that he is disabled, but that the world does not accomodate him and this completely strips him of independence, despite very little ill will from anyone.

And to her credit, Shirahama doesn’t seem to be trying to be going for a didactic angle on this (Coustas should or shoudn’t want...), but treats it as a worthwhile and interesting conflict, and I’m genuinely excited to see how it will resolve. Nor is Coustas the only user of a ‘sealchair’ - one of the main leaders of the witches uses one due to some kind of unspecified fatigue condition, even transforming it in battle, something which largely passes without comment since that’s not really the main focus of the character.

Anyway, despite their separate social system, the witches in Witch Hat Atelier have to make a living, which they do primarily by selling magic items to the non-magical population - subject to various safety regulations which are pretty strict and have a curious attitude towards deception in keeping with the Pointed Hat witches’ MO (don’t make a heatless flame or children might get the wrong idea!). So despite the wonder conveyed so effectively in Shirahama’s vistas of floating islands and twisting paths and underwater cities, it’s a magic that’s very grounded, shaped by the needs of a feudal society. She’s incredibly good at tying in these kinds of ~worldbuilding~ tidbit to the evolving character arcs, so the setting as a whole feels warm and lived-in but also shot through with genuine intractable tensions.

(I tend to show the more elaborate compositions with borders and splash panels, but even the more standard rectangular-panel pages have a real elegance to them)

One of these tensions is that between adults and children. There are many terrible teachers in the pages of Witch Hat Atelier - ones who berate their charges and shatter their self-confidence, or even in one chapter we witness a teacher who will not defend her student who is sexually assaulted by a nobleman and fights back (the only time the subject is brought up in the comic, and handled with care). Even for Quifrey, the picture of a benevolent instructor or good dad lmao, we have the lurking question of whether he intends to use Coco as an opportunity to pursue revenge against the Brimhats.

The children are surrounded by a world that doesn’t seem to work the way it should, rules that don’t seem to make sense but they have to follow, in a way that feels very genuine. And they have reason to fear: the standard punishment of the Pointed Hat witches is to wipe someone’s entire memories of magic and start them in a new life as a civilian. The fear of an extreme, draconian punishment leads the kids to end up keeping their own secrets.

But the adults are far from all bad. If, perhaps, the good relationships are a tragedy waiting to happen...

Then there are the witches and the secular authorities - monarchs of various kingdoms who are itching to get their hands on the secrets of magic. As the cast expands - and believe me it expands a lot - we start getting more and more points of view, and Shirahama is very deft at sketching a character’s motivation and vibe in just a few pages.

When it comes to comics about students at a school for magic, inevitably comparisons will be drawn to the elephant in the room, A Wizard of Earths- what’s that? - oh, yeah, that one.

So, yeah, according to Wikipedia, Shirahama took inspiration from both Harry Potter and Lord of the Rings. Frankly I think she writes wrings around both of them, but then she’s writing a much more modern style of fantasy for an audience literate in the genre, with modern concerns, so perhaps it’s not a surprise I’d like it more than Tolkien. (Rowling is a thoroughly mean-spirited fascist who represents the worst of this country, and if I were to go through the comparison, it would just be a list of things that I think Shirahama does a whole lot better, so I won’t do that.)

What is a little interesting is seeing how, after Potter’s international proliferation, some of the imagery of the robe and wizard hat and school for magic starts to grow into a standard setting in Japanese fiction. Obviously Trigger’s Little Witch Academia is the big one - and I’m fond of it, but it shares little with it beyond the main character’s enchantment (ha) with the idea of magic. NieR Reincarnation is much less likely to ping on anyone’s radar, being a fairly obscure mobile gacha game, but it also took a magic school as the setting for some of its brief tragedies. No idea if that’s going to continue, or if it’s just a passing thing, but brain see pattern...

Anyway, it wouldn’t be Comics Comints without a detailed art breakdown, would it? There’s so much going on in Shirahama’s pages that it will be hard to capture everything, nor is this series really supposed to be comprehensive. Since I’ve talked a bunch about paneling already, let’s take a closer look at the characters...

Let’s start with kids, since most of the characters are kids. Here’s a handful of panels from chapter 42, page 13, trans. #Dropout (the work done primarily by Hypomanix and Botanyrobot in this issue). I think it’s a decently neutral example of a drawing of Coco.

There’s a lot that goes into a drawing of a face, to make it look delicate. But to my mind (c.f. the human head, a series I still intend to finish) the key elements are...

the profile of the face - this shape determines a lot

the size, shape, and style of the eyes

the balance of features

the way you draw hair

I said previously that Shirahama’s style reminded me of Kentaro Miura’s, but that’s mostly when she’s drawing kids. Shirahama’s designs are definitely within the broader ‘anime’ milieu, but there’s an old-school quality. Let’s break it down...

face profile - very rounded shapes. ubiquitous ‘cheek bump’ (pink), which helps the characters appear young.

as a standard ‘anime mannequin’ head, the overall aspect ratio is quite square, the neck is thin and relatively central, and the eyeline stays low.

eyes - this is where Shirahama puts most of the visual information (density of lines), with multiple rings of hatched shadows and highlights. In the picture above I’ve outlined the main shapes that go into drawing Coco’s eyes. Some of them can be identified as anatomical features, others highlights and shadows indicating form, some (the blue crescent shaped shadow for example) are perhaps just pure visual elements? Importantly, the outer outline of the eye is broken at the sides. All this complex shading gives a kind of shiny, watery feeling that suggests emotion bubbling under the surface even if the rest of the expression is very simple.

Coco’s eyes are very wide, representing her innocence. More adult characters tend to have narrower eyes, as we’ll see.

balance of the features

'Big eyes, small mouth’ as the name of the old roleplaying game goes. Note that Coco’s face is wider than it is tall. Just the end of the nose is drawn, but its placement suggests the 3D form of the face so it doesn’t appear flat overall. The suggest is there’s more nose but the bridge of the nose is so smooth that it doesn’t really get a line - if you’ve ever seen a plastic anime figurine you get the idea.

The emphasis is very much on the eyes.

hair

Hair is something that Shirahama really excels at, and honestly I want to absorb her secrets, so lets have a look at the way she does things. The way you can look at it is basically by dividing the hair into primary and secondary forms.

Coco here has very straight hair where the principle is particularly clear. First, you divide the hairstyle as a whole into large groups or blocks where the hair is flowing a particular way. For Coco, she has a part on her left (our right); her fringe forms one block of hair, which may go over or under the block of hair coming down from the top of her head depending on the picture.

Within each block, the hair is constructed out of smaller crescent-shaped elements which overlap each other (indicated by T-intersections between lines), and follow the overall flow. These merge towards the root of the hair block (the lines dividing them disappear)...

Then, additional lines can be drawn inside each block to add additional texture.

Judging by videos I’ve seen, Shirahama seems to be able to do these kinds of line straight away in ink, which is why they look so clean and confident.

For characters with darker hair, similar design principles apply, but instead of indicating the flow of the hair through outlines, Shirahama uses white lines within the form to indicate specular highlights. (Contrast Coustas’s eyes here to Coco’s incidentally: their emotional states are communicated by the different shading styles).

Now, let’s take a look at Quifrey and Orugio, two of the main adult characters in the comic...

Quifrey (right) has to carry a lot of the comic, and if you look at Shirahama’s design notes, he’s also one whose design evolved the most towards the fairly bishie one he got in the end. He has to be goofy, kindly, and sometimes sinister. He’s certainly not a villain, but he is willing to do some pretty shady shit - but he’s also good at presenting a generally sort of bemused affect, which is indicated by simplifying his design a lot.

The Gandalf/Dumbledore sort of archetype, but less magisterial - Quifrey is not an especially powerful witch. There’s a very overt indication of his divided nature in his glasses - there’s a plot reason why they’re different colours but the combination of dark lens and fringe hiding his eye screams “he’s hiding something”.

Quifrey’s friend Orugio (left) meanwhile is a more straightforward character, hard working, down to earth and straight-laced but out of a genuine sense of caring. Honestly, the fact he has facial hair is something that’s very rare in manga! One thing I notice just now while searching for suitably illustrative panels is that his face is often seen angled down, while Quifrey is more often seen from below.

The basic construction is similar to the kids’ heads, but a few differences to notice. As is the rule, adults’ eyes are proportionally a lot smaller than kids’ eyes. The construction of the face is slightly more angular, and they actually have noses.

Quifrey’s hair is a lot messier than Coco’s, but it’s essentially constructed out of the same overlapping crescents, which don’t especially respect gravity for Quifrey. Orugio’s hair is a solid dark mass, with a lot of loose strands around the edges, but you can still kind of see the locks of hair providing structure to the shape.

Shirahama’s lines are usually very even and thin, but she’ll often use a thicker line in a face closeup to emphasise the jawline, and in general a very subtly thicker line to outline forms than to hatch inside them. She uses screentones as you can see, but also extensively uses very neat hatching to create blocks of shadow or blend lines into larger shadow shapes. Her lines have an incredible amount of confidence and precision.

That’s faces, but what about the figure as a whole? One of Shirahama’s real gifts is her ability to draw flowing cloth with an incredible sense of motion. Here’s a classic Shirahama splash panel...

The contrast of organic shapes of cloth against the large circular element is something Shirahama loves doing - as is the use of negative space.

Breaking down the cloth: you have the solid lines representing the outer edge of folds, and then hatching within the body of the cloak to indicate shadows. In some places the hatching runs along the direction of the folds, in other cases perpendicular with it, all blending together. You can basically see how it breaks down into conical pipe folds that overlap each other, coming to a sinuous line at the bottom. Then this biiiig shape is contrasted against Quifrey’s thin neck, always upright, and the area of detail in his face. It’s just like. Really expert drawing by someone who knows the craft up and down.

There aren’t a lot of opportunities to see how Shirahama goes about designing one of these figures, but there are a couple of roughs she’s put out, so let me take a brief look at that to wrap up the drawing section.

this is a rejected draft for one of the first pages in the story. it looks like Shirahama roughs things out in quite a thick pencil, then uses a blue pencil(?) to refine, before inking. I suspect there may be more steps between, which she rubs out before inking...

These early designs seem to have been drawn into a thicker pen, with less care taken over the linework. What’s most interesting to me is how much Quifrey’s head shape changed as Shirahama’s concept of the character evolved.

Finally here’s a timelapse video of Shirahama inking a drawing of Coco.

You can see she starts with a pencil sketch that has the major shapes nailed down but not yet the line quality. She outlines all the main shapes, erases the pencils, then fills in the details at a slightly lower line weight. She’s got a ridiculously confident hand considering how much detail is going straight to ink in a way that makes my digital artist brain flinch.

The way Shirahama uses hatching reminds me a bit of Kimihiko Fujisaka, artist for Voice of Cards. I think I gotta practice more in ink lol, digital just doesn’t seem to give the same feel. Something about the mechanics of the way the pen flicks across the paper, maybe?

And that’s I think everything I have to say. Read this comic, it’s good! ...oh wait, there’s an anime coming! As yet, the studio and staff are to be determined. Shirahama’s style seems very difficult to capture in animation, so I’ll be curious to see how they handle it.

Next up: The Less Than Epic Adventures of TJ and Amal I think.

#comics #witch hat atelier #manga #comics comints

[shoko-komi]

The Komi Report - Communications 437, 438, & 439

This week in Komi Can't Communicate:

A familiar name...

...a cryptic trial...

...and a triple threat.

Read It: Mangareader Mangakakalot Viz Media (North America Exclusive) Mangadex (Dead, but there’s the backlog; and Spanish language updates)

There is so much going on this week.... much to interest us!!!

It is time for stage two of the university entrance process... and we meet someone new.

Tadano??? 👀👀👀 A cousin? A coincidence? To me this is a fascinating plot twist. She's like boy-Tadano; she introduces herself as ordinary, and on the train she let's an old man have her seat. Everyone does that, sure, but it's very Tadano for it to be specifically shown to us. Who is this mysterious girl???

Tangent - Oda has said in an interview that Komi was originally going to be a boy, but his editor suggested making the character a girl instead (he doesn't elaborate on this). One doesn't imagine that Oda would have made the manga a yaoi (although that would have been awesome); so if Komi had been a boy, that would have made Tadano a girl. This is pertinent in that I am now imagining Maruko as boy-Tadano's alternate reality counterpart.

I wonder if she's ever been to Cairns (Cairns is a popular Australian holiday destination for Japanese tourists. It's in the far north and has many attractions, making it a more affordable and accessible holiday spot than places such as Sydney. Fuck Sydney. No one likes Sydney.)

I love her....... and her specialty is reading the room. hehehehehehe

What do you think is the tastiest condiment for a friend egg? I don't eat fried eggs often because I don't like eggs enough to cook them for myself, so I'm not well-versed in appropriate egg condiments. Sometimes with these complex political topics you just have to say "sorry, I'm not well informed enough to have an opinion".

The question of her connection to boy-Tadano is going to dominate my mind until it's answered.

Egypt.... we don't get much of this girl, so all I can really say is that I like her look.

I like how, before this point, Oda obfuscates that there are three of them.

In these earlier panels

(text removed for ease of viewing) you can see that there are three of them, but one may not notice unless one is paying attention. A nice detail 👍. Also, freaky hive-mind triplets........... very cool!

I bet their psychic triplet connection allows them to share what they taste and experience. Eating with three mouths at the same time... the possibilities.......

King Khufu. I searched 'King Khufu' and think this funky ivory carving of him is cool

Girl it's okay to ask follow-up questions asodnalsdknasd please ask what she means

Komi is so offended by the idea of putting pepper on an egg that she shuns girl-Tadano cruelly 😓

I have a sneaking suspicion that 'soy sauce and wasabi' got exactly three votes. This is blatantly unfair, as a hive-mind like this should only be counted as one person.

AJBKJASWKJASJNAOJS I know the answer to this one - put me in charge. Give ol' Alice the reigns and I'll set everyone straight.

I liked these triplets, but their idea for world peace is so stupid that I feel exactly how Komi did when girl-Tadano suggested putting pepper on an egg.

overthrow capitalism and abolish the state!!!!!

I'm back to liking the triplets. Their smug, controlling attitude is very evil and endearing.

AOISHOAISJOIASJOLAM it's like her brain shut down earlier and only just booted back up. Everyone appears to have forgotten the question of world peace and focused entirely on Komi's egg opinions.

And that's it for this week!!! We are left with a cliffhanger; the group discussion was getting heated and then Komi came in with a total curve ball. I'm pleased to see more of Komi's university entrance process, and so far it's been fun! The new characters are interesting; especially girl-Tadano (for the reason of her name). The triplets are fun, and I'm not sure what to make of Egypt at the moment. I am most curious to see how it continues next week!

Until then, stay safe!! I'll see you soon.

#komi #komi can't communicate #komi san wa komyushou desu #komi report #the komi report