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pikahlua · 2 months

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In regards to your post on Izuku’s self sacrificial traits, how do you think the dark hero arc plays into this? I thought the point of it was to sort of pull his self sacrificial nature back a bit with the whole “you can’t do it on your own” and “don’t kill yourself for the cause” thing. They don’t have to be mutually exclusive, i get that “bakugou looks up to Deku’s self sacrificial nature as a positive trait he doesn’t have” and “Deku should rely on others and not hurt himself” can both coexist. But they also give mixed messages narratively. Is one not condemning it while the other puts it on a pedestal?

THANK YOU!!! For taking the bait.

I've been ranting about this theme a bit because, from what I can tell, it might be the biggest point MHA is trying to make to answer the question "What is a hero?" Because of MHA's length, the points of the argument have been rather spread out. I think people's understanding of the argument has been distorted by the length of time between the points. Overthinking is the enemy here.

But really, why are people coming away from MHA with the message "Heroes shouldn't sacrifice themselves"? The message is coming from somewhere. The problem is it's probably coming from a conflation of concepts. What is self-sacrifice? That's the question that gets at the root of the problem here.

In the west, "sacrifice" has negative connotations. "Something is lost." "Someone suffers for the sake of a goal." "Someone gives up something." The focus is entirely on the pain experienced by the one sacrificing.

But the point MHA is trying to make is that there's a difference between "suffering loss" and the sacrifices a true hero makes. Izuku isn't a remarkable hero because he's willing to destroy himself at the drop of a hat. The focus is not on his drastic behavior but on the recipients of his drastic behavior. The point is, sacrifice for the sake of sacrifice is meaningless, but sacrifice for the sake of others, well, now we're getting somewhere.

It's the "for the sake of others" part that matters here. Izuku is a hero because he cares for others, because he wants to save others, and what he's willing to sacrifice to accomplish that is merely the measure of his conviction, of his heart.

The quality of self-sacrifice is a core trait measured just to gain enrollment at UA, the most prestigious hero school in the country. Self-sacrifice is fundamental to being a hero. Do you really think the point of the MHA story is to demonstrate how self-sacrifice is a bad thing, that heroes shouldn't sacrifice themselves? Do you think the rest of Class 1-A wouldn't be willing to sacrifice themselves should the need arise so long as it's in order to save someone?

The difference between Izuku and the rest of the world, at least at the beginning, is that he is sensitive to calls for help. He is able to perceive those in trouble that others cannot perceive. Others get confused by the context or are not in a constant state of listening for cries for help. Others cannot always tell when is the right time to act or if acting is the correct choice. Izuku never wavers in the face of such questions. He always acts, because he cannot help but act. It is who he is. It's his nature to be this way. And this is the spirit that slowly influences his classmates and the rest of society, this is the spirit Katsuki fears and later comes to emulate, this is the ideal Izuku admires in his hero All Might for which he always strives.

Heroes want to save, but some of them just don't know how--and Izuku teaches them how. Izuku teaches them that, for true heroes, to save others is more important than anything else they could ever want. It is more important than their self-perceived weaknesses, than their egos, than their desires for vengeance, than their small-time dreams, no matter how noble or justified or important any of those things might be. To be called a hero, one must be prepared to risk it all.

These are the traits Hero Killer Stain wishes to promote in society. These are the qualities he exonerates from assassination. A person who lives for the sake of "service to others" is the sort of person who has more right than anyone to "cling desperately to life." Society needs such people, and for that very reason such people need to stay alive. This is the collectivist ideal. If everyone is concerned for the well-being of others, then everyone is looking out for everyone else. If you're ready to save others and risk yourself to do so, others will risk themselves to make sure you make it out alive too, and thus everyone is protected. If you do end up perishing due to self-sacrifice, it is a tragedy, not self-determination, but then your actions still protected the whole, and the whole will continue to protect everyone in it to the best of their abilities because your self-sacrifice was appreciated and the spirit of your goodness carries on in others.

But that's a whole lot of waxing poetic about self-sacrifice. I did acknowledge that people are picking up a critical message. Where then is the criticism?

It comes from Shouta Aizawa.

Aizawa is the major proponent of rationality in this case. Self-sacrifice = good is not the end of the philosophy. It is as you say, something must balance it out.

People often think Aizawa's philosophy boils down to "I don't want heroes to be self-sacrificial," but that's not actually what he's saying. Aizawa's philosophy is to make the distinction between self-sacrifice and self-destruction.

"Being self-sacrificing isn't the same...as being suicidal. Many kids confuse the two. So I'll give them what they want. A 'death,' so to speak."

The hallmark of heroic self-sacrifice is that it's done for the sake of others. Self-destruction is different; it is for the sake of the self. Some people would take the chance to mask their self-destruction as self-sacrifice by looking for a way to die while saving others. That's not the point of heroic self-sacrifice. Self-sacrifice is a last resort. You save a person in trouble because you care about preserving their well-being no matter the cost, but some sacrifices are not in balance. Say someone is trapped in a room and you want to get them out, and you have a battering ram and a bomb. Should you strap a bomb to your body and explode open that door to let the person out? Wouldn't that be a heroic sacrifice to save someone? No! It's certainly a sacrifice, but it's not a heroic one. You should act to preserve ALL well-being, including your own. Use the damn battering ram.

Consider the circumstances at play in the quirk assessment test. Izuku was ready to sacrifice his entire arm, his physical constitution, for the sake of demonstrating his power. What does Izuku incapacitating himself achieve were Aizawa to let him do so? It would merely be to prove his strength to someone. No one is at risk here. No one needs saving. Izuku has no person to receive the good will of his self-sacrifice.

"Whatever you were planning...it would have inconvenienced those around you."

"You're totally useless after saving just a single person."

Self-sacrifice is still a sacrifice, which means it has costs and consequences. Who loses because of self-sacrifice? Many people. The person who sacrifices themself loses their life or well-being, which, if others asking for help are worth saving because you believe all people are equal, then you are also worth saving and in just as much need of help. Additionally, your loved ones are harmed because they care about you. And the rest of society suffers because it was better for having you in it; you can no longer save anyone else. To save the most people possible, a hero should strive to survive. A hero should strive to win.

Taken all together, you get the philosophy that allows Katsuki's team to triumph during the Joint Training Arc, which was the entire point of this match. Note how all the above logic is summed up quite succinctly by the gremlin himself.

Katsuki is dedicated to winning the match and leads the charge, but that puts him at risk of being targeted. However, he's willing to be in that vulnerable state because he trusts others to save him. That's what empowers him to put himself on the line. His goal is a complete victory, which means that self-sacrifice is considered a loss. There are costs and consequences, and heroes should do their best to mitigate them. Katsuki is doing everything in his power to reduce the necessity of self-sacrifice, but not because he thinks self-sacrifice is bad. He thinks needless self-sacrifice is bad, and so he strives to eliminate the need for it.

But that means he does acknowledge that there are times self-sacrifice is necessary. He's grown up afraid of Izuku's heart because Izuku demonstrates how easily self-sacrifice comes to him, and that puts Katsuki on the spot. Katsuki doesn't know if he is capable of self-sacrifice. Because he's so competent and strong, he's never noticed a need for sacrifice in his life. He's never had to demonstrate self-sacrifice, and if that's such a fundamental part of being a hero, Katsuki doesn't know if he really is a hero at heart.

But as I mentioned above, the reason he never had a chance to display self-sacrifice as a trait is because he lacked the ability to tell when people need saving. He looks around and sees a bunch of people who are wasting their potential. He thinks some people who seem to ask for help are much more capable than they behave.

Note how Katsuki failed his hero license exam. If Katsuki had stuck around the triage center and fought Gang Orca when he showed up, Katsuki likely would have passed. But Katsuki decided to forego battle to run around and save people. And hilariously enough, the bystanders who dock Katsuki points point out that Katsuki correctly identified them as low-priority targets to save. He's pretty good at figuring out who DOESN'T need saving. They end up docking him points because of his inappropriate tone, which is possibly the funniest way they could have said "Well you're technically right but also holy crap you're bad at this."

And that's the point. Katsuki knows saving people is important, and he perceives Izuku is the absolute best at it. Katsuki is constantly looking for a way to compete with Izuku in this realm because he has to. Katsuki wants to be the best, and to do so he has to improve in this area. Izuku pisses him off because he is extremely adept at perceiving calls for help from those who truly need it, and Katsuki notices every time Izuku is faster on the uptake. It happens at the sports festival with Shouto, which is why Katsuki considers the sports festival a loss.

Katsuki does get better at this, and that's what allows him to eventually get his hero license. Think of his behavior during the school cultural festival, where he sees his classmates trying to appease their peers out of guilt. That's people pleasing. That's ego. Katsuki won't have any of it. From his perspective, if Class 1-A wants to make sure everyone has a good time, then everyone means everyone. Class 1-A has to enjoy the festival too, and the best way to do that is to throw a badass concert. By enjoying themselves and being proud of their well-earned accomplishments, by thriving, Class 1-A demonstrates to their peers how to best win against all those tragedies that tried to bring them down. Self-deprecation for the sake of appeasing others' ill will when that ill will is unjustified is just self-gratification. It's just a way to stop feeling guilty, but the only purpose that serves is to debase yourself. Class 1-A didn't do anything wrong to the other classes, so Class 1-A does not need to atone to them. Self-sacrifice in this case brings no benefit to anyone. Instead, the classes should all be thriving together.

All of these lessons converge in the Dark Deku arc. Others express worry for Izuku's behavior because they see him as engaging in self-destruction. They want him to rest, but Izuku perceives there are people in need of help, so he can't help but save them. And not everyone condemns Izuku's behavior.

Kudou encourages it.

The problem at play in this arc is the question of power. Izuku has power, which means he is capable of saving people. And many people are in need of saving. How many people can one finite Izuku save? That is the question he is set to answer. He is facing the same question as All Might, but All Might's example was to save people while he was losing One For All. All Might had a finite amount of power that he was going to lose in time, so he decided to spend that dwindling power on saving as many people as he could. That would be the more virtuous use of his finite power.

But All Might's flaw was in rejecting the help of others when others were capable of helping him. Izuku falls into the same trap. He thinks he has to save people alone because he's the only one capable of it.

This is Kudou's spoken caveat. "Inaction is not an option," so yes Izuku needs to be acting in this moment. "That said...if there's anything that could bolster Izuku Midoriya now, it would be..."

The answer is not merely "friends." We are given the answer that Izuku needs friends at first, but this is a special type of friend. Izuku needs friends who "share his resolve," who "can match his pace...and keep running alongside him." Izuku needs comrades (nakama)! He needs friends who want to save just as much as he does. He needs friends who are just as capable as he is. That's why Class 1-A has to first demonstrate their capabilities to Izuku so that he can be convinced.

Katsuki doesn't criticize Izuku's ideals either. In fact, he openly praises them.

All Katsuki is saying here is "You're doing the right thing. Saving people, even at cost to yourself, is the right thing. We want to help. We can help. Don't reject us.

"Don't pay a price when you don't have to."

tl;dr

In a collectivist society, the ideal is that everyone looks out for each other, thus is everyone protected.

Self-sacrifice has costs to the self, to one's loved ones, and to society. The price paid must be worth the good achieved.

The virtue in self-sacrifice is that it is done when necessary for the sake of others. Anything less is self-destruction, which is harmful to society.

Heroes have a duty both to be prepared to self-sacrifice and to mitigate the need for self-sacrifice.

Rejecting the help of others who are capable of helping is to reject the collectivist ideal.

Izuku's self-sacrifice is virtuous BECAUSE IT IS FOR OTHERS' SAKES. Izuku's self-destruction and rejection of help from others are what the story criticizes.

Izuku Midoriya's nature represents the ideal of self-sacrifice because of his innate desire to save others, and Katsuki Bakugou recognizes that trait as core to being a hero and thus admires Izuku for it--but he's also afraid he doesn't have that trait for a large chunk of the story. Izuku's journey to accepting the help of others, Katsuki's journey to discovering his self-sacrificing spirit, and their mutual admiration of each other all provide the perspective for the audience to understand this ideal: heroes are those who live in service of others.

#ask pika #anon ask #my hero academia manga spoilers #final showdown spoilers #meta #the meta to end all metas #izuku midoriya #katsuki bakugou #shouta aizawa #all might #toshinori yagi #hero killer stain #chizome akaguro #thank you for attending my TED talk

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idliketobeatree · 2 months

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The lighting in the S1 1941 flashback is so painfully dark I was rewatching it on a 150% brightness and perhaps I am five years late, but how come I've never noticed that this

is how Aziraphale gazes at Crowley before the "little demonic miracle of my own"???

This is him before the love realisation, just after Aziraphale miracled them both safe from the bomb exploding on the church with the Nazis. No heartwarming acts of service yet — best to his knowledge, Crowley was only there for moral support, because he "didn't want him to get embarassed". And his gaze is— I don't know what to say. Like it would kill him to look away. So fond, so immersed, "oh God, there you are", like hundreds of years have passed, not decades since they saw each other last. Books? What books? What air raid, what war?

Arguably the best part of the scene happens literal seconds after. If you pay close attention to the whole shot, you'll spot the brown satchel on the side. Which Aziraphale would notice earlier too, if he could focus on anything other than Crowley.

#good omens #good omens 1941 #aziraphale #crowley #ineffable husbands #aziracrow #aziraphale x crowley #good omens analysis #good omens meta #ineffable spouses #good omens s1 #gos1 #anthony j crowley #i'm going to be sick #michael sheen what if this is my last straw? what then?#i blame the eternal darkness of these shots that i've only noticed this now #aziraphale was there!! smitten gone so SO BAD for him!!!!! and he was the one who did all the hard bits!!#end me please #marcela talks

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irisbaggins · 5 months

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In rewatching the season, I'm noticing how clever Aabria and Brennan were in crafting Tula's story. How well thought out everything was.

Specifically, the bear. It's been mentioned so many times before, but with the context of the completed season, I cannot help but be in awe at the skilful storytelling at display here. The way in which the Blue is described to appear wrong only in reference to Tula and her heart, the way in which Tula talks about curiosity and and having experienced knowing someone who died because of it. Of how Aabria describes to Izzy how Tula looks when she heals the bear, of how Aabria specifically points out that Tula recognises the commonalities between herself and the bear. These breadcrumbs that mean little in the beginning, that tell everything at the end. It's amazing, stunning, masterful storytelling. I am in awe.

#text_loke #meta from loke #Burrow's End #Burrow's End Spoilers #Aabria Iyengar #Brennan Lee Mulligan #i am forever in awe tbh #also the way i gasped at several of brennan and aabria's lines this episode #i'll need to pull some quotes from that whenever i get on my computer #and i desperately need to write a fic about everything that happened from Tula's perspective #but that would be AFTER i finally manage to finish the little beast i'm working on about that Last Fight from Tula's pov #'cos BOY i have a feeling i will write a lot. just 600 words on the intro before 'kill them all'. so y'know. a wordy little thing...#anyway. i love burrow's end so much. i cannot stop thinking about it #Dimension 20 Spoilers #D20 Spoilers

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poorly-drawn-mdzs · 7 days

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I'm a doctor, not a miracle worker.

[First] Prev <–-> Next

#poorly drawn mdzs #mdzs #wen ning #wei wuxian #wen qing #jiang cheng #Truly Massive disclaimer here: I am a Jiang Cheng enjoyer. I like his character. I enjoy that he is very flawed and volatile.#This episode of the audio drama has a lot of great breakdown scenes featuring JC - and they all deserve a feature.#But underlying this comic is a small meta comment of 'ah man I have too many comics of JC just wailing sadly'#My goal is to draw 6-8 comics per episode - I sometimes have to truncate and cut good scenes out.#Especially when a large majority is just different flavours of trauma and toxic relationships to your self-worth.#I would also like to make a note here that just because you lose the ability to do something that is very tied to your core identity-#-does not mean your life is over. It will feel like the end of the world. It will send you into a spiral of grief. It will hurt so badly.#Sometimes we do not realize how tied up our identities can be in certain things until we are cut loose.#You don't lose yourself. I promise the pain will fade in time. I promise you will find other things to tether you. I promise you will be ok #Life moves forwards. Time moves forwards. You move forwards.#Ego death just means an opportunity for ego rebirth. You are never committed to being the same person forever.#To wrap this around to JC: Yeah I love the twist with the core transfer but man I would have loved to see JC accept the loss.#Obviously it happens for a reason (story) but I can have my AUs. I can have these 'what-ifs'.#described in alt text #I'm trying it out! *please* give me feedback - I want to eventually Add image ID to all of these comics one day

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ineffable-baker-street · 7 months

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it's the fact that crowley became more protective of aziraphale after he thought he lost him in the fire.

he experienced what it would feel like to lose him and he knew he never wanted to go through that again, so in season two he does everything he can to keep him from harm.

he threatens and he fights and he leaves only to return just as quickly, and he makes the promise "i won't leave you on your own" because the last time he left in anger he came back to find that aziraphale was gone.

and if he has to experience that heartwrenching grief that had him sobbing on the floor of a flaming bookshop ever again then what would be the point of it all?

#and yet in the end he still loses aziraphale #after all his fighting his angel leaves #and there's no great act that could bring him back #good omens #crowley and aziraphale #neil gaiman #aziraphale #crowley #ineffable husbands #aziracrow #ineffable idiots #crowley my beloved #good omens meta?#is this meta?#i dont actually know the proper definition of meta

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luxaofhesperides · 4 months

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Soulmate AU: First Words + End of the World ; requested by @justwannabecat!

Duke has long since accepted that he doesn’t have great luck. Most things in his life tend to go wrong very quickly, or complicate situations he was already struggling in (see: being a meta and getting his powers in the middle of a fight). Having an incomprehensible soulmark is an unpleasant discovery on the morning of his nineteenth birthday, but not entirely unexpected.

He had been hoping for something simple, a common one like hi it’s nice to meet you or sorry, didn’t mean to bump into you.

What Duke gets instead isn’t even words.

Scrawled across his left hipbone is a string of symbols glowing a faint green. They’re not in a language he recognizes, and the symbols seem to move, shifting ever so slightly so they look different every time he blinks.

“Well,” he says after a solid five minutes of staring into the mirror, unable to rip his eyes off his soulmate’s words, “I hope theirs looks nicer than mine.”

He spends his birthday in a bit of a daze, enjoying time spent with the Waynes and his friends. It’s hard to be fully present when he’s all too aware of the soreness on his hipbone flaring up each time he moves. It’s hard to keep his mind off of it, wanting nothing more than to search for answers, unravel the mystery of his soulmate’s first words.

“Something on your mind?” Jason asks, as the attention shifts off of him for a brief moment as Harper and Cullen get ready to leave and everyone rushes to give their goodbyes,

Duke shrugs, carefully keeping his hands still so they don’t drift to where his soulmark is hidden beneath his clothes. “Yeah. Nothing you need to worry about, though.”

Jason looks him over critically, then nods.

Duke resigns himself to being investigated by the rest of the Bats. If he’s off enough that Jason had to comment on it, then that means everyone’s noticed and are trying to figure out what’s happened. They’re not going to ask him, because they think he needs space to work through whatever’s got him so distracted, but they’re also not going to just do nothing.

This won’t be the first time they’ve done this. Duke expects it. Frankly, it would be stranger and much more concerning if they didn’t try to dig up all his secrets the moment they caught wind of him hiding something.

He’ll tell them about getting his soulmark soon. Soulmarks can appear on any birthday between the ages of thirteen to twenty five; they might suspect he got his, but they won’t be able to confirm.

For now, Duke can keep his soulmate’s first words (whatever that gibberish means) to himself.

He makes the decision then and there, as his birthday party winds down, to tell them in a week.

And because his luck is abysmal, a world ending threat hits five days later and suddenly there is no time for soulmarks and first words.

Duke is the last to arrive at the Fortress of Solitude, hitching a ride from Superboy to get there. The biting cold and the harsh winds keep the place far from the reaches of the rest of humanity, surrounded by nothing but deadly white.

Desolate as the landscape is, it’s still in better shape than the rest of the world.

Things would be better if it was alien invaders. It would be more bearable if some sort of cosmic colossus tried to eat their solar system. At least then there would be something physical that they could fight.

Instead, the world is breaking apart, the sky and earth both fracturing to reveal glowing green faultlines. Timelines are getting mixed up and muddled; just yesterday, Duke had to evacuate a building that had been demolished forty years ago, then stop a gang leader who wouldn’t be born for another eight years from taking over a neighborhood block and holding the residents hostage. Strange creatures are appearing out of nowhere, crawling out of shadows and tide pools and from beneath the roots of trees, all horrible, monstrous things that go after people with teeth and claws.

The Flashes and the rest of the speedsters are nowhere to be found. The last time anyone get communication from them, it had been Impulse sending Red Robin a glitchy, barely audible video chat saying something along the lines of “trying to fix—unstable—keep us here—never been alive before.” All things that are very concerning to hear, made worse by the fact that no one had been able to contact them at all.

The quiet loneliness of the Fortress of Solitude is a welcome change from the constant screaming, death, and destruction that’s taken over Gotham as well as the rest of the world. Last he heard, even Justice League China was at the end of their rope.

“In here,” Superboy instructs, guiding Duke through the halls. There’s no time to look around at Superman’s secret base. All his focus is stuck on staying conscious for another few hours to see if this gathering of heroes is able to find a solution to the world breaking apart.

Batman stands besides Superman. Both nod at Duke when he enters the room. Wonder Woman is watching over John Constantine as he writes something on the floor, muttering under his breath. The rest of the Justice League lean against each other, visibly exhausted as they wait for Constantine to finish up what he’s doing. A few other heroes are here too, and Duke goes to join them where they lean against a wall, fighting to keep their eyes open.

“Hey,” he greets, voice low. “Hanging in there?”

Wonder Girl sighs. “Somehow. I don’t know how much longer we can do this. There’s just too much…”

“We’ll get through this. I mean, even without us out there, plenty of civilians have formed rescue and relief groups to help with keeping things under control,” Speedy says, gently knocking her arm against Wonder Girl’s. “We just gotta keep going. No giving up.”

“What’s this plan, anyways? I just heard that they needed me here to some attempt to fix things.”

“Well, without the speedsters, you’re kind of the only one who can help with time and power related stuff,” Speedy says.

“That’s definitely a stretch. My powers don’t really have anything to do with time. It’s all just light and shadow.”

Speedy shrugs. “Well, you’re here, aren’t you? Too late to complain about it now.”

Duke doesn’t get a chance to say anything else when a loud clap catches his attention. The entire room goes still and silent as Constantine stands up and surveys the circle and symbols he’s written, taking up an entire corner of the large room.

“Alright,” he says. “Time to get started. Remember, let me do the talking. If you have to speak, it’s only to back me up or when a question is directed to you.”

Batman nods to the other Justice Leaguers, and suddenly everyone is falling into formation behind Constantine. Duke hurries to join them with Wonder Girl and Speedy, taking a place on the edge of the group where he’s a little closer to the circle than the others.

Constantine begins chanting. His voice is steady though none of the sounds make any sense, refusing to form themselves into recognizable words, and the air the in the room feels heavier. The chalk circle glows a blinding white and Duke can see magic swirling through the air, his power kicking in the let him watch as reality tears and a glowing star in the shape of a boy comes out of it.

Duke blinks, forcing his power down. The hypnotic swirls of magic fade from sight, but the boy still glows, bright and terrible as he floats above the circle and surveys them all. A crown engulfed in blue flame hovers above his head and the fabric of the cosmos is draped over his shoulders as a cape.

Just from presence alone, Duke can tell that this figure is now the strongest existence in this universe. He hopes this boy king is kind; no one, not even Superman, would be able to beat him in a fight.

The boy king opens his mouth and speaks, but it’s not words than comes out. A strange static like sound emerges, but light and almost melodic.

His left hipbone burns.

Duke gasps, hand flying down to it, and the boy king’s gaze snaps to meet his.

The world stands still. No one moves. No one dares to breathe.

And then the boy king drops to the floor and walks out of the circle.

“I thought you said that would hold him!” Batman hisses at Constantine, who is looking more and more distressed.

“It was supposed to! I wrote it specifically to hold the King of the Infinite Realms!”

The boy king glances at Constantine. This time, when he speaks, it’s in smooth English. “Did you name the king in your circle?”

“Yeah, I named Pariah Dark… Bloody hell, you ain’t him, are ya?”

“No,” the boy king smiles, “I’m Phantom.”

The cape and crown fade away, and suddenly it’s not an all powerful, terrifying king standing before them, but a young man with white hair and green eyes who looks Duke’s age. Like he could be any other new generation hero in the room.

“Phantom,” Duke repeats lightly, just under his breath, but it makes Phantom look at him again.

He walks forward, ignoring the other heroes’ aborted attempts to stop him, coupled with Constantine’s frantic back off motion happening behind him. Phantom leaves the circle and the Justice Leaguers behind to stand before Duke, a soft smile on his face.

“Hi,” he says softly, “I dreamed of you.”

“You—what?”

“I dreamed of you. I have for years now. To think that being summoned was what made us meet—” Phantom breaks off into a breathless laugh.

Duke swallows, then drops his had from where it had been pressed against his hip. “So we’re really—? You have my first words too?”

In the corner of his eye, he sees Batman stiffen up. Maybe he should have just told them the day after his birthday, but in Duke’s defense, this is the definition of extenuation circumstances.

“First words?” Phantom repeats, “Is that… Do we have different soulmate connections?”

“I think so. Here, everyone gets the first words their soulmates say to them appearing somewhere on their body.”

Phantom’s gaze darts down to Duke’s hip, then back up. “Oh. I get dreams. Where I’m from, we dream of our soulmates, and the closer we get to meeting them, the more we remember the dreams.”

“And you dreamed of me.”

“I did.”

“As touching as this is,” Constantine interrupts, and Duke gets to watch as Phantom rolls his eyes, “We summoned you here for a reason. Our world is falling apart at the seams and we need someone powerful, from the Realms, to help us fix it.”

“Okay.”

“...What do you mean ‘okay’?”

“I’ll help,” Phantom says.

“Just like that? No deal to be made, no price to be paid?”

“Just like that. I’m not one for deals anyways. If I can help, then I will. But I do want to see what the problem is with my soulmate by my side, if you don’t mind.”

Batman steps in, fixing Duke with a steady gaze, a barely noticeable tilt of his head. “Signal?”

“Yeah I’ll go with him. Of course I will. The sooner the better, in fact, because everything’s gone to shit.” Duke turns to Phantom, taking hold of one of his hands. “It is really bad out there,” he warns, “If you need help—”

“I’ll ask for help from others in the Realms,” Phantom says. “No offense or anything, but if it’s really that bad, I doubt living mortals will be able to do much to fix things. It’s why I was summoned, right?”

“Right. Let’s get to it, then.”

There’s a flash of mischief in Phantom’s eyes, and cheeky grin stealing across his face for a moment, before he says, “Aye aye, captain!” and picks Duke up like he weighs nothing and flies up through the ceiling.

Duke is able to hear everyone’s surprised, panicked shouts before they’re outside the Fortress of Solitude and Phantom is flying them away. He only needs a few directions from Duke before he finds the first of the large fractures in the sky.

“Yikes,” is all he says, which is not a great thing to hear. “I think I know how to fix it, though. We’ll need to do a little investigating as to who, exactly, started messing around with reality, but once we find the source, it’ll be an easy fix.”

“That’s the best news I’ve heard all week.”

“Even better than meeting your soulmate?”

“I haven’t slept for more than four hours all week. Knowing there’s an end in sight beats everything else.”

Phantom laughs, throwing his head back and Duke can’t help but drink in the sight of him, so ethereal and bright and full of life. “Fair enough! Got any ideas as to where we should start?”

“I’ve got an entire crew of detective vigilantes,” Duke replies. He’s not taking any more chances. No more waiting to talk about important things; he messed up by keeping his soulmark to himself, so he needs to make sure everyone meets his soulmate before shit goes south again.

“Let’s go find them, then!”

They take off again, soaring through the skies that are barely holding themselves together.

The world is still ending, and every hero is being stretched thin, but held carefully in Phantom’s arms, racing head first into a solution, Duke can’t help but feel that everything’s going to be alright now.

He’s had enough bad luck. Now, his soulmate with him, bearing the title of King with grace, things are finally starting to look up.

#ghostlights #dc x dp #dp x dc #dpxdc #dcxdp #dc x dp fic #prompt fill #my writing #when its the end of the world but youre soulmate is here and ready to help fix it #meanwhile constantine had gone ON and ON about how dangerous summoning realms beings are #and all the precautions they have to take and how to be specific when making deals etc etc #it was supposed to be only the justice league but with the world ending they wanted their proteges and allies with them in case things #went wrong w the summoning. and with the rest of the bats helping out in gotham and around the east coast #signal gets to join batman. plus hes got his meta powers that could help in the worst case scenario #NO ONE predicated signal and the GHOST KING being SOULMATES #batman leaves for gotham immediately. updates the rest of the team w 'ghost king successfully summoned. he's signal's soulmate.'#and does not respond to ANYONE after dropping that bomb on them lol #they do all get to meet phantom when they join forces to find whatever doomsday cult caused all this #and the world gets saved!!#also. semi related to all this. the speedesters are gone bc time went wacky and they tried to fix things. but then the speedforce kinda #came to life and trapped them. so they have been lowkey eaten by the speedforce bc the speedforce is the true eldritch monstrosity here #anyways. thanks for the prompt!!#working on ur other two prompts now :)

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sexy-sapphic-sorcerer · 4 months

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thinking about "it's unreasonable to assume that a character knows what genre they're in" and how in series 1-3, Merlin (and the audience) thinks that he's in a fantasy adventure comedy. no one realises that he's in a tragedy until it's too late.

#I do stand by what I said literally a few minutes ago about how calling merlin a tragedy is giving the writers too much credit #but I think you could twist it and say that the writers also think merlin is a comedy and don't realise that it's a tragedy until series 4 #which makes it worse. because so many things that happen in the first half of the show are absolutely tragic but are played as comedy #the end of 'the sins of the father' where uther says that merlin is “a trusted ally in the fight against magic” THATS FUCKING DEVASTATING #but it's played as funny #and it's only when you reframe the genre that you realise how truly heartbreaking it all is #bbc merlin #merlin #merlin meta

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camelotluteguild · 1 year

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Something i really like about Merlin is how they didn’t make love a redemptive force. Uther loves both his children very much -- doesn’t make him a good man or even necessarily a good father. Merlin and Arthur love each other so much, but it doesn’t save either of them, nor does it always makes them better -- oftentimes, it makes them worse. It makes the love no less compelling or meaningful -- in my opinion, it only makes it more so, and it’s a more realistic approach to love. Thoughts and feelings!

#bbc merlin #merlin meta #the other thing is that bc of the genre and style and target audience of the show #you EXPECT the love to fix everything #and the characters do too #merlin's always like 'if i am devoted enough to arthur i can prevent his death'#he -- and we -- hold on to this belief until the very end #and then they drop it on you like a brick #even though we've been seeing love being insufficient for the whole show #show of all time

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loriache · 1 month

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do you ever think about how delgal never blamed the winged lion for what happened to thistle?

I'll preface this by saying that he certainly COULD have done. most of the arguments that delgal had with thistle about returning the golden kingdom are off-page, and he doesn't seem to have relayed a lot of detail to yaad about how he understood thistle's behaviour.

however.

what we can infer, i think, is that if delgal blamed anything for thistle's increasingly erratic behaviour, it was the influence of "black magic" and power.

the winged lion is the golden kingdom's guardian deity, and that is how they understand it up to the present - including yaad. the prophecy that convinced delgal to leave the dungeon (which i assume the winged lion intended to use to attract another, more easily controllable, dungeon lord) is likely to be part of a long campaign the lion made of deliberately isolating thistle from the people of the golden kingdon and presenting itself as the victim.

we see that the lion is convincing, and keeps a facade of concern for thistle long past the point that it has any chance of winning him over - i don't have any doubt it was easy to present this narrative to the kingdom's people, including delgal.

but isn't it incredibly sad to think that the person who thistle trusted most in the world and did all of this for was unable to see the true victim, between him and the winged lion?

we see that very shortly upon becoming the dungeon lord, both marcille and laios become lost in their desires. this is standard.

Laios is only able to get through to marcille because he sees the root of her pain, and understands that ...

...the dungeon's power is evil.

thistle isn't acting rationally from the very beginning, but it is possible to reach him - if delgal could understand where his desire and his fear stemmed from, and that the winged lion is evil.

Thistle at least seems to know that the winged lion isn't to be trusted. Thus why he sealed it in the book. perhaps he picked up on what it was doing, manipulating the kingdom's people and him both.

But if he ever said that the winged lion was dangerous, not to be trusted, to delgal, he wasn't believed. to delgal, thistle sealed and misused the power of the golden kingdom's guardian deity. As a student of ancient magic, I believe thistle understands that isn't what the demon is - or at least not all of what it is - even if he doesn't know the details of why it's so dangerous, or that it can devour his desires. But as an 'outsider' to the golden kingdom, despite his (unofficial, i'm sure) adoption, and the fact he's been there most of his life, I doubt his saying so would be received well by the kingdom's people.

As far as we know delgal also doesn't understand the fear that is driving thistle's refusal to let the dungeon go -- the need to be useful that he instilled.

Even if he doesn't really realise, he is talking to a, at most, 15-16 year old in relative human years, and putting the responsibility for the kingdom on him - it's no wonder this is a weight that Thistle isn't able to let go of. Especially if this is how he attempts to persuade him:

It doesn't get to the root of why he asked thistle to do this to begin with - the fear of death. It's just "hasn't it been long enough, people want to leave." Well, if they leave, they will die - thistle's right about that! The only way to get him to accept that is what Yaad eventually does on his behalf at the end of the manga.

To admit that he was wrong to ask to begin with. To ask Thistle to accept loss and death. To accept it himself, truly.

Without doing that, there's no way he'd ever get through to him. So the route he takes - running away from thistle, begging that someone kill the "lunatic magician" - might be the last resort of a desperate man who blamed himself for what happened to his brother. But it's also something he does because he can't understand Thistle, and can't see his pain for what it is or his relationship with the Winged Lion for what it is.

The way that the lion manipulates others' perception to make him the victim and thistle the - well, the 'lunatic', the unstable villain and captor - really evokes DARVO to me. the demon as a metaphor for an abusive relationship. like.... look at this extra:

and it makes me sad that no-one realised what was going on until it was too late for thistle.

#dungeon meshi #dunmeshi #dungeon meshi meta #dm meta #the winged lion #thistle dungeon meshi #sissel dungeon meshi #delgal #dunmeshi spoilers #all the way to the end - anime onlies dont touch #delgal not good brothering :( makes me sad

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apollos-boyfriend · 7 months

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anyways this session has really solidified the reason quackity chose the people he did for me. because i remember connor getting an ask a while back complaining about how they wanted quackity to add people who would actually play instead of his friends (ie wilbur) who may not be active as often and. it rubbed me the wrong way for a lot of reasons, but mainly because it's clear quackity didn't choose just his friends. sure, it was a bonus that he was close to them, but quackity's first priority has never been "who can minmax the server and stream every day?" it's been "who is a good storyteller/who can tell a good story?"

because that's the core of it. the qsmp isn't about streaming or playtime, not necessarily. it's about the story. during the first announcement, people were surprised to see dantdm and jaidenanimations on the cast, because dan isn't really in quackity's circle and jaiden is barely an mcyt even if you push it. but you know what they were? storytellers. dan was a part of so many people's childhoods with his mod showcases and miscellaneous videos, all of which had lore. jaiden creates entire stories from video games! games with pre-determined stories that she has to spin into something new, something of her own.

and then the brazilians were added. some of them still did minecraft content, sure, but not all of them. but they were still storytellers. cellbit has his entire rpg. pac and mike have multiple roleplay series. and when you get to the french, the pattern repeats. baghera, for example, with her gta roleplay. not all of them are minecrafters at their core, but they are storytellers, and for most of them, improvisational ones at that. the same, of course, goes for the newest batch. pol is a filmmaker. vshojo has insane, deeply complex lore for all their vtubers. bagi is adept at ttrpg. sure, people being able to log on often is a necessity, but what good would that be if it ended up sacrificing quality for quantity?

this session really nailed it for me because you could see their expertise shine through. i feel like, even still, a lot of mcrp is seen as "lesser" because of its medium, or because of how it can switch between roleplay and just creators hanging out. roleplay is only typically praised and called to attention when it's highly emotional, and the same goes for the storytelling, with a heavier focus on how well creators can utilize angst as opposed to other moments. but this was treated differently. the silliness of minecraft was gone. what was previously disregarded came into light, like how fucking smart foolish is when writing characters and how well quackity is able to play into the story while staying true to his character, among other things! i just think quackity's brilliance in selecting his server members isn't talked about enough, because holy shit has he done a fantastic job

#icarus speaks #idk. i love the meta of the storytellers #bc it's about them in the end. it's not about minecraft. they could do this in Any medium #to an extent #i just think they <3 do u get me #sorry i used up all my braincells in the main post orz #this is all i got

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lurkingteapot · 11 months

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Every now and then I think about how subtitles (or dubs), and thus translation choices, shape our perception of the media we consume. It's so interesting. I'd wager anyone who speaks two (or more) languages knows the feeling of "yeah, that's what it literally translates to, but that's not what it means" or has answered a question like "how do you say _____ in (language)?" with "you don't, it's just … not a thing, we don't say that."

I've had my fair share of "[SHIP] are [married/soulmates/fated/FANCY TERM], it's text!" "[CHARACTER A] calls [CHARACTER B] [ENDEARMENT/NICKNAME], it's text!" and every time. Every time I'm just like. Do they though. Is it though. And a lot of the time, this means seeking out alternative translations, or translation meta from fluent or native speakers, or sometimes from language learners of the language the piece of media is originally in.

Why does it matter? Maybe it doesn't. To lots of people, it doesn't. People have different interests and priorities in fiction and the way they interact with it. It's great. It matters to me because back in the early 2000s, I had dial-up internet. Video or audio media that wasn't available through my local library very much wasn't available, but fanfiction was. So I started to read English language Gundam Wing fanfic before I ever had a chance to watch the show. When I did get around to watching Gundam Wing, it was the original Japanese dub. Some of the characters were almost unrecognisable to me, and first I doubted my Japanese language ability, then, after checking some bits with friends, I wondered why even my favourite writers, writers I knew to be consistent in other things, had made these characters seem so different … until I had the chance to watch the US-English dub a few years later. Going by that adaptation, the characterisation from all those stories suddenly made a lot more sense. And the thing is, that interpretation is also valid! They just took it a direction that was a larger leap for me to make.

Loose adaptations and very free translations have become less frequent since, or maybe my taste just hasn't led me their way, but the issue at the core is still a thing: Supernatural fandom got different nuances of endings for their show depending on the language they watched it in. CQL and MDZS fandom and the never-ending discussions about 知己 vs soulmate vs Other Options. A subset of VLD fans looking at a specific clip in all the different languages to see what was being said/implied in which dub, and how different translators interpreted the same English original line. The list is pretty much endless.

And that's … idk if it's fine, but it's what happens! A lot of the time, concepts -- expressed in language -- don't translate 1:1. The larger the cultural gap, the larger the gaps between the way concepts are expressed or understood also tend to be. Other times, there is a literal translation that works but isn't very idiomatic because there's a register mismatch or worse. And that's even before cultural assumptions come in. It's normal to have those. It's also important to remember that things like "thanks I hate it" as a sentiment of praise/affection, while the words translate literally quite easily, emphatically isn't easy to translate in the sense anglophone internet users the phrase.

Every translation is, at some level, a transformative work. Sometimes expressions or concepts or even single words simply don't have an exact equivalent in the target language and need to be interpreted at the translator's discretion, especially when going from a high-context/listener-responsible source language to a low-context/speaker-responsible target language (where high-context/listener responsible roughly means a large amount of contextual information can be omitted by the speaker because it's the listener's responsibility to infer it and ask for clarification if needed, and low-context/speaker-responsible roughly means a lot of information needs to be codified in speech, i.e. the speaker is responsible for providing sufficiently explicit context and will be blamed if it's lacking).

Is this a mouse or a rat? Guess based on context clues! High-context languages can and frequently do omit entire parts of speech that lower-context/speaker-responsible languages like English regard as essential, such as the grammatical subject of a sentence: the equivalent of "Go?" - "Go." does largely the same amount of heavy lifting as "is he/she/it/are you/they/we going?" - "yes, I am/he/she/it is/we/you/they are" in several listener-responsible languages, but tends to seem clumsy or incomplete in more speaker-responsible ones. This does NOT mean the listener-responsible language is clumsy. It's arguably more efficient! And reversely, saying "Are you going?" - "I am (going)" might seem unnecessarily convoluted and clumsy in a listener-responsible language. All depending on context.

This gets tricky both when the ambiguity of the missing subject of the sentence is clearly important (is speaker A asking "are you going" or "is she going"? wait until next chapter and find out!) AND when it's important that the translator assign an explicit subject in order for the sentence to make sense in the target language. For our example, depending on context, something like "are we all going?" - "yes" or "they going, too?" might work. Context!

As a consequence of this, sometimes, translation adds things – we gain things in translation, so to speak. Sometimes, it's because the target language needs the extra information (like the subject in the examples above), sometimes it's because the target language actually differentiates between mouse and rat even though the source language doesn't. However, because in most cases translators don't have access to the original authors, or even the original authors' agencies to ask for clarification (and in most cases wouldn't get paid for the time to put in this extra work even if they did), this kind of addition is almost always an interpretation. Sometimes made with a lot of certainty, sometimes it's more of a "fuck it, I've got to put something and hope it doesn't get proven wrong next episode/chapter/ten seasons down" (especially fun when you're working on a series that's in progress).

For the vast majority of cases, several translations are valid. Some may be more far-fetched than others, and there'll always be subjectivity to whether something was translated effectively, what "effectively" even means …

ANYWAY. I think my point is … how interesting, how cool is it that engaging with media in multiple languages will always yield multiple, often equally valid but just sliiiiightly different versions of that piece of media? And that I'd love more conversations about how, the second we (as folks who don't speak the material's original language) start picking the subtitle or dub wording apart for meta, we're basically working from a secondary source, and if we're doing due diligence, to which extent do we need to check there's nothing substantial being (literally) lost -- or added! -- in translation?

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