ooohh that ask game has some interesting questions hmm how abt 16, 18, and 23?
i am realizing just how much this ask game is making me bare my soul goshhh (/not srs), thanks for sending me an ask, bibi!
16. What makes you immediately close a fic that otherwise seemed good?
hm...well, most of the time i try to stick it out even if i'm not enjoying the fic from the first few sentences. like, maybe it's just me but a lot of the first words of a fic tends to be the (for lack of a better word) "the gunk" that precedes the actual story? like some stories just have slow starts, but they do get gud.
but to answer the q, i guess stuff that makes me roll my eyes at a fic, in the context of x readers would probably have to be:
disclaimer: most of the time, i don't mind reading these. but there are just moments where they bother me as i'm reading
reader getting carried bridal style (i dont like it, i hate it. id rather be carried like a sack of potatoes. or id rather be carried like a goat by its shepherd. but i do like seeing characters getting princess-carried) just carry me like this instead 🤧🤧👇
royalty AU++CEO/office/corporate-setting AU (like secret princess of a kingdom or being a secretary, for example) i'm not a big fan of those kinds of settings. like ok sure a chara can look good in business formal or in some fine furs, but once the eye candy wears off thats when i exit the fic oops.
fics centered around marriage: i don't really enjoy reading proposals. also thinking of how the rings, the dresses, and the flowers look is hard bcs of my (partial?) aphantasia, but weddings Are Pretty Fun as a background setting. overall, i think what bothers me most is that the chara loses a bit of their personality after they get wed together with the reader.
^^actually in relation to this... im not that big of a fan of prom/dance settings, they both read very similarly, especially since the reader tends to be placed in the more passive role of being asked out. (but when you make it angsty or hurt/comfort, ok i will read it i'm a simple girl)
Oh and ig this is just me wishing for more in the Imposter-SAGAU genre of fanfic (i mean i'm still looking around, i don't feel desperate enough to write smth of my own), but i kinda wish the charas weren't so doe-eyed and quick to apologize to the reader. like, i get the feeling of wanting to write The Good Bits Immediately (e.g. being fawned over, getting to lord that blunder over the characters) but the potential of slowburn trauma recovery and developing a relationship from straight-up antagonism is Right There.
18. What media do you want to get into because of artists/writers you like?
i think i'd want to try reading more poetry? like, if i rb a lot of web weaving, i gotta know sumn other than "deep" pop lyrics (u wont find me saying nice things about ms sw*ft). so far i'm thinking of starting with ocean vuong and richard siken (basic ik but i mean, their works are good)
dunmeshi! i've been putting it off for forever 🙈🙈 (<-girlie watched frieren and forgor abt dunmeshi bcs they got yorushika to do the 2nd OP) but senshi,,,, SENSHI THE MAN THAT U ARE,,,,
Oh! and i'm rlly curious about alien stage! my sibling's dipping into it and he told me it was basically america's got talent x the promised neverland. and he said the magic words "toxic yaoi" and "doomed yuri," i Gotta watch it atp. (also like, carole and tuesday rearranged my brain, im ready to put a sadder spin on it😤)
23. What would you make a 5 hour video essay on, if you had enough time and motivation?
as soon as i read this all my hyperfixations have: left the server HAHAHA
maybe in terms of recent ones, i could try analyzing madds buckley's my love is sick. i wrote about that album for a final paper in a basic music elective, but i was constrained to only 3 pages so i only talked about 2-3 songs. but i could pretend to be a music major and regale ppl with how the leitmotifs tie together and completely destroy me add a new layer of meaning to the songs on subsequent listens. Also like, these songs just Get It (not sure what "it" is exactly, but there's smth related to first love and love lost*)
(but atm im just yoinking songs from there to use for fic/chapter titles, i plan on using one for this ruggie timeloop angst fic im plotting out anyway)
(art appreciation ask questions, please bug me to rb some underrated art and fic)
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the thing about the joker
is that - well, even canonically, he’s not actually “insane.” in the most canonical version of his backstory (bc there are many conflicting incarnations, but this one is the touchstone for a lot of later canon), he was part of a street gang before falling into a vat of Nondescript Toxic Waste that damaged his melanin production and That’s It. he supposedly “lost his mind” after seeing his reflection, which is absurd on many levels. no. he’s not “insane.” what he is, is an angry white boy.
the thing about the joker is that he exults in his own uncontainability. He laughs, because all of gotham - all the world - is built to be his playground. the only lunatic thing about him is the lunacy of ~Society~, to borrow from the joker’s own playbook; the lunacy of the joker lies in the world that grants him power: in the inheritance of loss: in white privilege, and what it means for everyone else.
“to prove a point.” those were the joker’s exact words, when he shot and paralyzed Barbara Gordon. she asked why: he laughed. “to prove a point.”
because that’s all he ever does. he hurts people because he can. and because all the power in the world can’t save him from getting hurt - and isn’t that just peachy?
because the thing about the joker is that he can get hurt. he has been hurt. but he has so much more capacity to harm than to be harmed. he is immortal. he and he alone will never have to face the consequences of the hurt that he inflicts on other people.
so then: why not hurt them? misery loves company, after all.
the joker is the embodiment and end result of our own social system: the madness of the exception: the laughter of the white man: the imprecation to smile, as he kills you.
(no one ever says it, i find, but it’s still true: barbara deserves to kill him.)
and who, then, is the batman? if the joker is the yin to his yang? if they’re two sides of one irredeemable coin, if they represent the “balance” of an unjustifiable system - who is he if not another white man?
because he is. Bruce Wayne is a white boy born into unspeakable privilege and forced to endure suffering anyway; who copes with his suffering by taking it out on others; who copes with his suffering, not by taking advantage of the world as it is, but by attempting to reshape it. to make it in his own image - as if it isn’t already his, as if claiming it further will crush out the pain.
the batman is the benevolent oppressor to the joker’s malevolent one. he changes nothing, in the end. two privileged white boys with their own respective navel-gazing grudges - where, after all, lies the difference between benevolence and malevolence?
because they are not “chaos” and “order.” not really. They are laissez-faire laughter and law. Joker exults in the disease of the system, Batman seeks to treat its symptoms, but neither of them will ever change anything about the root cause. because they may have suffered the faults of this system, but they still benefit so much more from it as it exists. Uphold it or break it, neither of them wants to change the law.
but the law is only as good as the people it’s made to protect. and who does that law protect, really?
waylon jones is, in one issue, explicitly depicted as Black. between that and his skin disorder, there has never once been room for his character to be any more than a monster: king croc is, always, a character to be violated and brutalized, over and over and over and still - always - written as the villain. (he tried so hard to scrape out a place for himself, so many times, in so many incarnations, and each and every time he finds himself relegated once more to the sewers. he will never be anyone’s king. there is no place under the sun for people like him.)
victor fries only ever wanted to save his wife, and a capitalist mogul decided a few extra numbers on his eight-digit paycheck were more important than the people whose lives depended on that money. fries’ body was damaged to disability by that choice, left without the resources to find a cure for his wife, and he robbed banks because there was no other option available to him. we seem to have forgotten, or maybe never really understood, why that matters. why a desperate man trying to save his life and that of his loved ones under the crushing gears of capitalism is a villain, and the one who stops him is our hero. why, under the law batman upholds, a bank vault and a CEO’s hoard is worth more than a life.
poison ivy just wants to live, too. wants a life not defined by the devastation of her body, of the beings that exist as extensions of her, a life where green and growing things are not commodities to be plowed up and poisoned and destroyed for the sake of another man’s profit. these are villains; they are written as such. these are their motives.
who does batman fight for, really? who is our hero, this emblem of our law?
is he our hero? ours, the broken and bleeding members of the world he claims to protect?
who does the law protect, except him - him, and the joker?
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