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superfam · 1 year

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THE SUPERMAN STARTER READING LIST

SO – you want to read Superman comics, but you’re intimidated by the near-century of history this character has. Or, you’ve read a few comics with him, but you want to go back to the basics to understand his character and the mythology surrounding him. There are so many continuities, origin stories, and standalones – where do you start? Well…

[Image ID: a cropped edit of the Superman ‘78 #3 variant cover by Lee Weeks, showing Lois Lane sitting on the letters of the Daily Planet globe, and Clark flying above her in his Superman costume, reaching out to take her hand. Hand-written next to them is: "THE SUPERMAN STARTER READING LIST", and hand-written in the bottom right corner is: "by MYTHIC / superfam.tumblr.com". End ID.]

This list isn’t intended to be a full, comprehensive guide to Superman’s decades of history, but a curated taster of Clark Kent in the comics medium. It aims to show you a variety of interpretations from different authors of different contexts, but with the broad goal of helping newcomers understand the heart of the character. Not every comic is able to sum up all aspects of Superman, and some could be argued to miss certain points, but each one has been selected for this list for the goal of conveying the history and breadth of his interpretations.

It’s intended to be accessible to both long-dedicated comics fans and people who are new to the DC universe, or even the medium as a whole. As such, new fans are welcome to enjoy each story as a standalone interpretation.

Please understand that this list is built from my own experience with the character, and I don’t claim it to be better or worse than any other – it’s just one way to approach his history. Essentially, I’m attempting to create the sort of list I wish I had access to when first reading Superman comics. I highly encourage the reader to form their own interpretations of each work.

With all that out of the way, please enjoy!

[Image ID: An edit of Gary Frank's artwork from Superman: Secret Origin. A slightly battered Clark in his Superman outfit embraces Jimmy with his right arm and Lois with his left. All three are smiling. The background, which depicts a disaster scene and a defeated Lex Luthor chained to a building, is covered in a translucent blue overlay. Hand-written next to Clark is: "ORIGINS". End ID.]

SUPERMAN: SECRET ORIGIN #1-6 (2009-2010) Geoff Johns & Gary Frank

Just a couple years before the 2011 reboot of the DC Universe, a new definitive origin story was created for a Superman post-Infinite Crisis (a major event which had changed the status quo of the multiverse).

Secret Origin is only six issues long, and a great, efficient introduction to Clark Kent and Superman. It focuses on telling Clark’s origins from his own perspective, as a hero but also simply as a person. It also does a good job of setting up important supporting characters including Lois, Jimmy, Perry, and Lex.

SUPERMAN: BIRTHRIGHT #1-12 (2003-2004) Mark Waid, Leinil Francis Yu & Gerry Alanguilan

Though replaced by Secret Origin only a few years later, Birthright was written as the definitive origin story to overwrite Byrne’s 1986 reboot of the character. It was intended to bring Superman into the new century, and be more consistent with his modern interpretations. It is also influenced by the popularity of the TV series Smallville.

Birthright is longer and covers aspects of the Superman mythos in further depth, including dynamics between Clark, Lex, and the city of Metropolis, kryptonite, and Krypton in general. Due to its extended length, it also covers more on Clark’s relationship with his powers and heritage.

I highly recommend reading both modern preboot origins to experience different interpretations with different influences and intentions, even only a few years apart.

[Image ID: An edit of Tim Sale's artwork from Superman: For All Seasons. On the right, Clark lies on his bed, looking to the left with a wistful expression and with a hand on his dog curled up next to him. The background, which is his cluttered bedroom in Smallville, is overlaid with translucent grey. Hand-written to the left of Clark is: "INTROSPECTION". End ID.]

SUPERMAN SMASHES THE KLAN #1-3 (2019) Gene Luen Yang & Gurihiru

This standalone story is set in 1946, and primarily draws upon the Golden and Silver Ages as inspiration. It’s an adaptation of an episode of The Adventures of Superman radio series, “The Clan of the Fiery Cross”, which famously dealt a major hit to the KKK’s operations in America by influencing public perceptions.

The story follows Clark as well as siblings Roberta and Tommy, two Chinese-American kids who have recently moved to the Metropolis suburbs, as they uncover and fight a local chapter of the KKK. The story explores themes of immigrant identity and self-acceptance in Clark and the kids’ narratives – it presents important concepts from Superman’s history, straight from the heart of his character, in a really effective way.

SUPERMAN: FOR ALL SEASONS #1-4 (1998) Jeph Loeb & Tim Sale

This miniseries has four issues, each corresponding to a season and narrated by an important person in Clark’s life (in order: Jonathan ‘Pa’ Kent, Lois Lane, Lex Luthor, Lana Lang). Tim Sale’s beautifully detailed and expressive art captures the complex emotions drawn out by having your life touched by Clark Kent, which works really well with the personal, confessional style of the narration. It’s a very intimate work.

It’s a great insight into both the triumphs and very personal struggles of Clark through the inner voices of some of the most important people in his life, and captures what makes his character work really well.

FOR THE MAN WHO HAS EVERYTHING (SUPERMAN (1939) ANNUAL #11) (1985) Alan Moore & Dave Gibbons

This is a single-issue annual from right before the DC universe was rebooted, and (unsurprisingly for Moore) explores some philosophical and ideological questions regarding the Man of Steel. On his ‘birthday’, Superman falls prey to an alien organism called The Black Mercy, which feeds on its victims while keeping them complacent with vivid hallucinations of their greatest desires. Clark hallucinates a still-living Krypton, which he is a part of – but perhaps not everything is perfect.

SUPERMAN: BRAINIAC (ACTION COMICS #866-870) (2008) Geoff Johns & Gary Frank

Before retelling Superman’s beginnings in Secret Origin, Johns and Frank collaborated on this story arc which massively changes the status quo, partially by reintroducing a variety of pre-Crisis concepts including the original Brainiac and the bottled city Kandor. If you liked Secret Origin, you’ll probably like this one.

As this is our first story arc rather than self-contained story, it has more references to the ongoing continuity but is still easy enough to understand without that context. This story also prominently features Kara Zor-El as Supergirl and expands on some cosmic lore and Krypton in general.

SUPERMAN: UP IN THE SKY #1-6 (2019-2020) Tom King & Andy Kubert

This is an accessible, self-contained exploration of the extent of Superman’s moral fibre, following Clark as he attempts to save a single girl who was abducted from Earth and taken into space. It’s quite abstract at points with the questions it asks about themes of compassion and commitment, which I think is conveyed particularly well in the panelling and artwork.

[Image ID: An edit of Frank Quitely's artwork from All Star Superman. Clark in his Superman outfit is flying with his arms outstretched. The top half of his face is cut off. The background is an abstract depiction of the heart of the sun, and has been overlaid with a translucent orange. Handwritten beneath Clark is: "INTERPRETING AND RE-INTERPRETING". End ID.]

THE K-METAL FROM KRYPTON (drafted 1940, restored 2004-2011) Jerry Siegel & Joe Shuster Studio

The K-Metal from Krypton is an unpublished and unfinished comic from 1940, written by Superman creator Jerry Siegel, and drafted by the studio of the other Superman creator, Joe Shuster. After being lost for decades, the story has slowly been recovered and restored by Superman fans.

Though this one is much more unconventional than the other items on the list, I think it’s extremely important to Superman’s history and generally understanding him as a character. It comes from a time when creative control of their character was being taken from Siegel and Shuster, and though it is unknown why this story was unpublished, that’s a major point of context to keep in mind.

This draft sets up the predecessor to kryptonite in the Superman comics – “K-Metal” – and also contains a scene where Clark reveals his identity to Lois, and they agree to be partners in helping others. This is a major departure from the status quo of Clark keeping his secret from Lois as she tries to uncover it, which would continue for the rest of the Golden and Silver Ages.

The restoration effort can be read online: http://theages.superman.nu/k-metal/splash.php

THE MAN OF STEEL #1-6 (1986) John Byrne & Dick Giordano

This limited series is the immediate post-Crisis origin story and reinvention of Superman. It wasn’t put in the Origins section because I think from a modern perspective it shouldn’t be an introduction to Clark, but rather something you read to understand the history of his character.

It originated major changes in the Superman mythology, some of which have become instilled in it (such as Lex Luthor and Lois Lane’s modern characterisations), and others which have been forgotten or discarded.

One major thing is the great effort this origin made to make Clark American over being Kryptonian… Byrne has expressed great distaste of portrayals of Superman which emphasise his immigrant identity, and that should be kept in mind while critically reading this work.

ALL-STAR SUPERMAN #1-12 (2005-2008) Grant Morrison & Frank Quitely

Arguably the most critically acclaimed Superman comic, this has been saved for late in the list as I believe it’s enhanced with more context of and experience with Clark. This is a series which explores the nature of storytelling and legacy, which was created with the aim of creating a timeless Superman story.

When Superman learns he will soon die, what does he reflect on? What does he change? This is heavily inspired by, and is a love letter to, Silver Age Superman.

WHATEVER HAPPENED TO THE MAN OF TOMORROW? (SUPERMAN #423 & ACTION COMICS #583) (1986) Alan Moore, Curt Swan & George Pérez

Written in the wake of Crisis on Infinite Earths, this is another story about Superman ‘dying’, and is essentially a great mediation on and send-off to the Silver Age incarnation of the character. It refers to itself as an “imaginary” story, and can be seen as one concrete ending for this version of Clark Kent and the rest of the Superman characters, in a medium with few.

It can be found in a collection with For the Man Who Has Everything.

SUPERMAN: RED AND BLUE #1-6 (2021) Various

To finish off our starter reading list, let’s move from Superman’s end to his future. This is an anthology of short stories from various authors and artists, exploring a spread of visions of the Man of Tomorrow.

I think it’s an appropriate end for this starter exploration of Clark Kent’s many interpretations! As with all anthologies, it has its ups and downs in quality, but as a whole I truly believe it captures the heart of this character.

Thank you for reading all this way. I really hope this reading list helps you delve into the character of Superman and inspires you to read further beyond what I’ve suggested here.

Most of all, I hope it helps at least some people grow to love Clark Kent as much as I have.

A PDF version of this reading list is available here.

#it is finally here #my stupid 1600 word reading list #if you requested suggestions then this is your fault lmao #i put all my love of clark into this #i hope its useful #and feel free to send asks with any questions i will be happy to expand #took a long time to edit my ramblings down to this stage lmao #original #reading list #supers #kal #my writing #clark kent #superman #dc #dc reading list #superman reading list #the superman starter reading list

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mamawasatesttube · 7 months

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OHHHH how do you feel about "I owe you an apology"? i love when ppl have problems

"Can we talk?"

Kon raises an eyebrow. "Always an ominous way to start, but sure." He pats the rooftop next to him in invitation. The sprawling lights of Metropolis down below make a magnificent backdrop for... whatever this is. "C'mon then, man. Lay it on me."

Tim moves closer, but he doesn't sit. He's got that damned cowl pulled up over his head, just one more barrier for him to hide behind. As if any of his layers of masks are enough to keep Kon from seeing right through him. There's tension in his frame, an unhappy frown tugging at the corners of his mouth. If Kon didn't know better, he'd say the hunch of his shoulders looks almost... ashamed.

Tim takes a deep breath. His hands are so still, Kon knows he's trying not to fidget. "I... owe you an apology," he says.

Kon pauses. Okay, that he didn't see coming. "...Come again?"

Tim presses his lips together, his gloved hands curling into fists at his sides. His heart is pounding hard in his chest. Shit, whatever this is about, it's really eating at him. Kon racks his brains for anything that's happened lately that Tim might be feeling guilty for, but comes up empty; they've barely had time to hang out to begin with, though that's hopefully gonna change now that Tim is more settled back in Gotham and everything. Hell, maybe he's feeling guilty for keeping himself so busy and withdrawing from everyone—

"I tried to clone you," Tim says, and Kon's brain grinds to a halt. "When you were dead."

{ continue on ao3! }

#answers #ultimatecryptid #rimi writes #this was supposed to be. a warmup. um #1600 words later..... looks at the fic i meant to be warming up to work on. sorry pal #timkon #tim #kon

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geddyqueer · 1 year

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"This," Steve says, pulling back for air, "is what people do when they're trapped in a cabin with the power out, by the way."

Eddie complains, infodumps, kisses his longtime crush, and drops a log on said crush's foot. Not necessarily in that order.

#some silliness for your morning #my fic #steddie fic #annie was riffing in the dms so I wrote 1600 words of fluff teehee #steddie

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anti-dazai-blog · 2 months

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The three generations of Double Black and their purpose, or lack thereof

In honor of my birthday, I was planning on making an analysis of whichever character has a birthday closest to mine. However, it seems like my birthday falls directly in between Natsume’s and Mori’s birthday (February 9th and 17th respectively, with my birthday being February 13th).

Which means I gotta combine the two and turn this into a closer look at the three generations of Double Black.

[for the sake of clarity I’ve decided to use “double black” here instead of soukoku, since soukoku is used more in reference to the ship than the duo]

Please note that I’m getting a lot of information from the bsd wiki, which I know isn’t always so accurate, but going through every chapter and light novel with Natsume or mention of the original framework he set up would not be a doable amount of work for me to complete today.

Natsume is still a figure of mystery in the BSD universe. We don’t know much about him—although he’s seen as some ultimate “good” in the sense that anything he says or does is considered “correct” by the characters he has interacted with. Although it may sound extreme, he’s practically deified. Both Fukuzawa and Mori, two characters who are strong leaders and do not often take orders from others, would readily abide by Natusme’s wishes.

The framework he created—the tripartite framework—is something that they both agree MUST be abided by. The framework itself is questionable—the basis of it was to handle the issue of the extreme rise in criminal activity post-war. Rather than working towards curbing crime in any more standard way, his solution is having a guy working for him in the criminal underworld, and attempt to put a stop to the worst kinds of crimes through him.

Fukuzawa, being a former assassin himself, most likely is familiar with and agrees with the concept of some crimes being worse than others, and some people being enough of an evil in the world and enough of a threat that they need to be killed. Remember, he didn’t quit his job as an assassin due to feeling it’s morally wrong to kill; he quit because it’s morally wrong to kill just for the sake of killing. So it’s reasonable enough that he’d find the tripartite framework to be a valid way of handling things, and have no problem with Mori working from the criminal underworld to keep things under control from there.

Regardless of how unheard of this method of crime-stopping is, and how Fukuzawa and Mori’s blind faith in him could be dangerous if he were to be misguided or more morally grey, this method seems to be effective in the bsd world. We see that the mafia has the criminal underground under control, while the agency deals with crime that comes up to the surface, and the government dealing with civilian issues. And regardless of what conflict Mori and Fukuzawa have currently, the tripartite framework is something that they’re both equally invested in and consider necessary.

Out of the (so-called) “three generations,” they are the most successful. They have been working together and fulfilling their shared goal for many, many years. No matter what conflict may come up, the framework is their top priority. They will ensure Yokohama is safe, and they will oversee their respective segments of it. They are both aware of their own roles and have a mutual respect for the other’s role.

Which brings us onto the duo Mori created—double black. As Mori said, he’s forcing them to work together in an attempt to duplicate something Natsume explained to him. Double Black is, at first, Mori’s pet-project or side hobby. It’s formed for nothing more than curiosity at first, but with Chuuya and Dazai’s individual skillsets and abilities, they ended up working together as the feared mafia duo we know them as. This duo works as an extension of Mori’s role in the framework, and because of that it’s certainly not the next part of the tripartite framework. Or rather, it wasn’t when Mori made it, and it wasn’t made with that intention.

After Dazai left the mafia, double black changed. Now it’s no longer a mafia subgroup, because half of it is no longer in the mafia. From an external view, it acts as a dangerous last resort—a final defense against major threats. The people of Yokohama can rest easy, since if everything were to go very wrong, all hope is not lost unless double black is defeated—something that will probably never happen.

But Dazai and Chuuya themselves don’t share the same sentiment. Unlike the original heads of the framework, these two aren’t on the same page about what they’re doing or their duo’s current status. To each of them, it’s just a job. They both want to protect Yokohama, and recognize that Yokohama’s safety is a byproduct of their work—but they don’t see “protecting Yokohama” as their job. It seems like they see each job as a one-off commission work. Their job isn’t “protect Yokohama,” it’s “defeat this one specific enemy and then go home.”

And additionally, they’re on different pages regarding double black’s current status. It seems that Dazai views double black’s inactivity as something that happened due to his absence rather than him defecting—and now that he’s back, so is double black—hence, him referring to Chuuya as his partner. On the other hand, Chuuya views double black’s inactivity as something that happened due to Dazai defecting—double black was a mafia subgroup, after all, so it makes sense that if half of the duo isn’t under mafia employment, the duo cannot be currently active. Hence, him declaring Dazai his “ex-partner.”

As things stand, they’re working more closely to the tripartite framework’s successors, since now they’re (1) positioned at opposite ends of the criminal underworld, and (2) working towards a common goal of protecting Yokohama. However, until they both realize that their official job and duty is protecting Yokohama (rather than that just being a biproduct of their work) and until they both mutually agree to work towards that shared goal together—each on their respective sides of things—they won’t be able to truly be the inheritors of the tripartite framework.

Now for Dazai’s “new generation of double black.” Whether or not Dazai’s fully aware of the tripartite framework, its origins and its purpose is up for debate. And whether he views himself and Chuuya as an extension of that is even more unlikely. So since we can assume he’s basing this “new generation of double black” off of an incomplete picture of what double black was and what it currently is, we know right off the bat it’s going to be flawed.

There’s truly no reason for a “new generation,” especially when the “old” generation is around two years older than them, and significantly more capable and powerful. It’s clear from Dazai’s interactions with them that creating this new generation is both a fun hobby of his, and possibly a way for him to get other people to do jobs he’d be assigned to otherwise. It serves no real greater purpose than that. They’re convenient sometimes, but there are always other ability users who could easily do what they’ve done, but better.

Only half of this new duo even has any idea of what they’re trying to replicate. Akutagawa has a vague idea of what double black was, and strives to mimic what he thinks they do. He doesn’t have a very complete or thorough understanding of them—as he tries to explain to Atsushi, to his knowledge, double black worked as “Dazai is Smart Guy, Chuuya is Strong Guy, they win by being Brain and Brawn.” We see that this isn’t really the case—both Dazai and Chuuya are well-rounded and each are individually capable of both physical combat and strategy. Yet all the new generation has to work off of is this game of broken telephone passed through mafia rumors, to Akutagawa, to Atsushi.

And even so, neither of them understand any real greater purpose to what they’re doing—and it’s unclear if there truly is any purpose to it. They too see it as individual fights rather than a grander purpose, but in their case, they’re right.

And to take it a step further, they aren’t a formal duo in the first place. They never officially formed. They’re just miming the roles that Dazai told them to play with no real understanding of what’d going on. “The new generation of double black” isn’t a title they’ve ever officially been given—sure they’ve been called that by Dazai, but it’s not something that would even go on any paperwork. Their opponents don’t see them as some feared duo, they see them as an unfortunate collaboration they now must deal with. Akutagawa’s outright ditching work to go do these jobs—at least with double black Dazai clearly has some contact through the agency for when he’s assigned to double black/ mafia collaboration missions.

In short, no one outside of Dazai (and possibly Akutagawa) sees any connect between Akutagawa and Atsushi to any former well-known duos.

In summary—the three “generations of double black” were formed for vastly different purposes, and even though double black is converging to align with the tripartite framework, the newest variant of it is way off base.

Natsume will need to step in and sort this out if the newest generation aligns with his wishes, and if not, I think he should step in and sort stuff out anyway—things in the bsd universe have been getting pretty messy for a while now, and it would be nice to have a leader around who both Fukuzawa and Mori would listen to.

#birthday special #For you my dear a 1600 word pile of nonsense #Shhhhh dont look too closely youll realize this is all meaningless #What’s that quote from Merchant of Venice?#“His reasons are as two grains of wheat hid in two bushels of chaff—#—you shall seek all day ere you find them. and when you have them they are not worth the search”#Yeah that’s the general vibe of this one #go ahead and figure out what I’m trying to say ‘cause even I don’t know #Bsd #bungo stray dogs #bungou stray dogs #mori #fukuzawa #dazai #chuuya #akutagawa #atsushi #natsume

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londonknights · 4 months

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Hi! My friend and I are getting into hockey and we’re kind of wondering what the vibe on Max Domi is?? I’m kind of seeing mixed messages about him so we were wondering why you like him so we can figure out what his deal is and if we should try to pay attention to him more on the leafs. Thanks!

hi anon!! just wanna say before i get going that i’m in love with this ask and you by extension for asking, and i’m sorry this took me so long!

now on to the propaganda (this is long i’m not sorry)

i’m obligated to preface this by saying i’m hugely biased as a Leafs fan who grew up in Southern Ontario. my dad has always been a pretty big Tie Domi fan, so liking Max just seemed like a natural continuation of that.

baby Max with Mats Sundin, then-captain of the Leafs. he’s just a little guy,,

born March 2nd, 1995, in Winnipeg, Manitoba, one month before Tie was traded (back) to the Leafs, Max spent his childhood in Mississauga, Ontario, roughly half an hour west of Toronto. at the age of 12, following some health complications at a hockey tournament in Detroit, blood work revealed that Max had type 1 diabetes and celiac disease.

not the end of the world, clearly, but a pretty significant shock for a kid with aspirations of greatness. of course, he was able to manage it, with time, and when i finally read his book i’ll tell y’all more about it i promise.

these pictures make me emotional,, a couple of Domis, a couple of decades apart,,, except Max looks about 200% cuntier

anyway

scored a hatty in his OHL debut (slay). won consecutive OHL championships with the London Knights in 2012 and 2013 (double slay). selected 12th overall by the Phoenix (now Arizona) Coyotes, and signed a three year ELC (!). won gold with Team Canada at the 2015 WJC, and was named the tournament’s best forward (huge W). traded to the Montréal Canadiens in 2018, to the Columbus Blue Jackets in 2020, to the Carolina Hurricanes (via the Florida Panthers) at the trade deadline of March 31st 2022, to the Chicago Blackhawks in July of 2022, to the Dallas Stars in March 2023, and finally signed as a free agent to our beloved Toronto Maple Leafs on July 2nd 2023. he’s been on seven different NHL teams since he was drafted.

sadly, as i’ve only been a hockey fan for one calendar year, i cannot provide much insight into his time with NHL teams other than the Leafs. i have ordered and am waiting for his book to come in so i can better rotate him in my mind, but i encourage anyone who knows more about his other teams’ lore to add to this post or send me what you know, so i can share it with the world. (pls i wanna know everything about him ever)

what i can say is that him and Mitch Marner were teammates on the London Knights for two seasons, (13-14 and 14-15), the second of which saw Max as captain and Mitch as an alternate captain. the season after, Mitch was named captain in Max’s stead. seeing them back together on the Leafs brings joy to my little London Knights heart.

now back to him as a Leaf.

the current Leafs points leaders, as of December 30th, are as follows:

William Nylander - 48P (17G 31A)

Auston Matthews - 44P (29G 15A)

Mitch Marner - 38P (14G 24A)

John Tavares - 31P (11G 20A)

Morgan Rielly - 27P (4G 23A)

Max Domi - 21P (3G 18A)

the first five of these are pretty much to be expected, but there’s my close good friend Max Domi right there too :) he’s doing his part, and even if he’s not the biggest scorer, assists are just as important and valuable :) if i have to kill y’all with positivity for this i will :) i love him dearly :)

also, he currently sits at 389 career points, and he’s nowhere near done, while Tie Domi earned 245 points in his entire career of 1020 games. nobody can say shit to me about him not living up to his dad’s legacy (Note: Tie also sits at third in NHL history for penalty minutes with 3515, but that’s a stat nobody will ever surpass. ever. the current PIM leader in the NHL is Corey Perry, and he only has 1392.)

and now i’m not about to sit here and pretend i know how to quantify the skills of an NHL player, let alone describe them in great detail. i do not. however, what i do know is that i love watching him play and make plays. in my eyes, he is a good player, and this is the Max Domi Propaganda Blog so if you want something less biased i can’t help you, sorry :’)

this love began in a preseason game against the Habs, on Oct 2nd. his first game as a Leaf in Toronto, he scores a tip-in against his former team, and he shrugs it off like NBD. for those of you who were following me at the time, you know i was not normal about it then and i am not normal about it now. i think about that celly every goddamn day.

much to my great sorrow, they Leafed this game up and lost in OT 5-4. but either way, this was the moment that definitively kicked off the Rick eastoncowan Domishka era.

and the only time Max ever seems to get a scoring chance, it’s either on a breakaway or from a spot that would have been absolutely NASTY if it went in. my mans only wants sexy goals, which is a stance i respect immensely.

his first regular season goal… didn’t give him any points. it was beautiful, and a game winner, but since it happened in a shootout, it didn’t count towards his points totals. personally, i think this is bullshit, but now is neither the time nor the place for me to get into my issues with some of the NHL’s rules. (Nov 10, 2023, Flames @ Leafs)

Domishka bardownski SO winner,,, you were so beautiful and so unappreciated but i will never forget you </3

now.

Max’s first real goal as a Leaf.

for those of you who followed me at the time, you may recall this post:

a post that the Hockey Gods took to heart

and obviously i followed through. what do you think i am, some kind of quitter?

and, again, unfortunately, we Leafed that one up, too. we lost it in OT again, so still no Domi belt pic for Rick :(

now i’m not going to go back and gif all 18 of his assists, because i don’t think y’all care quite that much about Visual Proof of all of them. for your convenience, though, i did go back and track down whose goals he had assisted on, and the results aren’t super surprising IMO

Calle Järnkrok, Nick Robertson (assisted on 5 each)

Matthew Knies (assisted on 4)

William Nylander, Morgan Rielly, Mitch Marner, Timothy Liljegren (assisted on 1 each)

anyway, now for what is quite possibly my favourite game that i didn’t actually get to watch live.

December 16, 2023, Penguins @ Leafs, a decisive 7-0 victory.

it was also a 3 point night for Max, two of which helped to complete Matthew Knies’ Gordie Howe hat trick, the first since Daniel Winnik in 2015. but a goal and an assist are only two parts of it, the third being a fight. a fight which Knies initiated against John Ludvig after he knocked out yet another of Max’s front teeth with his stick. a fight which was Knies’ first ever. i’m still mad i didn’t see this happen live, but i’ve rewatched the game in its entirety twice, and the highlights too many times to count. this game sparked my undying love for the 23-11-16 line, which is a line i still pray keefe will bring back.

and so, we have a goal and a fight, and we have an assist to finish off the hat trick, and none of it would have happened without Max :)

and speaking of fights, Max has had a couple of em himself in his time as a Leaf so far. granted, if you ask hockeyfights dot com, he didn’t win either of them, but that’s not what matters. what matters is that he looked beautiful doing it, whether it was against Ian Cole (VAN) or Sam Bennett (FLA), especially with the fun added bonus of him flexing his full head of hair at Bennett’s bald dome. as an aside, i fucking hate Sam Bennett, so Max trying to fight him was… well it made me feel things. all i’m gonna say.

max’s third goal was also gorgeous. stunning. amazing. another beautiful bardown, the sound of which lives on in my dreams.

this is getting far longer than it really needs to be, so i’ll take a step back and give you my true, honest thoughts.

Max Domi has been a very helpful player for the Leafs since he got here. he obviously has the drive to play here and to play well here, and 21 points is nothing to be ashamed of. you know who else has 21 points as of me writing this? Alex Ovechkin. and now i’m not saying they are players of the same caliber, but Max is 6th on the Leafs in points, and Ovi is tied for first on the Caps. 21 points is still 21 points, no matter where in the standings someone is. Max was born to be a Leaf, and nothing makes me happier than to see him here and thriving on the team he’s loved since he was a kid. he takes shots, blocks shots, defends his boys and is defended right back in turn.

and i would not be Rick eastoncowan if i didn’t mention that i think he is hot. like stupid hot. especially without his teeth. fuck, the heart wants what the heart wants, and damn if my heart doesn’t want this tiny toothless idiot.

#ask #anonymous #toronto maple leafs #max domi #rick's gifs #domi primer #this took me far too long #but finally it is here #the 1600+ word max domi primer #heavily biased because this is my writing #and y'all have to expect that from me at this point #anyway please enjoy #i made gifs special #this was made with so much love

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taciturnpoet · 1 year

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okay here is the promised anderperry Icarus and the Sun/Apollo post because @73647e enabled me lol

this will be mostly rambling because I love this comparison (and use it a lot) so be happy if there is even a single coherent thought in this okay? talking about this makes my brain go FAST and I went over this about a thousand times so bear with me here

When I had first started thinking about this, I had originally thought of Neil being the Sun and Todd being Icarus. But then I realized no, their dynamic shifts and actually switches roles after Todd does the poem in Keating’s class.

In the beginning, Neil is the one that draws Todd into the group and persuades him to join the poets, all while also encouraging him to be himself and speak up more. While Todd is not only falling for Neil, he’s also trying to take Neil’s advice to heart since Neil is what Todd wants to be.

Neil could befriend a brick wall if left alone with it long enough. Everyone likes him and believes that he is made for great things (though not the same great things he wants to do), and you can tell that Todd wants to get to that point himself eventually. Todd’s been told his entire life that he will never amount to anything unless he becomes this thing he doesn’t even like, and Neil is more of what he aspires to be.

Then the poem in Keating’s class happens and things change.

After the poem, Todd starts to come into himself a little more. He’s gaining confidence in himself and his work—the work he wants to do, the work he’s passionate about—and he’s joking around and talking more with the poets. (Even though this scene is deleted, and I think that’s a crime) he reads a poem out loud to them and Keating at the end of the movie without Neil there.

Now, we know why Neil isn’t there, but that’s not important yet lol

Neil has been Todd's safety net, the person that kickstarted his self-confidence growth and made him truly embrace himself in the long run. By the end of the movie, Todd can show other people his work without Neil having to be there, which is a major development from Todd in the first poets meeting too afraid to speak and always looking to Neil for guidance.

When Todd is helping Neil practice his lines on the dock—another criminally deleted scene—he’s excited. He’s teasing Neil and playing around with him and becomes what he had the potential to be at the beginning of the movie with the help of Neil and Keating.

Todd’s decided that he wanted to be his own person. He’s not going to try and live up to his parent’s expectations of him becoming a second Jeffrey, he’s going to pursue his writing and be his own person, and he appears to become so much freer after that realization. He’s embraced his passion for writing and poetry and pursues his art without hesitation, just as Neil wants to do with his acting, becoming a shining light of possibilities and potential, and most of all, freedom.

After the poem, the glimpse of Todd’s brain, and his passion, Neil almost views it as something holy. In Neil’s eyes, Todd and his freedom are something to strive for, to look up to, and hope for like it's something divine. In a way, Todd becomes a symbol of freedom and passion, a beacon of everything Neil could be and wants to be/do.

I know we as a fandom talk about this a lot, but look at the way Neil looks at Todd after the poem, the way the sun is shining on his face and lighting him up only in the way it does whenever he’s having a Moment™ with Todd. No, seriously, it does that to him both when he decides to audition for the play and after the poem, but practically nowhere else in the movie.

Insanity. Anyway.

But then, during this same time that Todd is embracing his freedom, there is Neil. Neil who is practicing and alive and passionate while preparing for the play, making plans for the future, and dreaming of pursuing this life as an actor.

["God, for the first time in my whole life, I feel completely alive!" // "Most people, if they're lucky, live about half an exciting life. If I could get the parts, I could live dozens of great lives!"]

And yet, there is another Neil. The Neil who gets confronted by his father and told to stop doing the play, to stop acting, and give up his dreams, his passions, and what he believes to be his life, all to stay stuck in the existence his father wants him in. The Neil that goes to Keating for help and cries that he’s “trapped.”

The moment Neil decides to lie to Keating and tell him that he talked to his father, the moment he chooses to continue with the play and acting despite everything that could happen is the moment he cements his place as the Icarus in their dynamic. He chooses to ignore his father’s warnings against participating in the play and does it anyways. He chooses freedom and passion over safety. Neil chooses to fly.

Neil chose to take a chance, to try and escape and join Todd on the other side of freedom and authenticity, where he could pursue his dream and become an actor. He has his moment to shine, to taste the warmth of the stage lights akin to sunlight as he brings the play to life. All the possibilities, hopes, and dreams, all within his reach in the form of a crown made of sticks and leaves in a small-town theater. He can see his friends and his teacher in the crowd and feels invincible and in his element, bigger than life.

But then comes the melting of the wax and the plummet back to earth as he sees his father’s angry face in the back of the theater, and he knows.

He knew that there was no going back now, no reversing what he’d done, the fact that he’d lied to the two most influential men in his life for just a chance to join the other side. And yet, as someone pointed it out recently (I can’t find the post right now, I’m so sorry), there is a moment when Neil comes out after the play, and he smiles at his father, an attempt to see if maybe he won’t be falling tonight. But then his father doesn’t smile back, and everything goes by in a rushed blur of a freefall.

All of the poets try and reach out to him, to talk to him and congratulate him on his way out, but the only one he looks at is Todd. Todd, who’s so excited to see him afterward, tries to talk to him and get him to come back with them, but Neil smiles sadly at him and lets himself be dragged away. He knew he couldn’t put off this fight with his father forever and decided to stop hiding from it. He’s falling and isn’t trying to stop it.

I think Neil looks at Todd the way he does before they leave because a part of him knows he’s not coming back. He doesn’t want to go, but he can’t slow it down and spends his last moments with them looking at the boy whose become his Sun.

The descent is quick after the car pulls away, and Neil cannot stand up to his father. Every moment that led to Neil’s decision to be a part of the play, to follow Todd, is in the sun's bright light. It makes sense then that he’d die at night, with death embracing him with the sound of a gunshot rather than water splashing.

Todd finds out about Neil's death after sunrise. It's gray and quiet, but the sun still rises even after he knows Neil isn't rising with it.

And he's devastated, and he's angry, and he's no longer afraid to show that. He gets mad at Cameron for blaming Keating for Neil and believing he would kill himself under any circumstances other than his father. [“That is not true, Cameron, you know that. Keating didn’t put us up to anything. Neil loved acting!”]

Then, he gets mad at Nolan, talking back to him in front of his parents in that sham of a conference and in front of Keating's class as Keating is leaving. The same Nolan Todd nearly cried in front of on his first day at Welton because he was so afraid to speak his mind, to stand up for himself.

Todd is grieving, he is angry, and he is stronger than he was at the start. While he stands on his desk for Keating in a show of support, in thanks, he is also standing on his desk in thanks to Neil. For Neil.

Neil's gone. And yet, Todd shows his strength. He stands up for the ones he loves and is thankful for while also standing in defiance for those who played a hand in Neil's end and killing their dreams. He appears to smile ever-so-slightly when Keating looks at him, and Keating must know he'll be okay.

His best friend is dead. The actor who brought a play to life and cast light everywhere he went was gone, but Todd isn't. Neil's light only reflected what Todd still had and would dedicate to Neil.

The freedom, art, and life that Todd now held were what Neil fell for, and Todd would spend his life creating in memory of the boy who fell trying to join him. Todd had to ensure that everyone would know the story of Neil Perry as much as they did Icarus. They were so similar, after all.

(this started to change halfway through, so idk if it makes sense but that’s fine. please talk to me about anything like this I get so excited about it lol)

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kagiura-akira · 4 months

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if sensei plays her cards right, kagihira could very well pull off the "I can fix him" trope correctly bc seriously just one lick -err, look -at Kagi's abs. That's all he needs and I'm fully confident it will fix him

#hirano taiga #hirano to kagiura #kagihira #kagiura akira #I just wrote 1600 words of Hirano indulging in Kagi's abs so I'm stuck on the train of thought

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achairwithapandaonit · 4 months

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my cat is a wonderful fanfic writer. look what she added onto my current wip

#this is a very plot heavy xxxholic crossover for anyone who's curious. it has absolutely nothing to do with xxxholic except for the fact #that the entire plot hinges on a wish sabo makes at yuuko's shop at the start of the fic. i am very tempted to write a sequel fic with a #lot more yuuko in it tho. if i can finish this one. so far it's about 1600 words and i've vaguely planned out the first half of the fic #me on the rare occasion i pull out my notebook and draw up a timeline: oh wow suddenly the writing got easier

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laladellakang · 8 months

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okay! so i’m just gonna post this just to let you know that i’m not disappearing again! i’m working on something but i held a little poll on wattpad (since i feel like i always ask my tumblr followers and neglect my wattpad ones) and they would rather see a full smut rather than two shorter sfw fics (possibly fmvs) so i’m working on that rn!

#at 1600 words at the moment omg it’s gonna be FULL ON smut #im nervous and a bit unsure but lets see how it goes!

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atomicradiogirl · 3 months

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Son of a Coma Guy: Unconditional Love is Cutting Your Heart Out

Son of a Coma Guy is leading up to the climax of the Tritter arc of House season 3, only two episodes before Finding Judas, where Wilson betrays House and makes a deal with Tritter, an action that ultimately dissolves their relationship until Season 4. The episode starts with a unique structure, with no patient cold open. Just House having lunch with two patients in comas. Wilson barges in and yells at House for “forcing him to lie to the police” that House didn't steal Wilson’s prescription pad and forge his Vicodin prescriptions. This is all in the first minute of the episode, setting up the intricacies of House and Wilson’s relationship that will soon get pushed in the later events of the season.

Wilson is characterized as a person who is selfless, giving, loves to be needed, and will do anything in his power to help people he cares about, especially House. House does something that should rightfully break this friendship: put Wilson’s career on the line and possibly send himself to prison. Wilson is mad at House for only thinking about himself and putting himself in jeopardy. Wilson isn’t mad at House for using him and his kindness. House always does this. Wilson likes being used. In reality, Wilson is scared for House, not himself. He lied to Tritter to protect House. House didn't force Wilson to lie for him. Wilson did it anyway. The ultimate act of loyalty and care, the ultimate sacrifice. This is all read between the lines, of course, and this important revelation in the opening of the episode sets up the actions and importance of Son of a Coma Guy.

We are then introduced to the titular Son of a Coma Guy, Kyle Wozniak, who has a seizure when House induces one. Kyle discusses his medical history and his family history. He says that his dad never liked his mother’s side of the family, and he was raised by a guardian. He only visits his father, who is in a coma. House wakes up his comatose father, Gabriel Wozniak. The last thing he remembers is the fire that killed his wife, something that is revealed to have been caused by Kyle later in the episode. House and Wilson discuss Gabriel. House argues, “Maybe he just doesn’t like his son. The delusion that fathering a child installs a permanent geyser of unconditional love.” Wilson interjects with, “Maybe your father’s feelings were conditional. Not everyone-” House cuts him off, “Yes, of course, that would play into your romantic vision of-” Wilson says, “In terms you would understand, we have an evolutionary incentive to sacrifice for our offspring. Our tribe, our friends. Keep them safe.” To which House replies, “Except for all the people who don’t. Everything is conditional. You just can’t always anticipate the conditions.” Wilson’s argument here mirrors his actions at the start of the episode, sacrificing himself and keeping House safe from the consequences of his actions, even if he deserves them. House says that maybe Gabriel’s relationship with Kyle is conditional, that love and sacrifice can never be unconditional. Referencing his abusive relationship with his father and his perception of love. That it always has to have a catch. This is really important in understand House and Wilson as characters, and especially in their relationship. Wilson views love as being programmed, an innate thing you’re evolutionarily destined to have. House views love as something you earn, something you get, something that has conditions. Wilson might have a romantic vision of love, but his love life is just as unhealthy as House’s. Constantly putting people’s needs in front of his own, sacrificing himself for House, which is left unnoticed and unappreciated by House. Someone who views this sacrifice as conditional when, in reality, it isn’t. This is the dichotomy of House and Wilson.

House fulfills Gabriel’s last-day request of getting a sandwich and needs Wilson’s car for a road trip to Atlantic City. Wilson of course, lets him have it but decides to come with them. House keeps questioning Gabriel so Gabriel makes a deal with him that for every question House asks, Gabriel asks him one too. Gabriel asks House if he’s ever been in love, House says yes. Says that they met when she shot him in paintball, talking about Stacy. Gabriel asks if House has ever loved anyone else and House deflects saying, “no more questions” but Wilson is of course in the car with them. House doesn’t want to admit that he 1. Either loves Wilson or 2. Is capable of loving Wilson since this would prove his conditional love theory, that he loves Wilson only because he selflessly gives House what he needs.

In the hotel in Atlantic City, Wilson asks House why he used his pad, not Cameron’s Foreman's or Chase’s. Wilson says that it’s because his association with House is voluntary. That he chooses to be close to him. “Any relationship that involves choice you have to see how far you can push before it breaks. And one day our friendship will break and that’ll just prove your theory that relationships are conditional and you don’t need human connection or deserve it or whatever goes on in that rat maze of your brain.” House deflects this, of course. Incapable of being truly honest about his feelings at this stage. House, throughout the show has a deep insecurity about deserving love, deserving to live, and deserving to be happy. Wilson’s unconditional loyalty to him pushes against this. Yes, there are moments when their relationship wavers but it never truly fully breaks. He always comes back to House and in the end, he relies on House. House is all Wilson has, and Wilson is all House has. Son of a Coma Guy is the first proof that House can bend Wilson and his relationship and Wilson will bend with him. Their social contract of push and pull. Bending but never fully breaking.

House questions Gabriel about his family history, eventually determining the illness that is inherited throughout their family. Gabriel asks House why he became a doctor, and he decides to be honest with him. Saying that when his father was stationed in Japan he went to one of the hospitals as a kid and he was inspired by a doctor, a buraku, one of Japan’s untouchables. Someone whose ancestors were slaughterers and gravediggers, he wasn’t accepted by his staff, but they needed him because he was right so nothing else mattered. Gabriel is asked about the fire that killed his wife, and he explains that Kyle when he was 12, knocked over the kindling which started the fire. He didn’t blame him because he was just a child and it was an accident. Gabriel isn’t with him because he blames himself for failing to keep his family safe. He couldn’t stop the fire and save his wife. He doesn’t want to see his son die too. This goes into Wilson’s evolutionary love argument. Gabriel loves his family so much that he can’t bear to lose them, to fail to protect them.

Gabriel decides to perform the ultimate sacrifice, to give Kyle his heart to save him. House decides to go along with it, telling Gabriel how to kill himself so that the heart can be saved, by hanging. Before he aids Gabriel, he asks Wilson to leave the room. Wilson says no, but House says, “You’ve lied to the cops enough for me. Maybe I don’t want to push this until it breaks.” To which Wilson leaves, accepting that House appreciates his sacrifice and is willing to put himself on the line for someone else. Something that House rarely does. Gabriel asks House if he could hear one thing from his father what would it be? To which House says “I’d want him to say You were right. You did the right thing.” What this is truly about we don’t know and never really find out but House’s abusive relationship with his father isn’t truly revealed until One Day One Room a few episodes later, which puts new context to this line. House has to kill a father who loves his son so much, even though he accidentally caused the death of his wife, that he is willing to sacrifice his heart for him. Gabriel unconditionally loves his son, but House’s father’s love was conditional. This is what Wilson argued previously. Gabriel is willing to sacrifice his heart, (do I have to mention Wilson’s Heart) also mirrors Wilson’s sacrifice at the beginning of the episode. Both Gabriel and Wilson prove their unconditional love. Wilson wordlessly sets up House’s alibi for him and they wait together for Gabriel to die. When Gabriel’s heart saves Kyle, Kyle asks House for any message from his father, something to give him closure. House tells him what he wishes his father would have told him. “Right about what? What does that mean?” Kyle asks. “How would I know? He’s your dad,” House tells him and leaves.

“You know what I learned about this case?” House asks Wilson at the end of the episode. “That it proved that people can love unconditionally and you can tell yourself it’s not true, but you’ll just end up in a hotel room in Atlantic City asking someone to cut your heart out?” Wilson says.

Son of a Coma Guy is an episode about unconditional love and sacrifice. Gabriel and Wilson are the givers, those who sacrifice their hearts (literally and not literally) for the people they love. Kyle and House are the takers. Those who don’t think they deserve the love they receive but are forced to take it. Kyle, to live, House for growth. I adore this episode and it is a prime highlight of House and Wilson’s relationship and the peak of House’s writing.

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