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The Origin Story of Rhinoceress

Cindy Shears used to be an ordinary girl until one day, she discovered her superpowers. However, her family were not happy about it so they took her in to be studied by Doctor Kavita Rao. She discovered a DNA variance unique to Cindy and suggested her parents leave Cindy in her care until a cure could be found. Abandoned and locked up, Cindy used her super strength to break out and become the Rhinoceress. While she does engage in some illegal work as a super villain, she also bartends and bounces at the Invisible Light nightclub.

Avengers Academy: Marvel's Voices Infinity Comic #34, 2025

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Roberto Bolaño

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Its been forever since i did some actual manga paneling and even longer since i drew daisuga but i was absolutely INSPIRED!!! What an amazing cute au for REAL 🤭🤭🤭

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（・θ・）Birb of the week: Secretary bird

These birbs of prey have notably very long legs with a nice pair of pants to match! Don’t let it deceive you, they can deliver quite the kick to their prey !

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Gonna post a tone of aftg stuff I've drawn this past month

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"The best way to discuss ancient literature’s survival is to contemplate the dark side of the moon first: i.e., what we know for certain did not survive, and how this affects our understanding of ancient culture. Perhaps the most dramatic example (no pun intended) is ancient drama, since we can quantify lost plays as units analogous to existing ones, which produces a simple ratio. We have seven of Aeschylus’ estimated 70 to 90 plays, and short quotations and fragments of others; seven of Sophocles’ 120-plus plays, again with sound bites and bits of others, including extensive fragments of the satyr play The Trackers (only made public in 1912); and 18 (19 with the disputed Rhesus) of Euripides’ estimated 90, with two volumes of intriguing shards ( TrGF 5.1–2). The survival rates of complete works for these pillars of Western drama are then roughly: 10 per cent to 7 per cent (Aeschylus), 5.8 per cent (Sophocles), and 20 per cent (Euripides). … What of the other great dramatists of the Classical age? We would certainly like to read more of early tragedy to understand the evolution of the genre, but we have none of Choerilus’ alleged 160 plays or of Pratinas’ 50, nor are we sure who voted them off the island of posterity. I would love a look at Phrynichus’ Fall of Miletus, which so upset the Athenians they fined him and outlawed its further production – setting a lasting precedent against tragedies written from contemporary events (Herodotus, Histories 6.21). Agathon was a significant enough poet to be portrayed in works by both Plato (Protagoras and Symposium) and Aristophanes (Thesmophoriazusae), and later gossip claimed Euripides wrote the Chrysippus out of infatuation for him (Aelian, Var. Hist. 2.21); but of his work we have less than 50 lines.

While we get by on an appallingly low percentage of known tragedies, we had up to 1912 a single satyr play – Euripides’ Cyclops – to represent that whole genre, one that was a part of every tragedian’s output at the dramatic festivals (the normal entry was three tragedies and one satyr play). Now we have a fair amount of one by Sophocles, and much less from two by Aeschylus; this is still far from enough to get a feel for the genre and its relation to comedy and tragedy. Similarly scanty are the remains of the dithyramb, a choral genre that was a major part of several Athenian festivals, with wide participation from among the men and boys of Athens’ tribes. It is largely represented by fragments of Pindar, Bacchylides and Timotheus, in spite of centuries of competitive output. Some 20 dithyrambic compositions a year were produced for the City Dionysia alone, not to mention the other festivals in Athens and beyond (Hordern 2002, 22). All of Old Comedy is represented to us by 11 plays of Aristophanes (we know of an additional 32 titles for him); … Most of Middle Comedy is in shreds, though we know the names of 50 working poets and Athenaeus attributes more than 800 plays to the period. For New Comedy, we know of nearly 80 playwrights active between 325 and 200 BCE, and 50 working beyond then. …

We read Homer with little else to compare it to, since so much of the epic cycle is missing, as is the Hesiodic Catalogue of Women. We concentrate heavily on 44 extant plays, but we are unable to reconstruct the complete line-up for a single year of the City Dionysia. We accept Plato’s caricatures of the sophists as valid (hence the pejorative meaning of “sophistry” and “sophistic”), and may assume all philosophy is a footnote to him because what came before is so scanty. Our entire view of Greek culture is decidedly skewed toward Athens. We don’t get to read the 50 odd plays of Theodectes of Lycia, whose Lynceus and Tydeus were admired by Aristotle (Poet. 1452a27, 1455a9, b29), or the comedies of Epicharmus, who wrote in Sicilian Doric (PCG 1, 9–137). We don’t get to read five whole books of Tyrtaeus of Sparta or nine of Sappho of Lesbos, or five of Corinna of Tanagra, as the ancients reportedly did. We sadly lack most of the mimes of Sophron of Syracuse, which, we are told, Plato first brought to Athens and actively imitated in his dialogues, loving them so much he kept a copy under his pillow (Diog. Laer. 3.18). … We would gain a good deal of information on Athens’ famous rival had the works of Sosibius of Sparta (fl. mid-third century BCE) survived. … What remains of the great commentaries of Aristarchus or the alleged 3,500-plus works of Didymus must be gleaned from the scholia in the margins of medieval manuscripts of Homer. Imagine what we would at least know about our losses had Callimachus’ vast bibliographical work, the Pinakes, survived, which detailed the holdings of the library of Alexandria? The work’s full title, Lists of Those Eminent in All Areas of Learning and Their Writings, shows the amplitude of his bibliographical ambitions, and its reported 120 bookrolls attest to the scope of his achievement. The fragmentary remains of 58 entries can only serve to torment us about its loss."

- A Wound, not a World: Textual Survival and Transmission by Richard H. Armstrong, in A Companion to Greek Literature

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has anyone else been randomly logged out of tumblr mid-browsing or is it just my browser going crazy again

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(platonic or romantic!) here's a scrappy comic for my opla boys

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Agamemnon by Aeschylus translated by Ted Hughes

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painting from photo

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snapshots of a place

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a few xiyao crumbs from me to you…

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Whoever runs dropouts instagram is killing me in the comments under their video announcing that the subscription price is changing

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