#Comic Book Heart

[noisycowboyglitter]

Understanding the Superman Wonder Woman Comic Heart Dynamic

"Superman and Wonder Woman: A Comic Book Romance for the Ages"

In the vibrant world of DC Comics, the legendary pairing of Superman and Wonder Woman has captivated readers with a love story that transcends the boundaries of the page. This iconic

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romantic duo, often referred to as "The Supercouple," has enchanted fans with their unwavering devotion, unparalleled power, and the unique challenges they face as two of the most formidable heroes in the universe.

The "Superman and Wonder Woman Comic Heart" concept celebrates the sublime and tumultuous nature of their relationship, where the passion and connection between the Kryptonian and the Amazon princess are juxtaposed against the immense responsibility and cosmic-level threats they must confront. Whether it's the tenderness of stolen moments amidst the chaos of battle or the heartbreaking decisions they must make to protect the world they've sworn to defend, the bond between Superman and Wonder Woman serves as a captivating exploration of love, sacrifice, and the true measure of heroism.

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Through dynamic artwork, evocative dialogue, and the sheer force of their combined abilities, this comic book romance has become a beloved and iconic representation of the power of love to transcend even the most extraordinary of circumstances. It's a timeless love story that continues to captivate and inspire readers, reminding us that the greatest heroes are often those who fight for the ones they love.

"DC Comics Valentine's Day": A Superhero-Inspired Celebration of Love and Heroism

As the world celebrates the timeless tradition of Valentine's Day, the iconic characters of the DC Comics universe offer a unique and captivating spin on the festivities. "DC Comics Valentine's Day"

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seamlessly blends the enduring power of love with the extraordinary feats of some of the most beloved superheroes and supervillains.

From the passionate romance between Batman and Catwoman to the dynamic tension between Harley Quinn and the Joker, these larger-than-life figures bring an added layer of excitement and intrigue to the celebration of affection. Imagine heartfelt messages adorned with the emblems of the Justice League, or playful cards featuring the mischievous antics of Poison Ivy and Harley Quinn.

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This DC Comics-inspired twist on Valentine's Day taps into the universal human desire for connection, while also embracing the fantastical and heroic elements that have made these characters iconic. It's a celebration of love that transcends the boundaries of the ordinary, inviting fans to immerse themselves in a world where the extraordinary and the emotional intertwine.

[yeehawpim]

[eveningdawn222]

people who act like batman isn't "judge jury and executioner" because he doesn't kill people are like. genuinely so funny to me because. they're very obviously thinking of "executioner" as like. the stereotypical guy with axe who chops people heads off, and not, yknow, the literal definition of the idiom itself, which is about someone who has the ability to judge and then subsequently punish someone unilaterally. which is quite literally what batman does.

he has the ability to decide what is a "crime" to him, he is the one who decides whether people are guilty of those crimes, and he is the one who executes their punishment. the severity of the punishment doesn't matter - he is unaccountable to anyone else, and indeed is allowed to commit as many crimes as needed to reach his arbitrary ideal of "justice."

the ideal of batman is this: a man who is so fundamentally changed by an act of senseless violence that he takes it upon himself to fight back against the rot and corruption in the world. he does this not through political activism, not through ridding himself of his wealth in favor of a greater good, not through community outreach, but through an individualistic fantasy of being a hero.

and you'll say: charlie, but he does do that !!! he donates his money all the time, he funds social programs, hospitals, orphanages, gets people jobs -

and i will say this: so why don't things get better?

because here's the base of it. gotham, at its core, can't get better. no matter what bruce wayne does, there will always be more crime, more villains, more death, more people for batman to beat up in back alleys. because that's what sells.

reoffending rates don't matter in gotham, prison reform doesn't matter in gotham, what actually causes crime doesn't matter in gotham because that doesn't sell books.

and so here it is; dc has unintentionally created a world where batman can't win, but can't be wrong, and where thousands of nameless, faceless, only-created-to-die civilians must be pushed into the meat grinder that is gotham, to fuel bruce wayne's angst and vindicate his constant, tireless, noble fight against the forces of evil.

and then: a new robin, who is poor and who's parents are dead or gone because of this cycle; who is happy go-lucky and hated by editors and fans for being robin, for not being dick grayson, for being poor.

and this robin is written, unintentionally or not, to be angry at the ways in which batman's (the narrative's) idea of justice is detached from its victims. bruce seems perfectly fine to allow countless unnamed women to be at risk from garzonas in his home country, yet robin is the one who is portrayed as irrational and violent.

this robin is not detached from gotham in the way bruce wayne is: this robin is a product of gotham.

(and here's the thing. you can't punch aids. you can't fight a disease with colorful fights and nifty gadgets. and how would robin dying from aids add to batman's story; it would call into question the systemic changes that haven't been made in gotham. how does a child get aids, in batman's city?)

so robin dies, and then bruce (the narrative) spends the next couple of decades blaming it on him. it is jason's fault; he was reckless, he just ran in, he thought it was all a game. if only bruce had seen what was coming, if only he could have known that jason wasn't rich enough or smart enough or liked enough to be robin.

batman gets a little more violent, a little more self destructive. he hurts people more and almost (!!) kills a couple guys. this is bad because it's self destructive and "not who he is." it is not bad because batman should not be able to just beat people up when he's angry.

and then he gets a shiny new robin - who is all the things jason "wasn't": rich and smart and rational and he doesn't put who batman is into question. batman and robin are partners, and jason is a grave and a cautionary tale, and (crucially here) never right.

the joker kills thousands and it doesn't matter because they were written to be killed.

batman beats up thousands and it doesn't matter because they were written to be criminals.

and then jason comes back, and nothing has changed. there is a batman and a (shiny! rich!) robin and the joker kills thousands. (because it sells)

and jason is angry - he has been left unavenged - his death has meant nothing, just as willis' had, just as catherine's had, just as gloria's had, just as -

thousands. ten of thousands. hundreds of thousands. written to be killed.

but one of them gets to come back.

and he is angry - not only at the joker, but at bruce (the narrative) - because why is the joker still alive (when thousands-)

here is the thing - jason todd is right. not because the death penalty is good, not because criminals deserve to die, not because of everything he says -

but because of what he calls into question. why is the joker alive?

because he sells books.

and dc has written a masterful character, through no fault of their own, because jason knows what is wrong, and he knows who is at fault - batman. (the narrative)

so the argument that bruce can't kill because he's not judge jury and executioner; the argument that jason is a cop or that jason is insane or that jason is in the wrong here; they hold no weight.

batman can't kill the joker because the joker sells comic books.

and jason can't kill the joker because the joker sells comic books.

so he will beg and plead and grovel - he will betray everything that is himself, he will forsake his family and his city and kill himself - just so that bruce (the narrative) will let the joker die.

he was condemned to death by an audience, and after he came back he has spent his whole life looking us in the eyes and screaming, asking, pleading; why is the joker still alive?

why are thousands, tens of thousands, hundreds of thousands (the number doesn't matter, see, because they're just a number. not people. not real.) why are we expendable for his story? why did i have to die just for nothing to change?

and the answer is money. and the answer is the batman can never be wrong. and the answer is shitty writing. and the answer is -

nothing jason can ever change.

which is the worst of it all. he is a victim with no power, and no one else in the world can see it. he is raging and crying and screaming at his father and his writers and you - and it doesn't matter. jason doesn't matter. and he knows it.

[paintedcrows-caws]

Front row seat to Alex Hirsch's InMotion London Talk!! Aaaa!! (The high quality close up photos were taken by the wonderful @stupidlittlespirit! Who was sitting with me and had a far better camera, haha)

You can watch the full thing here, recorded by the brilliant Topaz Animation!: https://www.youtube.com/watch?v=Hn_O7CMM67A&t=137s

[benevolenterrancy]

(Unseen Academicals, Terry Pratchett) I think Shang Qinghua and Ponder Stibbons should have tea and compare notes about somehow accumulating so much behind-the-scenes power by doing menial jobs no one else wants that they could basically run the show if they wanted...

meanwhile we have Shen "meh good enough" Qingqiu

[seeminglydark]

A look-book and little break-down of Caro’s style and fashion Journey. I didn’t include their cheer uniform or GasCo uniform because those really didn’t influence their actual style much, other than the Varsity jacket and work jacket. I thought it would be fun to set it up almost like a magazine article and I’m in love with the results. I hope you enjoy it too. (The cover is my fave thing ever, just so you know.)

Here’s the Text:

Caro Greene, Cheerleader to Ghosthunter! An exclusive look at superstar Caro Greene’s style evolution. From femme to them!

The Teenage Years! Caro has been aware the high-femme style their parents chose for them was not the look they wanted for a long time, but didn’t know how to address it. Pairing their best friends tee-shirt over their Prom dress was the first step in figuring out their own personal style! From there, they tested out the route of borrowed too-big sweaters whenever they weren’t under the watchful eye of their family.

GasCo Era! Years of emotional neglect build until Caro chops off their hair, an asset more important to their parents than their happiness, and finds themself abruptly homeless, with nothing but some jeans, shirts and an oversized jacket belonging to their long-gone boyfriend. They get a job at the local gas station, and are gifted a new jacket that fits, with their new name on it, in their favorite color! More gender exploration leads them to a better haircut, and their first time trying a binder, and starting to not hate how they look.

Thrift stores, Sneakers, and T! Now in a new environment with supportive people at the GasCo, Caro discovers thrift stores and the tacky ‘80s aesthetic of their dreams. After years of other people controlling their body and looks, starting on low T is a big step in taking back control. They start wearing crop tops and sleeveless tees to show off new body hair, but also love chunky colored sweaters since they’re always cold. Sneakers go with everything, and when you’re short, the possibilities are endless in the kids shoes section.

Mil-Liminal! Caro’s podcast Mil-Liminal goes viral, and they are given the choice of staying faceless and anonymous, or taking the stage in live shows. They decide to do a face reveal, and that means choosing an iconic ‘look’ for their live performances. They choose their favorite color, GasCo Purple, and a jacket that is a blend of their varsity jacket and GasCo work jacket, two clothing pieces that always made them comfortable. They wear their trans identity on their sleeve, and top it off with the snapback look they donned years ago on their first venture ‘out’ as a teenager. The rest is history!

Current Caro! Which brings us to the present! There’s been some small changes, oversized sweaters and tees with a cosmic theme, which is new for the usually spookified Caro. They’re sporting white hair instead of their trademark blond, and have added a cross earring and a pendant to their Mil-Liminal uniform. A black snapback shows up as often as the purple one, and there’s a new bounce in their step, but perhaps they’ve just been indulging in too much coffee these days.

Caro Green is from my webcomics Seemingly Dark and Mil-Liminal, and podcast Mil-Liminal.

[camo-wolf]

"Clark came out to find Jon standing on the roof again looking up at the constellation"

"It's the 3rd time this week"

Clark-Jon you should get some rest

Jon-but he will be alone and I told him i won't let him be

Clark-... Jon he's gone

Jon-but he's right there shining so bright

[a2zillustration]

Does croissant and gale get married in your story?

It's certainly something they plan to do!

But not just yet.

🥐 Croissant Adventures Masterpost 🥐

[knockknockwhosthereartistism]

Ever wonder how Fiddleford got so much shorter than Ford?

Based on This vvv

[lizzybeeee]

DATV is overly reliant on Supplemental Media - especially if you are a returning player

TL;DR: Supplemental material should not be required reading in order to understand what's going on in the main game -> it's additional material that enhances what we were given. If what we were given is lacking and unable to coherently tell us a story, then the writers and those in charge did not prioritize what was important.

Not a take that's unique to Dragon Age, but one that is very relevant when talking about DATV. I've made a few posts about plot/story points that either make no sense or have been dropped entirely in the lead up from DAI to DATV. Every now and then I get a few comments or messages about how certain points I made were addressed in supplemental material released in the lead up to this games release.

This isn't a call out post, by the way! But it's frustrating, to me, that this games writing is so lacking that my understanding is being inhibited because I can't remember details from a book I read two years ago - not to mention various podcasts, comics, and short stories. My understanding of a video game in a video game series should not be reliant on additional/optional content.

DATV is a weird game in that it is absolutely a 'soft/scorched earth' reboot while also marketing itself as a continuation to what was set up in Inquisition and Trespasser. Personally, I think that if you are up to number 4 in a game series, one with a continuous story-line, it should be expected that new players won't be able to catch up to everything -> it's the game developers job to make the world and story intriguing enough that the new players will go back to previous games in the series and fill in the blanks themselves.

Veilguard, as a sequel, is overly reliant on content that comes from outside the games themselves (including DLC's) if you want to make sense of the world and story. Trespasser left us with an epilogue that set up some plot points for the next game: Solas & the Veil, the Elven Rebellion, and War with the Qun - plot points that have been built up since the time of Origins. But when we get into DATV two of these points have been dropped and resolved, off-screen.

There are more questions, but these are the ones that bothered me the most while playing the game:

What happened to the Agents of Fen'harel/ Elven Rebellion? -> answered in a cursed reddit AMA.

What happened to the Qunari following Trespasser -> addressed in Tevinter Nights, and a codex entry you can pick up (optional).

Why is Skyhold infested with demons? -> mentioned in Tevinter Nights.

How did the Dalish go from worshiping their own pantheon to knowing they are false gods? (specifically those we meet in the Veil Jumpers) -> mentioned in the Missing comic series.

What's up with Nevarra's Royals? -> Tevinter Nights addresses that there is a power struggle in the Pentaghast family and the role of the Mortalitasi in making it worse - though it does not address the whole 'mage puppeting a corpse' issue and all the implications it has.

This is a video game series -> the bulk of the information required for me to understand the story and its relation to previous entries needs to be included in the final game version. I am playing a video game and not attending a uni class - I should not need to have a required reading list in order to understand what the fuck is going on. I should definitely not need to go onto a reddit AMA to understand what happened in-game, either.

What makes this stand out the most is that DAI was very successful in tying in previous games, DLC's, movies, and books! Inquisition did a great job in getting you up to speed on the events of the previous games early on, providing personalization if you played those games, and giving the player the opportunity to inquire into these events.

Hiding away the answers in additional material or a codex entry that may be missed is not good game design or good writing. DAI didn't assume that you had bought and played the Legacy DLC -> it made certain you experienced the conversation with Varric and Hawke if you wanted to proceed in the game. It didn't hide away imperative information in codex entries - it had characters talk about it in scripted scenes and encourage the player to ask more. You would actively need to avoid interacting with characters for you to not experience this information in DAI.

Leliana talks about her role during the Blight, her calling by the Maker, and her relationship with Dorothea/Justinia -> DAO and Leliana's Song DLC.

Cullen talks about his time as a templar at Kinloch & Kirkwall -> DAO and DA2.

Cassandra speaks about her history, investigation into Hawke, and the Seekers -> Dawn of the Seeker movie, DA2, & Asunder novel.

Varric talks about Hawke, Kirkwall, and Corypheous -> DA2 and Legacy DLC.

Cole talks about how he discovered he was a 'demon' - it leads to further conversations about Rhys, Evangeline, and Lord-Seeker Lambert -> Asunder novel.

Wicked Eyes and Wicked Hearts -> the game literally continues what the Masked Empire novel sets up, the Orlesian Civil War. The game does a decent job of telling us about the players (Celene, Gaspard, Briala etc...) and the reasoning behind the conflict through dialogue, the ability to explore the battlefields, quests, ambient dialogue, etc... The book is not required reading - though it greatly adds to the complexity of the characters, motivations, and political intrigue!

I never once, playing DA2 or DAI, felt penalized or like my experience was lacking because I had not engaged with supplemental material or DLC's. I got into Dragon Age when I was in high school, it wasn't until I graduated and began working after that I had the disposable income available for experiencing the extra material. I cannot say that for DATV - If you have played Inquisition and go into DATV straight from that you will, absolutely, be confused about how we got from A to B.

Which is especially strange to me!? Why is it that new players will be less confused than those that are returning players? It's like the game is actively punishing you for playing and caring about previous games in the series.

Supplemental media is bought because the main product has earned your investment, love, or interest. Not everyone has the income available to buy it with their own money - especially if you live outside the US and have to pay additional shipping costs. Not everyone has the ability to buy or 'obtain' the digital versions either. My understanding of the main story of a video game in a video game series should not require additional monetary investment into other mediums.

The game itself should be enough and DATV is not enough.

[shamlesspandanerd]

[aroaessidhe]

aro & ace books: with internal illustrations!

Don’t Let The Forest In - YA horror - ace MC - internal/cover art by Jana Heidersdorf

The Wolf Among The Wild Hunt - NA dark fantasy - aroace MC/SC - internal art by Andrew Garin

In The Jaws of an Oak - adult horror/erotica novella - internal/cover art by author

Elatsoe - YA paranormal - aro coded ace MC - internal/cover art by Rovina Cai

Little Thieves - YA fantasy - demi MC/LI - internal art by author

Every Heart A Doorway - NA fantasy novella - ace MC - internal art by Rovina Cai

Fallen Thorns - NA urban fantasy - aroace MC (& SC) - internal/cover art by author

#aspec books / aspec database / tumblr masterpost

[beebox-illustrations]

Some really old Thranduil and Legolas comic I found in my library ?😬

This week was crazy with assignments, couldn’t finish any recent comics but I hope you enjoy this one🌻

Have a great week 🌻🐝

[commsroom]

honestly one of the funniest and most charming things about eiffel is how normal his opinions are. his big star wars rants are "han shot first" and how much he hates the prequels + digital remasters. most of his favorite movies and bands are exactly what you'd expect for his demographic. he's a "controversial opinion: pineapple goes on pizza" dating app guy and he takes that seriously. you could set him loose in any store full of nostalgia bait guy memorabilia - a real old-playboy-magazines-and-license-plates type of place - and he'd lose his mind.

[damthosefandoms]

​you open to any given page of the outsiders and ponyboy’s dropping more lore about his friends, family, and the world he lives in than a goddamn soc saturday livestream. and none of it has anything to do with the plot

[martyrbat]

the funniest (tragic) thing is multiple times and in different canons bruce HAS tried healthier coping methods and life choices than being 'just' batman. he journals and its stolen and hes blackmailed with it and alfred is put at risk because of it. he skips patrol for a date and people are killed. hes goes to therapists and they either try to kill him or end up getting killed, leading bruce to blame himself and not attempt it again. he rests while being sick and wakes up exhausted and in pain and feeling guilty because he thinks of how many aren't waking up because of his need to sleep.

but when hes paranoid, hes more likely to benefit for it. from contingency plans to obsessive training to get through a fight or a dangerous situation. from excessive research to solve crimes and help people to pushing his body constantly because his weakness can be what gets someone killed. hes keeping people at arms length the best he can lest they hurt him and what hes fighting for or end up being killed because tragedy follows him like a hungry dog waiting for its next meal.

sure, his obsessiveness blows up in his face sometimes. hes scolded for it, people feel betrayed from it, hes isolate because of it. but if people get away, dont they usually end up better? he'll rather care from afar and know theyre safe but hate him then chance them being killed or used as a weapon because he wasn't prepared.

hes caught always feeling selfish for his love, something thats always fueled him and his choices, because he knows what it brings. hes caught feeling guilty in his attempts of normality and wanting a real life because then who will take care of gotham and who is he to say his happiness is worth more than the strangers on the street lives? hes always punished if he attempts happiness and hes punished when he attempts to always be prepared—the only difference is the later usually doesn't have as many people being killed. so without fail, every single time, bruce is going to sacrifice his own life and his own happiness so others can have it instead. and usually, its the 'right' choice, all other options leading to something terrible.