#Read this whole comic and just loved everything about it

[autisticrosewilson]

so I’m not a fan of Talia (this is important to my ask) but i see a lot of Talia fans. and i really want to ask, without anyone getting angry, why people are fans of her with her history?

the main things i know about her are how she drugged Bruce to make Damian in Batman and Son, and her relationship with Nyssa in Death and The Maidens.

is there more to it? i don’t want to explore on my own if its just that it’s never explained, is there an arc to reference or anything?

That arc is actually retconned because Grant Morrison admitted that it was racist characterization.

Talia had 30 years of characterization before Damian needed a sad backstory. She WASN'T raised as an assassin, she was studying to be a doctor when her and Bruce met. Because she was invented in the 70's she was modeled more after your typical bond girl, and leaned more towards spy than assassin. She hated killing and felt immense guilt the few times she had to.

Her and Bruce loved each other deeply, but Talia also loved her father. Ra's tends to get sanded down to "insane, cruel, and needlessly violent", but the whole point of the league is preserving the environment and endangered species. Talia agrees with his goal, but not his methods and this conflict is what allows Bruce to come between them.

For a lot of her history her main conflict is between the man she loves and the man who raised her, which changes in Damian's ORIGINAL origin, Son of the Demon. Bruce enthusiastically consents and is excited to have a baby with Talia, but Talia realizes that Bruce will never give up Batman and that whether she raises the child herself or gives him to Bruce he'll never get to have a normal life. So she tells Bruce she lost the baby and gives up Damian for adoption in secret.

The next big change in her character happens in JLA: Tower of Babel, explicitly said to be the FIRST time she's ever helped her father with one of his big schemes and she hates it. This marks her breaking point as she ditches Ra's entirely. This leads into President Luthor Secret Files where she takes over Lex Corp and GUTS it. Naturally Clark is suspicious of her, but she continues to help Bruce.

Then, Death and The Maidens happens. Talia is tortured and brainwashed. Batman, supposedly the world's greatest detective, explicitly said to LOVE Talia, sees this extreme shift in loyalties and behaviour, and leaves. Either not noticing or not caring. There is no resolution to this plotline.

Damian's nonconsensual origin follows this up on the basis that Talia's character after she's been brainwashed is just, who she is and who she's always been. Unfortunately it became her most popular story, and even though it's no longer canon it's done UNTOLD damage to her character.

Talia is so deeply compassionate and she cares so much for everyone and everything. She's endearing and she's insanely competent and her moments with Bruce are some of the most genuinely heart wrenching I've ever read. Batman Chronicles #8 continues to be one of my favorite comics EVER. I highly recommend you read her 70's-90's comics.

[kitterkat100]

My thoughts on Dragon Age: The Veilguard

So, I finished datv yesterday and now have time to sit and think about it. Now, obviously this is just my subjective opinion, so take it with a grain of salt. I am going to start with the good and go into the bad and then finish with more good (that teacher training coming in). Also, I learned how to do a read more for this.

I am going to start with the combat. I have made another post about this, but that was like 3 hours into my first playthrough. Veilguard has the best combat in the series. Usually Dragon Age games have combat that is a slog to get through, so much so that many people in the fandom say they don't play the games for combat but for the story. I have never been a fan of the real-time with tactical pause, I find it a little boring. I am not a big fan of turn-based, to begin with ( that is one of the reasons I still have not finished Baulder's Gate). In the past, if I wanted to play a good story game with fun combat, I would play Mass Effect. But I have fun just fighting enemies, if DAI's combat was this fun I would replay it more often.

Next the art direction. Now, I am no artist and I know next to nothing about anything. But I really like the art. I think the environments are beautiful. I like the character models. I know people were complaining about the models having small heads in the lead-up to the release, but I think it was because the game doesn't use heroic proportions. And you don't notice in-game at all, at least I didn't. Also the brought back some reused assets from the Inquisition, and some of the paintings that have been around since Origins.

Okay the companions. I might write a longer post for each companion later on. I am going in alphabetical order.

Bellara: I romanced her, and I love her so much. She has some strong Tali vibes with a strong dose of ADHD. I am a little sad that we did not even kiss until after the final battle, but I just read that as her being ace or demi (like me!).

Davrin: He is such a bro. I love him and Assan so much. His banter with Emmrich is so funny. The ending to his story line is a little weak, but I will talk about that in his own post.

Emmrich: I think Emmrich is one of the best companions in the whole series, flat out. I love this man, he going to be my next romance (Female Qunari Grey Warden).

Harding: Harding is great. I really liked all of the Titan stuff in her storyline. I did get her killed, so I am not sure what her ending is like. I did think her romance with Taash was cute.

Lucanis: I'm going to say it. I think Lucanis is the weakest of the companions, I don't dislike him. I don't if I missed a lot of content because I saved Minrathous instead of Treviso or if it was because his writer got canned during development. And what he did have felt bare bones. I thought we would be dealing with Spite a lot more. I will say his recruitment mission is a blast.

Neve: I played a Shadow Dragon so my character had a lot of in common with Neve. I like her, but I don't have any strong feelings towards her one or another. Her romance with Lucanis is a thing that happens. I might change my mind when I get around to romancing her.

Taash: I am cis, so take this with a grain of salt. But I think their storyline about being non-binary was oddly paced. I did like everything past that, I think it was much better paced. I do like them a lot. Also, they are really cute with Harding. I do wish there was more of a reaction to me getting Harding killed on Tearstone Island, but that is a writing complaint.

Speaking of the writing. It is really a mixed bag. Some of it is great and then some of it was giving slop comics from the mid-00s. The first several hours are story slog, some of that is because of all the lore dumps, and some of it is because it is oddly paced. The writing gets progressively better throughout the game. From the point of no return to the credits it is the strongest writing, maybe not in the whole series but definitely since the last third of DAI. That after-credit scene was a choice. I will probably talk about that more after I figure out how I feel about it. I think Elgar'nan and Ghilan'nan are the strongest villains since Loghain, it really helps that they are present throughout the game. There are definitely moments where you feel that Rook is HR, but not a lot, but enough that I understand why that made it into some reviews. I don't think it is any more quippy or Marvel-like than any other Dragon Age game, "Swooping is bad" comes to mind.

Finally, some random thoughts. I think this game really nailed the horror of the Blight, I can't get the image of Bellara wrapped in Blight tentacles during the final section out of my head.

I played a non-mage elf shadow dragon, and there was a lot of reactivity for the shadow dragon part, less the elf part. I know I missed a conversation with Tarquin about it, but still. It's like no one even noticed the pointy ears.

That's it for now. I might add more as think about it.

8/10, I had a blast.

[aamy2100982]

Something I don't like so much about the latest Venom comics is the sudden victimization of the symbiote regarding their decisions in life.

This thing about Symby never wanting to do anything bad and almost putting all the blame on Eddie for the events in which they were Spiderman's villains

This whole "If we didn't do it, Eddie was going to die, It was my responsibility" thing. When we know that in the early comics the symbiote didn't give a shit about Eddie.

I believe you that at first Symby didn't necessarily want to kill Peter. But after that, any chance Spider-Man gave the symbiote to come back to him, Symby was willing to abandon Eddie in the middle of the street, naked and likely to die or try to kill himself again.

Until, of course, they realized that Spiderman didn't give a shit about them and decided that they wouldn't fall for his traps anymore and would stay with Eddie "permanently".

We understand it now, and we think it's beautiful that the symbiote felt a responsibility to help Eddie. But that's the current writers changing the story to make the symbiote look like a white dove and not what it is. An effectively bad and toxic person.

That many times is willing to kill and/or manipulate others in order to obtain a perfect symbiosis. Like when they manipulated Eddie into believing that he had cancer or when they tried to kill the priest of that church because he told Eddie that no one can force you to do things you don't want to do.

And this is not just an attitude they had with Spiderman. But also with Eddie himself.

I understand the whole point of the symbiote's redemption. Realizing that they past actions are wrong and wanting to do better in the future. My problem is how the writers are handling it.

It's not like Eddie's redemption, where he realizes that he as a person is wrong for everything he did. It's more taken from the perspective where Symby almost blames Eddie for his destructive attitudes against Spiderman. When it's evident that the symbiote tends to seriously hurt those who don't follow things the way they wants them to go.

I feel like the way things are put is right... but wrong. I read it and feel like something is off, like it doesn't feel the way it should feel.

Because we get a “I never really wanted to do any of this,” and then we get a “I don’t like fighting Eddie... am I?” Which tells me that the symbiote isn’t really giving up on itself, because it’s doing the same thing it always does. Trying to kill a host and then attaching to it when it gets the chance to come back. What changed then?

What was the point of this whole emo phase where the symbiote sought to end its own life? Did something change, or is Symby just wallowing in self-pity like Eddie did when he was Anti Venom and Venom and any other phase of his life xd

Maybe they are made for each other. I love Symby, but they've been trying to excuse it's past actions for a while now, and I can only watch the symbiote lying in the dirt while waiting for others to tell them "it's not true, you're not bad, you can still change."

And the symbiote pretends to believe it as it goes and repeats its past actions to the letter.

[randomgamefan]

HELLO everyone I have fallen down a fandom again and fell in love with @pixlokita 's into the ballpit AU and I'm going to make it everyone's problem.

I really love the portrayal of everyone in this comic but especially Micheal, he's very great and trying his best, and deserves so much support.

Soooo I drew him! It was supposed to be some quick doodles but then I fully finished them oops...

Without further rambling please check out the comic it's so good I can't recommend it enough!

Here's for anyone who's not yet tired of me rambling somehow qjskssh

I know the band-aid is on the wrong side but I realized too late 😔

ALSO the forgot hair care was something I thought would be funny!! Imagine being a robot and then suddenly having a lot of hair to take care of again, I'd imagine it would be a weird transition lmao.

His tank top was really hard to draw, hopefully I will get better with practice because I really wanna draw him again >:3

Ahhh but yeah back into my hiding hole now until I post more doodles I suppose heh!

[poorly-drawn-mdzs]

hope you feel better soon!

I am riddled with ailments, but I stay silly!

[necrotic-nephilim]

@profandomhopper i was going to reblog the original post this comment was left on but i felt it divorced itself from the original topic so much, you get your own post for giving me delightful permission to ramble about this. buckle in people this is long.

so, DC is a big fandom that expanses a lot of different types of content, and like anything, is subject to crossovers. the obvious ones like Marvel are for the reason of being a similar and equally popular superhero world, so it's easy to transpose the worlds onto each other and overlap the characters. both of these worlds deal with multiverses and endless, endless heroes. it makes sense and there's no real stretch to think Batman and Spider-Man could co-exist. i mean, there have been canon crossover comics. and even some more random crossovers like White Collar have pretty easy to trace origins, being an actor in WC was a popular Dick fancast back in the day so there was some bleeding over that led to a well-loved niche crossover space.

but Danny Phantom and Miraculous Ladybug are where it gets interesting. because at a surface, MLB sort of makes sense. it's a superhero world, you're following a teen girl superhero and sure the mechanics are pretty contained, but the crossover should make sense. but when you compare it to the crossover numbers of other superhero media like say My Hero Academia, Ladybug takes the *crown* with such a bizarre popularity. and of course, DP feels like it makes even less sense. sure, you *could* lump it into at the very least, superhero-adjacent media, but it's not a true hero world like MLB or DC is.

but, the thing to always understand about DC, *especially* the Batfamily (which is where the crossover content propagates the most) is this: a *very* good chunk of fans don't interact with the comics. i would venture to say even most Batfamily fans don't read the comics and actively talk about it. we've all read a very fandom big Batfam fanfic where the author's note mentions the writer has never touched a comic in their life. typically, these fans are either cobbling together their understanding from fandom content, or by frankensteining unrelated DC adaptations to understand each character. you take Bruce from Batman: TAS, you take Dick from the animated Young Justice, you take Jason from Batman: Under The Red Hood animated movie, you take Damian from the DCAMU Batman vs Robin, and you read some fandom metas to fill in the rest and well, you've got some sort of an understanding of these characters. read enough incorrect quotes, some genfic, a couple of character metas, and boom, you understand the Batfamily fandom enough to start creating your own content. and of course now. now you have Wayne Family Adventures so it's even *easier*. a pretty easy to pick up webtoon that's filling in all the gaps for you. but i've been in this fandom long enough to remember before we had WFA and even then, this was still a common, if not the most popular way, to ween yourself into the DC fandom space. you cherry-picked the canon you liked and then plunged into the depths of fanon.

i'm not here to make in depth commentary on if i think this is a good or bad thing. trust me i have that commentary in my head, but that would need it's own post. i'm very split on it and my feelings are complicated. my feelings on WFA are even *more* complicated. because oftentimes, the attitude expressed by these fans who are frankensteining this version of the Batfamily/DC world they have in their head is they don't *want* to read the comics. the comics don't contain the content they're after. and to an extent, i understand that. if you're looking for light-hearted vibes of the Batfamily all getting along and having the occasional hurt/comfort moments but in the end, they hug and make up, you're right. largely, you won't find that in canon. of course there are so many comics to recommend for Batfamily interactions, but you have to get specific. you'll find them interacting in small groups, Tim and Dick bonding here, Duke and Cass bonding there, but largely, the comics don't care to balance the ridiculously large cast they've given themselves. but fandom does. it's easy to toss them all in a blender and ignore the parts you don't like. the default argument to ignoring the comics or writing something OOC is always "well the comics are OOC and inconsistent too" which, while a flawed argument that massively misunderstand how comics work as a medium, isn't an entirely incorrect one. you could serve on a silver platter to these fans, an easy and accessible way to get into comics and they wouldn't be interested. it's not what they're here for. fandom is always character-driven above all else. it's driven by character relationships and dynamics. if someone wants to consume content where Tim idolized and stalked Jason as 'his Robin' and now is trying to help him rehabilitate and they're super complicated but have this long epic forgiveness arc, why *would* they read the comics? because they're sure as shit not going to find that dynamic in the comics. it's laughably OOC and not canon at all, but that doesn't matter. what matters is the sandbox. most Batfamily fans care *far* more about the sandbox canon gives them than the actual canon itself. feel how you feel about that, this really isn't being negative toward that attitude, but it is a common attitude.

so, you have Batfamily fans playing in the sandbox and building their own narrative. common fandom headcanons are so common, you could practically write a guide on how the fanon Batfamily works with how consistent people are about it. or you could just read WFA, which is practically the new manifesto of it. even now, with this sudden spike in people talking about canon accuracy and "actually this happening in the comics", they don't actually care about the comics, just what they can cherry-pick for fodder. (even if they rob it of so much context they're just as OOC as they were before. see specifically: the recent phenomena with Tim Drake going from the woobified weakest member of the Batfam who everyone needs to save constantly and he's the smart boy but he's also the one with a sad tragic neglectful past who gets overlooked being the way Batfamily fandom played with Tim for years. but recently, people seem to be pushing this idea of a ridiculously badass Tim, Tim who *totally* has a kill count because of his actions in RR (2009) if you take them completely out of context, Tim who bested Ra's and is even more badass than Jason and he's the 17 yr old CEO of Wayne Industries being cool and flawless it becoming the new fandom zeitgeist. neither of these versions of Tim are canon, and the second fundamentally misunderstands his arc in RR (2009) but the shift has undeniably happened and it's been fascinating to watch. the same thing happened with people suddenly deciding Jason isn't the "angry violent Robin", he was a sunshine sweet boy who was perfect as Robin. neither of these are true, but the second feels more transgressive and new to fandom from cherry-picked panels.) the point is largely, Batfamily fans would rather build their own canon than play with the actual canon.

and then, you have Danny Phantom. i'm not into DP and have no interest to get into it, but what i know about it via fandom osmosis is this: DP fans sort of also don't give a fuck about canon. once again, the canon of DP is a sandbox, not a rulebook. the concepts and the characters are the draw, not the plot itself. i've seen DP posts explaining characters who are essentially OCs, but have become so dominant in the fandom via fandom osmosis. there are concepts and ideas about how Danny's powers work and potential concepts with his ghost nature that either aren't in canon or only happened once in canon and fans decided to expand on that and doesn't care about it's own in-universe logic. i've seen a lot of DP fans also express they haven't seen the show and they don't have plans to see the show. because the show is just some children's cartoon with some inconsistencies and a simple plot, as you'd expect from CN. the show isn't the point. no one cares about it's plot, they care about it's characters. they care about pushing the concept of half ghost boy to a logical extreme and seeing what you can get out of that. can you make it weird and fucked up. how much can you highlight on his trauma and body horror. what identity crisis can you give him and how can you build his interactions with other characters in his world around that and also make those characters fun and unique on their own. sure, the skeleton of canon is there, but the meat lies all in the fanon.

Miraculous Ladybug also exists in this similar vein. the characters, the concepts, those hold intrigue. and not even mentioning the fact the original concept for this show was supposed to be aimed to an older audience, so you can see the bones of something a bit more mature and nuanced under this typical, villain of the week magical girl transformation show. the show itself is a bit shallow and that's not a *bad* thing, it's just the medium it exists within being aimed towards children. but the concepts of a teen girl who's basically a sort of chosen one, a boy who doesn't know his father is the big bad of the show, and their weird identity porn love... square thing. those dynamics are *so* complicated and such a fun sandbox to play in with character-driven fandom.

so, at the core, you have three fandoms that care more about the culturally accepted fanon than the canon, with a good chunk of people often not even consuming the original canon content. and well, DC is an *easy* world to transpose just about anything onto. a boy who's half ghost and fighting supernatural threats? that makes sense, DC has ghost heroes like Deadman already. a girl who has this magical item that gives her animal themed superpowers? i mean that's practically the same thing as Vixen's Totem so that one makes sense too. they fit in pretty easy, no needing to change the world to accommodate them. and of course, if you're a fan of *one* fandom where you don't care for the canon content and only like the fandom sandbox, chances are, you'll get drawn in pretty easily to another fandom with similar mechanics. if you can teach yourself the DP fandom rules/concepts, you can teach yourself the Batfamily fandom rules/concepts. and well, since there's so much crossover in fandom members, why not write the fanfiction? crossover fics will always exist, but with such a shared member base, you have a really big boom.

it's why the characters you see DP interact with in DC are *always* characters who are far more driven by fanon than canon. Danny and John Constantine is a *massive* concept. for people who don't read Hellblazer comics. my poor partner, @divine-dominion has lamented to me pretty often about finding DP content in the Hellblazer tag that is essentially turning Constantine into an OC. because whatever version of Constantine is being written about isn't one bit comics accurate, and really, isn't trying to be. and the same thing happens with Shazam. you watch Young Justice and understand him well enough, you get drawn in by the character concept that you just run with it. people put their favorite blorbos in the same place because hey, wouldn't ghost boy be pretty cool in a city like *Gotham*. how would Batman even react to him. and then, the shipping. because ages for the Batfamily can be easily hand-waved and moved around based on where you plop Danny into the timeline, you have your pick of the litter with him, and same with Ladybug. of course there are the most popular ships but largely, the world is your oyster.

i don't think this is the worst thing in the world for either fandom. it's not hard to filter out the crossover tags and scroll past content i don't like. and sure, i see the appeal of making your blorbos from two different places meet. i've got my drafts *full* of DC/MHA crossover ideas because well, i like them both and think that would be cool. i think my only gripe with it is when DP or MLB crossover content seeps it's way into the wrong tags. using the above example, if you're writing about Danny and Constantine but there's zero content of the actual Hellblazer comics, i don't think you need the Hellblazer tag, just the Constantine character tag. tbh i wish this extended onto Ao3 and people utilized fandom tags better. if you're writing Batfamily fanfiction that is very clearly and obviously WFA driven in characterization and concepts, i would far prefer those fics be tagged with the WFA fandom tag rather than the Batman (comics) fandom tag. because well, you're not writing about the Batman comics. and there's nothing wrong with that, but it helps if you don't confuse yourself for content striving to interact with canon more. (this especially extends to Young Justice, by the way. if you're writing for the Young Justice tv show please, please stop using the Young Justice (comics) fandom tag. i'm at my wit's end- /lh)

the whole thing is fascinating. i've got zero interest in entering DP or MLB as fandoms because that's not my speed, but witnessing it as an outsider is my favorite pastime. i see a *lot* of posts going around the DC x DP space that are helping explain to people who's who, what's what, and understanding the canon/fanon of both of these properties so others can better enter the space. which is not something you'd need in a fandom driven only by it's canon content, but it is sweet watching others try to help newbies enter the space. it's a very inviting fandom space, i think, whether you lament it's existence or not. they're just sitting in their corner with their blorbos, and i gotta respect that. the posts explaining the Batfamily to DP fans are always fun for me to read, even if i disagree with some of the characterizations in them because it helps shine a light on what the fans of this crossover regard as "important" enough about each fandom to be worth including those sorts of primers. very fascinating stuff.

[winteriron-trash]

rdj the (whitewashed) electric boogaloo

This is a reminder to everyone who's excited about RDJ's casting as Doctor Doom that this casting is whitewashing. Victor Von Doom is a Romani character and has been a Romani character since his introduction in the 1960s. (Fantastic Four Annual #2 [1964]) Not only that, but his Roma identity and the persecution he and his family faced due to it is integral to his character, it is what forms his identity. (Books of Doom by Ed Brubaker) Even if on the off chance this casting is meant to not be Victor but instead be some variant of Tony or whomever else becoming Doctor Doom, it is damaging to the character to rob him of that important cultural background. Doctor Doom does not exist without that history. Fans have been pushing hard to cast Doom as a Romani actor for years, especially since the MCU has whitewashed other Romani characters. (Wanda, Pietro, etc) This casting is not a celebration moment, it's fucking heartbreaking that the MCU repeatedly ignores the important and nuanced cultural backstories of characters.

I know I can't change anybody's mind on whether or not you want to be excited about RDJ's return to the MCU. But I do think at the very least you should be mad that the MCU is baiting us all and destroying nuanced and interesting characters for the sake of self-referential easter eggs and nostalgia bait. Because that's what it is. Feel how you'd like to feel about RDJ's return, but personally, this is soul-sucking. I had such a deep love for the MCU as a teenager, it was obviously something incredibly formative to me, especially Tony Stark. This isn't recreating what I fell in love with the MCU for. This is turning a well-planned and artistic storyline of adaptations into cheap cash grabs and fan service. Because, I think we're past the point of being able to call the MCU an adaptation of anything. They can use existing characters' names and powers, but to say they're being properly adapted is laughable.

This is not an adaptation of Doctor Doom. This is RDJ the Electric Boogaloo because Marvel's fear of losing the interest of dedicated MCU fans overrides their willingness to tell stories that are genuine to the characters. I don't know what there is to be excited about that. The MCU has lost its authenticity and aside from a few projects, feels heartless. Every movie is a copy of a copy. This announcement isn't something celebratory, it feels like a death knell of a cinematic universe that's so desperate to cling to relevancy it's resorting to nostalgia for a character/actor who hasn't even been dead for a decade. We're not getting anything new, we're just rinsing and repeating the same song and dance.

I get it. I love Tony Stark, his death destroyed me and I to this day, rue the ending he got in Endgame. It misunderstood his arc and it robbed him of a satisfying conclusion. But the solution to that isn't dragging the corpse out of the grave five years later to whitewash an existing character with rich and interesting nuance, just to forcibly tie his existence in the MCU to Tony. Whether he is a variant or not. Why would you want someone else's fave's legacy to be destroyed simply so your fave's legacy can go on? Hell, if we were really all so hellbent on the return of RDJ and/or Tony to the MCU, we have the multiverse for a reason. There were other ways to do it that didn't whitewash and ruin someone else. This just. Isn't something to be happy about.

[xxplastic-cubexx]

what is your favorite thing about charles and your favorite thing about erik? separately, as in what you like most about their characters :]

a devious question this one is, my friend!!! it's hard enough for me to explain my thoughts cohesively, but having to pick ONE thing i particularly love is difficult. with characters like charles and erik, theres been so much done with their characters over the decades and so they have so many components to them that make them so interesting and fun to observe. BUT I TRY FOR YOU TODAY. under the cut i kinda ramble and the size of this text box makin me anxious

i think if i were to be simple and broad, what i enjoy most about charles is his determination to help others, even if he isn't really thanked and/or if people don't even like him. ofc, this isn't to say he hasn't done wrong- to be honest, the fact he does wrong/questionable things at times is another aspect of him i really enjoy, maybe because- broadly speaking- he's meant to be altruistic (intent vs outcome and all that). i don't know if that's super exciting to most people, but it is for me

as for erik, my reason for liking him is easier to explain tbh. To Be Simple And Broad, his progression from villain to antihero over the decades has been fun to observe (as much as i have so far anyhow) and analyze. i think to be a bit more specific, him using his rage and pain as justifications for his villainous actions is definitely what compels me the most: hurt people hurt and the sort, an idea i've always found interesting (something something vicious cycles and the like). yet now, he recognizes this wasn't really. A Just Thing To Do and is beginning to change that, which i enjoy

[sysig]

Handplates and haircut and more Handplates after that (Patreon)

[alchemiclee]

I hope someone writes a good fic about the high cloud quintet with all the messy pieces of lore we have because i'm very unsatisfied with what we got and I want MORE OF THEM. don't know why i'm so obsessed with this tragic group of friends but 😭 IM SO FEELINGS ABOUT THEM but also empty because they didn't satisfy me with what they gave us lmao I require more. but that was the end and i'll never get more....unless someone writes a great fic about them.....!

[themyscirah]

OMG sorry i fell asleep last night so i didnt see ur top 5 ask.

BUT! top five NON-lantern dc characters!

No dw I literally rbed it like 2hrs ago you're good

This one was actually really hard for me. I didn't realize how many characters I love would technically be counted under "Lanterns" haha

1. Amanda Waller

2. Cass Cain

3. Ben Turner

4. Sandra Wu-san

5. Kenan Kong

I generally bounce around the DCU looking for acclaimed books more than I do following specific characters but these are some of my faves that I love to think about and that keep popping up in my mind. And Kenan. : )

[softgrungeprophet]

johnny storm should be a twink and i will die on that hill

[votaeto]

I needed to read the whole thing again to have a good cry

Sorry in advance

Tw: abstract gore, hallucinations

Blah blah blah something about moving forwards but not forgetting what they mean to you blah blah something something about being haunted for your past but the ghost isnt mad at you blah blah blah

I drew the majority of this at 2 am, that’s my excuse.

Part 2

[prisonhannibal]

Do you remember what you were doing when you were fifteen? I remember. When I was fifteen I used to love comic books and drawing and spent a lot of time wondering about what I wanted to be when I grew up and what school to go to. I loved spending time with my friends and going to the library. The genocide has taken all of that from the children of gaza. One day you’re hanging out with friends and doing homework and studying for your future, and the next day all of your books are buried under the remains of your house, your school, your home.

Ibrahim (@ibrahim-family) is only fifteen years old. He has lost access to education, his home, and his safety, and now he has to spend his time trying to fundraise for his family’s safety.

€4,840 out of €10,000 goal

He lives in Gaza with his family, and only a few days ago a bomb near him injured one of his relatives and martyred two others. Every day in Gaza is dangerous, every hour could be the last. No child should have to go through this. Children should be safe enough to worry about exams, not whether or not they’ll wake up to news of more loss. Think of yourself at fifteen, now think of everything you’ve experienced and done since then. Every achievement, every class, the birth of younger cousins, birthdays, weddings. even the small things, like a good meal you’ve had or a movie you watched. that’s what’s being taken from every child martyred in gaza. their whole future, everything they should get the chance to experience and do.

When I asked Ibrahim if there’s anything he wants me to tell everyone in this post, he said that he is very very sad and scared and that he has just lost relatives. Ibrahim has expressed to me more than once that when he goes to bed he’s afraid he won’t wake up in the morning. Even after losing his relatives, he doesn’t have time to grieve in peace, because he’s always in danger himself. It’s not safe for him or his family in Gaza.

Please help Ibrahim and his family be safe. I’m very worried about Ibrahim, because donations have been slow. My heart breaks for him every time he tells me he’s scared. He is so young and has so much life in front of him, he deserves safety. I ask you if you have anything to give, please help bring Ibrahim and his family to safety so that he can rest and recover and go back to school to follow his dreams.

thank you for reading, if you can’t donate please share this post so it may reach people who can ❤️

this fundraiser is vetted by @gazavetters, number 25 on the spreadsheet

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[mollyrealized]

How Michael Met Neil

original direct link [MP3]

(Neil, if you see this, please feel free to grab the transcript and store on your site; I had no easy way of contacting you.)

DAVID TENNANT: Tell me about @neil-gaiman then, because he's in that category [previously: “such a profound effect on my life”] as well.

MICHAEL SHEEN: So this is what has brought us together.

DAVID: Yes.

MICHAEL: To the new love story for the 21st century.

DAVID: Exactly.

MICHAEL: So when I went to drama school, there was a guy called Gary Turner in my year. And within the first few weeks, we were doing something, having a drink or whatever. And he said to me, “Do you read comic books?”

And I said, “No.”  I mean, this is … what … '88?  '88, '89.  So it was … now I know that it was a period of time that was a big change, transformation going through comic books.  Rather than it being thought of as just superheroes and Batman and Superman, there was this whole new era of a generation of writers like Grant Morrison.

DAVID: The kids who'd grown up reading comic books were now making comic books

MICHAEL: Yeah, yeah, and starting to address different kinds of subjects through the comic book medium. So it wasn't about just superheroes, it was all kinds of stuff going on – really fascinating stuff. And I was totally unaware of this.

And so this guy Gary said to me, "Do you read them?" And I said, "No."  And he went, "Right, okay, here's The Watchman [sic] by Alan Moore. Here's Swamp Thing. Here's Hellblazer. And here's Sandman.”

And Sandman was Neil Gaiman's big series that put his name on the map. And I read all those, and, just – I was blown away by all of them, but particularly the Sandman stories, because he was drawing on mythology, which was something I was really interested in, and fairy tales, folklore, and philosophy, and Shakespeare, and all kinds of stuff were being mixed up in this story.  And I absolutely loved it.

So I became a big fan of Neil's, and started reading everything by him. And then fairly shortly after that, within six months to a year, Good Omens the book came out, which Neil wrote with Terry Pratchett. And so I got the book – because I was obviously a big fan of Neil's by this point – read it, loved it, then started reading Terry Pratchett’s stuff as well, because I didn't know his stuff before then – and then spent years and years and years just being a huge fan of both of them.

And then eventually when – I'd done films like the Underworld films and doing Twilight films. And I think it was one of the Twilight films, there was a lot of very snooty interviews that happened where people who considered themselves well above talking about things like Twilight were having to interview me … and, weirdly, coming at it from the attitude of 'clearly this is below you as well' … weirdly thinking I'm gonna go, 'Yeah, fucking Twilight.”

And I just used to go, "You know what? Some of the greatest writing of the last 50-100 years has happened in science fiction or fantasy."  Philip K Dick is one of my favorite writers of all time. In fact, the production of Hamlet I did was mainly influenced by Philip K Dick.  Ursula K. Le Guin and Asimov, and all these amazing people. And I talked about Neil as well. And so I went off on a bit of a rant in this interview.

Anyway, the interview came out about six months later, maybe.  Knock on the door, open the door, delivery of a big box. That’s interesting. Open the box, there's a card at the top of the box. I open the card.

It says, From one fan to another, Neil Gaiman.  And inside the box are first editions of Neil's stuff, and all kinds of interesting things by Neil. And he just sent this stuff.

DAVID: You'd never met him?

MICHAEL: Never met him. He'd read the interview, or someone had let him know about this interview where I'd sung his praises and stood up for him and the people who work within that sort of genre as being like …

And he just got in touch. We met up for the first time when he came to – I was in Los Angeles at the time, and he came to LA.  And he said, "I'll take you for a meal."

I said, “All right.”

He said, "Do you want to go somewhere posh, or somewhere interesting?”

I said, "Let's go somewhere interesting."

He said, "Right, I'm going to take you to this restaurant called The Hump." And it's at Santa Monica Airport. And it's a sushi restaurant.

I was like, “Right, okay.” So I had a Mini at the time. And we get in my Mini and we drive off to Santa Monica Airport. And this restaurant was right on the tarmac, like, you could sit in the restaurant (there's nobody else there when we got there, we got there quite early) and you're watching the planes landing on Santa Monica Airport. It's extraordinary. 

And the chef comes out and Neil says, "Just bring us whatever you want. Chef's choice."

So, I'd never really eaten sushi before. So we sit there; we had this incredible meal where they keep bringing these dishes out and they say, “This is [blah, blah, blah]. Just use a little bit of soy sauce or whatever.”  You know, “This is eel.  This is [blah].”

And then there was this one dish where they brought out and they didn't say what it was. It was like “mystery dish”, we had it ... delicious. Anyway, a few more people started coming into the restaurant as time went on.

And we're sort of getting near the end, and I said, "Neil, I can't eat anymore. I'm gonna have to stop now. This is great, but I can't eat–"

"Right, okay. We'll ask for the bill in a minute."

And then the door opens and some very official people come in. And it was the Feds. And the Feds came in, and we knew they were because they had jackets on that said they were part of the Federal Bureau of Whatever. And about six of them come in. Two of them go … one goes behind the counter, two go into the kitchen, one goes to the back. They've all got like guns on and stuff.

And me and Neil are like, "What on Earth is going on?"

And then eventually one guy goes, "Ladies and gentlemen, if you haven't ordered already, please leave. If you're still eating your meal, please finish up, pay your bill, leave."*

[* - delivered in a perfect American ‘serious law agent’ accent/impression]

And we were like, "Oh my God, are we poisoned? Is there some terrible thing that's happened?"  

We'd finished, so we pay our bill.  And then all the kitchen staff are brought out. And the head chef is there. The guy who's been bringing us this food. And he's in tears. And he says to Neil, "I'm so sorry." He apologizes to Neil.  And we leave. We have no idea what happened.

DAVID: But you're assuming it's the mystery dish.

MICHAEL: Well, we're assuming that we can't be going to – we can't be –  it can't be poisonous. You know what I mean? It can't be that there's terrible, terrible things.

So the next day was the Oscars, which is why Neil was in town. Because Coraline had been nominated for an Oscar. Best documentary that year was won by The Cove, which was by a team of people who had come across dolphins being killed, I think.

Turns out, what was happening at this restaurant was that they were having illegal endangered species flown in to the airport, and then being brought around the back of the restaurant into the kitchen.

We had eaten whale – endangered species whale. That was the mystery dish that they didn't say what it was.

And the team behind The Cove were behind this sting, and they took them down that night whilst we were there.

DAVID: That’s extraordinary.

MICHAEL: And we didn't find this out for months.  So for months, me and Neil were like, "Have you worked anything out yet? Have you heard anything?"

"No, I haven't heard anything."

And then we heard that it was something to do with The Cove, and then we eventually found out that that restaurant, they were all arrested. The restaurant was shut down. And it was because of that. And we'd eaten whale that night.

DAVID: And that was your first meeting with Neil Gaiman.

MICHAEL: That was my first meeting. And also in the drive home that night from that restaurant, he said, and we were in my Mini, he said, "Have you found the secret compartment?"

I said, "What are you talking about?" It's such a Neil Gaiman thing to say.

DAVID: Isn't it?

MICHAEL: The secret compartment? Yeah. Each Mini has got a secret compartment. I said, "I had no idea." It's secret. And he pressed a little button and a thing opened up. And it was a secret compartment in my own car that Neil Gaiman showed me.

DAVID: Was there anything inside it?

MICHAEL: Yeah, there was a little man. And he jumped out and went, "Hello!" No, there was nothing in there. There was afterwards because I started putting...

DAVID: Sure. That's a very Neil Gaiman story. All of that is such a Neil Gaiman story.

MICHAEL: That's how it began. Yeah.

DAVID: And then he came to offer you the part in Good Omens.

MICHAEL: Yeah. Well, we became friends and we would whenever he was in town, we would meet up and yeah, and then eventually he started, he said, "You know, I'm working on an adaptation of Good Omens." And I can remember at one point Terry Gilliam was going to maybe make a film of it. And I remember being there with Neil and Terry when they were talking about it. And...

DAVID: Were you involved at that point?

MICHAEL: No, no, I wasn't involved. I just happened to have met up with Neil that day.

DAVID: Right.

MICHAEL: And then Terry Gilliam came along and they were chatting, that was the day they were talking about that or whatever.

And then eventually he sent me one of the scripts for an early draft of like the first episode of Good Omens. And he said – and we started talking about me being involved in it, doing it – he said, “Would you be interested?” I was like, "Yeah, of course."  I went, "Oh my God." And he said, "Well, I'll send you the scripts when they come," and I would read them, and we'd talk about them a little bit. And so I was involved.

But it was always at that point with the idea, because he'd always said about playing Crowley in it. And so, as time went on, as I was reading the scripts, I was thinking, "I don't think I can play Crowley. I don't think I'm going to be able to do it." And I started to get a bit nervous because I thought, “I don't want to tell Neil that I don't think I can do this.”  But I just felt like I don't think I can play Crowley.

DAVID: Of course you can [play Crowley?].

MICHAEL: Well, I just on a sort of, on a gut level, sometimes you have it on a gut level.

DAVID: Sure, sure.

MICHAEL: I can do this.

DAVID: Yeah.

MICHAEL: Or I can't do this. And I just thought, “You know what, this is not the part for me. The other part is better for me, I think. I think I can do that, I don't think I could do that.”

But I was scared to tell Neil because I thought, "Well, he wants me to play Crowley" – and then it turned out he had been feeling the same way as well.  And he hadn't wanted to mention it to me, but he was like, "I think Michael should really play Aziraphale."

And neither of us would bring it up.  And then eventually we did. And it was one of those things where you go, "Oh, thank God you said that. I feel exactly the same way." And then I think within a fairly short space of time, he said, “I think we've got … David Tennant … for Crowley.” And we both got very excited about that.

And then all these extraordinary people started to join in. And then, and then off we went.

DAVID: That's the other thing about Neil, he collects people, doesn't he? So he'll just go, “Oh, yeah, I've phoned up Frances McDormand, she's up for it.” Yeah. You're, what?

MICHAEL: “I emailed Jon Hamm.”

DAVID: Yeah.

MICHAEL: And yeah, and you realize how beloved he is and how beloved his work is. And I think we would both recognise that Good Omens is one of the most beloved of all of Neil's stuff.

DAVID: Yes.

MICHAEL: And had never been turned into anything.

DAVID: Yeah.

MICHAEL: And so the kind of responsibility of that, I mean, for me, for someone who has been a fan of him and a fan of the book for so long, I can empathize with all the fans out there who are like, “Oh, they better not fuck this up.”

DAVID: Yes.

MICHAEL: “And this had better be good.” And I have that part of me. But then, of course, the other part of me is like, “But I'm the one who might be fucking it up.”

DAVID: Yeah.

MICHAEL: So I feel that responsibility as well.

DAVID: But we have Neil on site.

MICHAEL: Yes. Well, Neil being the showrunner …

DAVID: Yeah. I think it takes the curse off.

MICHAEL: … I think it made a massive difference, didn't it? Yeah. You feel like you're in safe hands.

DAVID: Well, we think. Not that the world has seen it yet.

MICHAEL (grimly): No, I know.

DAVID: But it was a -- it's been a -- it's been a joy to work with you on it. I can't wait for the world to see it.

MICHAEL: Oh my God.  Oh, well, I mean, it's the only, I've done a few things where there are two people, it's a bit of a double act, like Frost-Nixon and The Queen, I suppose, in some ways. But, and I've done it, Amadeus or whatever.

This is the only thing I've done where I really don't think of it as “my character” or “my performance as that character”.  I think of it totally as us.

DAVID: Yeah.

MICHAEL: The two of us.

DAVID: Yes.

MICHAEL: Like they, what I do is defined by what you do.

DAVID: Yeah.

MICHAEL: And that was such a joy to have that experience. And it made it so much easier in a way as well, I found, because you don't feel like you're on your own in it. Like it's totally us together doing this and the two characters totally complement each other. And the experience of doing it was just a real joy.

DAVID: Yeah.  Well, I hope the world is as excited to see it as we are to talk about it, frankly.

MICHAEL: You know, there's, having talked about T.S. Eliot earlier, there's another bit from The Wasteland where there's a line which goes, These fragments I have shored against my ruin.

And this is how I think about life now. There is so much in life, no matter what your circumstances, no matter what, where you've got, what you've done, how much money you got, all that. Life's hard.  I mean, you can, it can take you down at any point.

You have to find this stuff. You have to like find things that will, these fragments that you hold to yourself, they become like a liferaft, and especially as time goes on, I think, as I've got older, I've realized it is a thin line between surviving this life and going under.

And the things that keep you afloat are these fragments, these things that are meaningful to you and what's meaningful to you will be not-meaningful to someone else, you know. But whatever it is that matters to you, it doesn't matter what it was you were into when you were a teenager, a kid, it doesn't matter what it is. Go and find them, and find some way to hold them close to you. 

Make it, go and get it. Because those are the things that keep you afloat. They really are. Like doing that with him or whatever it is, these are the fragments that have shored against my ruin. Absolutely.

DAVID: That's lovely. Michael, thank you so much.

MICHAEL: Thank you.

DAVID: For talking today and for being here.

MICHAEL: Oh, it's a pleasure. Thank you.

[eclips-moon]

Cute things the Batboys do in a relationship:

Dick Grayson (Nightwing)

Morning Texts: This dude lives for sending those “Good morning, beautiful ” texts, usually with some goofy selfie where his hair’s a mess. He just wants to be the first thing you smile about.

Random Dance Breaks: If you’re in the kitchen or just standing around, Dick will 100% spin you around for a random dance. He’ll hum some random tune and make you laugh like it’s a movie moment.

Spontaneous Picnics: Out of nowhere, he’ll hit you with a “meet me at the park” text, and you show up to find he’s got a whole cute picnic setup. The dude’s got snacks, a blanket, and everything ready like a rom-com lead.

Cuddle Monster: Watching a movie? Cuddling. Sitting on the couch? Cuddling. He’s got an arm around you, pulling you into his chest every chance he gets. And don’t even get me started on bedtime—he’s glued to you.

Pet Names: You’re never just your name. It’s always “Sweetheart,” “Princess,” or something that’ll make you blush and roll your eyes. He loves seeing you react.

Jason Todd (Red Hood)

Cooking Shenanigans: He’s lowkey a beast in the kitchen, but acts like he needs your help. Next thing you know, you’re tossing flour at each other, making a mess, and laughing like idiots.

Protective as Hell: Jason’s that guy who’ll drape his jacket over you before you even realize you’re cold. If it’s raining, he’s got the umbrella over you—he doesn’t care if he gets soaked.

Books & Notes: He’ll leave books for you to read with little handwritten notes inside. Some are funny, some are deep, but he’s always thinking about you even when he’s not there.

Late Night Rides: He’s all about taking you on rides around the city late at night. It’s quiet, and the world feels like it’s just the two of you while the cool breeze whips by.

Forehead Kisses: Not super into PDA, but will definitely kiss your forehead when it’s just you two. It's his way of saying “I got you” without saying a word.

Tim Drake (Red Robin)

Study Dates: Tim’s ideal date is just chilling in a coffee shop, both of you working on stuff, but occasionally reaching over to hold hands or sneak in a quick kiss. He’s not the clingy type, but loves quiet closeness.

Geeky Gifts: He’s that guy who’ll surprise you with some gadget or comic you mentioned once. His memory for stuff you like is insane, and he’ll always find something that makes you smile.

Random Nerd Facts: You’ll be mid-conversation and he’ll just drop some random fact about the universe or tech that he knows will make you roll your eyes. He lives for those reactions.

Caring Vibes: Tim’s the type to bring you tea when you’re stressed or randomly tell you to take a break. And when you’re sad? He’ll pull you into his lap without saying anything—just wants to make sure you’re okay.

Subtle Compliments: He’s not super vocal, but you’ll catch him staring at you, and when you ask why, he’ll just casually be like, “You’re stunning,” with the softest smile. Smooth af.

Damian Wayne (Robin)

Low-Key Sweet: Damian won’t say it, but he shows love in little ways. Your favorite snack? He’ll just get it. Something broken? Fixed. His love language is basically “silent but effective.”

Learning Your Hobbies: Whatever you’re into, he’ll make it his mission to learn it. You mention an interest? Bet, he’s researching it like it’s a case for Batman. It’s his way of being involved without being obvious.

Animals Everywhere: He’s constantly bringing over animals, like “This cat needs to meet you.” If his pets like you, that’s basically a proposal in Damian-speak. And they always like you.

Art Hangouts: He loves painting, so sometimes he’ll invite you to join him, and it turns into a competition of who can make the dumbest art. Expect lots of teasing.

Acts of Service: He won’t say “I love you” all the time, but you’ll feel it in the way he does things for you—like carrying your stuff, fixing something, or just being there when you need him.