#but it's far more striking

[questionable-idea]

asymmetry is the goddess of aesthetics to me

[hanashiz]

Every Pirates' Dream

He's the man who stood up for the dream he once gave up

[viridian-house]

I want so desperately to finish this one, but life has other plans for me this month. I learned a ton while working on it, so fingers crossed I can pick the momentum back up in the future

sakura, from my fic series the slug & the stars

[toastytrusty]

thinking a lot tonight about my favorite hickey interpretation which is that he is essentially a failed religious fanatic. to Me it is so much more compelling if he genuinely reveres the tuunbaq. he doesn't want to dominate it, he wants to worship it, or exist alongside it. he is deep in delusion and truly believes he has a genuine connection to it. he thinks that if he sacrifices the remaining men he has under his control to it, the tuunbaq will accept him as a follower. he has always believed himself separate to britain and its empire, an exception to its corruption. he believes that using the imperialist system to get away from the imperialist nation he hates makes him different than those who use the imperialist system to carry out explicitly imperialist endeavors. he thinks his past actions are inconsequential, thinks his resentment exempts him, thinks denouncing britain and allowing the tuunbaq to kill his crew will win him the respect and acceptance of this godly creature. but it doesn't. he isn't different. the pain he has caused for his personal pursuits is just as damaging as pain caused for grander, imperial pursuits, and is in fact the same thing. he is just as much a force of destruction as anyone else, just as much a target of the tuunbaq's rath as anyone else. perhaps more than anyone else. he lived his life hating britain, yet he still exhausted his endless quest for connection and purpose within the british framework before looking outside of it. he thought crozier saw things the way he did, recognized the same things he did, and he played the imperialist game as he saw it to be (abusing native people), attempting to chase that connection. but when crozier came up lacking and he came up brutalized, he stopped trying to find it there. he thinks instead that the tuunbaq sees him, recognizes he is different in a way crozier never did, can give him the soul bonded Purpose that he so deeply craves. he is genuinely mystified by it, sees it as so much larger and holier than anything britain has ever offered, and thinks it respects him the same way he respects it. tuunbaq killing him is much the same as crozier lashing him. he committed acts of violence to appeal to both of them, thinking it would win him their respect and admiration, only to end up as a subject of their violence in return, because he isn't what they want and he is never able to truly connect with people in the way he wants

[dg-outlaw]

Why No Love for Red Hood: The Hill?

I think it's all in the marketing and about what's being delivered versus what readers expected.

So I almost made this post on a reblog, but I didn't want to overwhelm that thread. Plus, I'm not sure if people get mad when someone does a long reblog on their short OG post? Anyway, the point of that post was that Issue 3 of 'Red Hood: The Hill' came out and no one's really talking about it, especially Jason/Red Hood fans.

I think the biggest problem (IMO) with this series is that someone wanted to write a story about The Hill and some new characters (which is fine), but like the 'Batman: The Hill' comic (which I think this series is sort of a sequel to), it's banking off a known character, Red Hood, to be it's selling point. "Come for the Red Hood, but stay for these other characters and their story." All fine and good, but a little deceptive when the marketing leans more toward it being a Red Hood (and new 'Outlaw' friends) story rather than one where Jason is a random guest star.

Series description:

In Gotham City’s early days, The Hill was one of Gotham City’s most dangerous neighborhoods, one that required the residents to band together to keep themselves safe when the police – and sometimes even Batman – wouldn’t. Now, as the Hill finds itself gentrifying, old habits die hard as the vigilante known only as Strike works with her team to keep the town safe—but she’s not alone. Jason Todd, one of the Hill’s newest residents, is more than happy to don the visage of Red Hood to help Strike keep his new home safe. But a new villain is emerging from the shadows. Will Red Hood, Strike and the Hill’s small militia of vigilantes be able to keep their home safe?

And this brings me back to the marketing and advertising of this series, especially versus the Batman: The Hill comic.

Obviously we can see the artistic parallels between these two covers (above). Overall, good job and nice throwback, but... there's a major difference. These two are not similar.

The first cover has "THE HILL" in bold, prominent text and Batman is in the background. This says that Batman is part of the story, but he seems secondary to whatever's going on in the foreground, which is mostly true to the story.

The second cover has "RED HOOD" prominent in the title with "The Hill" as secondary and smaller. Jason is also front and center with Batman looming behind him (who only just showed up at the end of issue 3. There's only two more issues left). The character of Strike, our new protagonist and The Hill's main hero, is down at the bottom and barely in-frame, further suggesting it's more about Jason (and maybe Batman) than The Hill or other characters. Again, clever marketing and nice design nod to the original cover, but deceptive when it comes to the series content. I don't necessarily blame the cover artist here as they might've been given a different brief on what the story was about and I get the fun throwback to the old Hill cover, but these covers are almost reversed in terms of Bat-character prominence.

In the original, Batman was more intertwined in that comic's story than Jason is in his series, which further adds to the audience letdown. If anything, this series needed to go with the coffee shop musician strategy: play a bunch of cover songs to win over the crowd and then slip in your original music (OCs) here and there. Once you have your audience hooked, go all out with your original stuff and then throw in 'Wonderwall' just for kicks and to keep them invested.

Ultimately, I think the biggest problem of this series is pacing and balance. The series needs more Jason to allow readers time to invest in the new characters, but as those new characters develop through their interactions with him THEN Jason can fade back as a partner character or just random character who comes in to help out. As it is, he's a guest star in series called, 'RED HOOD: the hill' with most of Jason's actions being 'day-in-the-life' stuff or a random action panel or two.

If anything, I think Red Hood #51 and #52 did a better job of establishing Jason as a main player, but also working alongside a new hero (Strike) and citizens of The Hill in solving a case. The covers above also display a more balanced composition and preview of what you're getting. Yes, you're reading a Red Hood comic, but there will be some other significant characters playing in this sandbox that you should care about and watch out for.

Sadly, I think the untrue message DC will take away from this series if it doesn't do well is that: (1) Jason is NOT an instant seller so let's shelf him because he couldn't carry this series (that he's barely in), and (2) readers don't like these new characters (most of which are BIPOC and/or LGBTQ), so let's ditch them and do more Batman stuff. 🤦‍♂️

And that's unfortunate because I think there's potential here had this series been executed in a better way. I see where the writer wanted to go with these new characters and they actually seem like an interesting and cozy bunch, but I feel like I'm stepping into an already established found family/friend group, but I don't really know them and I'm the outsider. So eventually I'll find a random distracted moment to quietly say bye to my friend Jason and slip out before anyone notices... like the socially awkward introvert that I am.

[napstabl00k]

Who did you do it for?

[masochismustango]

Greetings! ✌🏻🧛🏻‍♀️

Due to being busy with writing dissertation thesis I have no finished artworks/just anything artsy left and that’s pretty common for me as a person whose major is different, lol.

But! Recently I’ve finished rewatching the first season of “Tabaluga”, the cartoon of my childhood, and I’m hella excited about it, considering the fact that its morals are still relevant for the people of every age. I dare say that’s the cartoon piece we all need to watch to relax, have some fun observing funny moments it and get touched by Tabaluga’s wise words and actions. c:

As you’ve probably guessed, that’s not really the reason for a post of mine - I wouldn’t be myself if I didn’t had a crush on the main villain, Arktos - and it was an obvious thing to predict judging by my recent reblogs of him (and some post of mine, ehehe). I loved Arktos as a kid and now my sympathy for him got even bigger.

Speaking of the reason I’m writing this… I’M TOTALLY NOT GOING MAD OVER HIM AND TOTALLY HAVEN’T NOTICED ANY PARALLELS BETWEEN HIM AND ARCHIBALD SNATCHER, MY OTHER BIG BAD SIGNIFICANT ONE, LMAO

[thelethalsilence]

between solar fields

Antelope Valley, CA, USA

March 2023

[cent-scratchnsniff]

here together

[ishgard]

Hi new friend! Do you have a moment to spare to tell me about your WoL's story? Or at least what has happened with Alphinaud? I'm quite intrigued and want to know more!

omg HI! Yes of course absolutely!! There's room for some confusion here because I've got two separate WoL verses for Ahru, one more streamlined [that's where Alphinaud stuff happens lol lmao], and one where things go off the rails even more, but I'm recently trying to do better about organizing them.

I've got a big write-up (part 1 of ???) over here of the initial happenings with Alphinaud if you'd like the unabridged version though!

But in a nutshell, I made a joke post about how much wasted potential there was not putting one of the twins in the dome to fuck with us and, like all such "jokes", it spun quickly and wildly out of control. Alphinaud ended up in the Dome for almost thirty years, struggling to survive and keep his head above water while also not drawing Zoraal Ja's attention. (Particularly not after this.)

I've been putting him through the ringer in there; he's made friends and allies with Cahciua and Oblivion, and to an extent Sphene. After some identity splicing he ended up taking on the alias of Kyanite (his Ninth Shard) and moved into Solution Nine to eventually become a co-leader of Oblivion. All while also doing some hunting and reforging work on the side, doing volunteer work to help Yyasulani's survivors, and just generally being very Alphinaud about trying to find a solution while also having to survive in what could very quickly become an extremely hostile environment to him.

And then everything pretty much re-aligns when Ahru and the Scions arrive. There is a brief moment where they're led to believe that Alphinaud is dead before meeting him in the Backrooms, so everyone is just grateful he's alive but wowie there's a lot for everyone on both sides to process. 😂

[sweetlotusprince]

【哪吒之魔童闹海】破亿海报英译：10亿

【Nezha 2】 Box Office Milestone Poster Translation: 1 Billion

From top to bottom:

內地影史動画片票房單日冠军 -> Animated Feature Champion Makes History in the Domestic Box Office Within a Single Day

10亿 -> 1 billion

是众人托举 才能走到这里 -> It is because of everyone uplifting us, that we could come this far

Suggestions on the translations would be appreciated as I work to improve my Chinese. I would also love to read/discuss other interpretations ☺️

Project Overview | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 》

[the-red-thread-that-strangles]

Alright. Let's talk about Akai's and Furuya's fighting styles, control, and the ferris wheel fight, featuring some tangents on professionalism.

The second reason is the implied: Akai is (in general, probably not in this situation, because he is going along with the fight Rei wants) a professional, and professionals do not fight. A professional will either ambush or assassinate (you know, like the sniping Akai is so well-known for), and generally do everything in his power to avoid a fight. It's about gaining the advantage, pressing and keeping it, to maintain control over the situation. For comparison, fights are between people of roughly equal footing, and fighting follows rules. As a person who lives in the world of actual violence, Akai does not need the fancy dances of a fighting sport, he needs his rifles, guns, and a self-defense technique for when things go really bad and personal. (Incidentally, a professional will also plan, won't let his emotions get in the way, stay calm, and keep working in bad conditions - we also see these traits in Akai.) I can remember two instances of Akai fighting (there might be more)- the ferris wheel fight, and the one time he knocked out the people after Yumi (and arguably, they didn't really have a chance and it wasn't really a fight). Other than that, he's just coordinating and providing tactical support.

Akai using Jeet Kune Do for fighting is an interesting choice. It's not as well-known as many other fighting styles (hell, it's not even a fighting style, it's a self defense technique and really more of a philosophy or a principle), but it has a couple of key values that characterize him well. First off, it's hugely individualistic. Practitioner's are encouraged to find their own way, to find what works for them, which really is Akai in a nutshell, doing what he wants. Secondly, it is described as a highly efficient way to fight. There are few, if any, rules to Jeet Kune Do, you're expected to use whatever technique will help you the most in the moment. For this reason, it is also highly adaptable, and requires an appropriate mindset to use. This latter point, I think, really mirrors the approach the FBI has in the series - do what you need to in order to get the results we want, at whatever the cost.

The fact that it's a self defense technique is important for two reasons: one is the immediate one for our context - Akai's defending himself from an angry Rei on the ferris wheel.

With all that out of the way, let's get into the ferris wheel fight, and what we learn about them there.

For contrast, let's look at Rei. It's almost funny how little professionalism Rei has compared to Akai, when it comes to the world they're living in. Rei's choice of fighting style is boxing, and he's practicing a rather straightforward, aggresive version, with barely any defense, at great personal risk. That point about professionals not letting their emotions get in their way? Well, either Rei has never heard it, or he's deliberately ignoring it. Either way, it really holds him back from gaining and maintaing control.

(I would be remiss not to point out that boxing is also done for show, fitting for this show-off.)

Boxing might honestly be good for Rei in order get out his anger and to up his pain tolerance, but for the purpose of keeping him alive, it sucks. It's up close, it's personal, and it's dirty (that tagline might as well describe Furuya himself). A threat who's gotten into that range is already a problem. Sure, usually - though not in this instance - he's also got his handgun, with its limited reach, limited firepower. For his purposes, it might suffice - he's not supposed to be a fighter, and the advantage of his gun is in its concealability. I suppose he gets a couple points in professionalism for that choice, and for often bringing back-up, whether he's working for the PSB or the BO. For what it's worth, he's also likely trained in Kendo or something similar, as we see in Wild Police Story, but he doesn't really use it. We see Rei fighting rarely, but it happens; with Matsuda at the beginning of WPS, casually inflicting violence on a kidnapper, and now here on the ferris wheel.

It's so interesting to me how they interact here.

Despite both of them bleeding, it starts to feel like Akai is in control, or at least not dated by the fighting - he gets Rei good with Jeet Kune Do's signature One Inch Punch, but has enough presence of mind to casually grabs him so he doesn't fall to his death (which gets him shoved off with a foot. Give Furuya an inch, and he'll try to take your head). Furuya's meanwhile clearly enjoying himself, might have even entered the zone, a sort of battlejoy/trance, asking for a second round (here we go again, this is a fight, with certain rules, like rounds), and Akai, well, he's beaten up, but it doesn't look like he'd surrender to get Furuya off his back - despite it being an option that would end the fight early. We see both of them smiling at points in this exchange, and I think it speaks to both of them, inherently, being thrillseekers. Putting all they are into the outcome of this fight against a dangerous enemy is a thrilling brush with mortality.

Them fighting at all, on top of the ferris wheel, is stupid, plain and simple. They expect the BO to show up any minute, and they'd better be in peak condition - instead they indulge in this fight. Really, it's Rei launching himself at Akai, who's mostly dodging and defending where necessary (I say indulge, because he is armed, and could probably escalate/end the fight early). Fights happen for a variety of reasons, usually social (because otherwise we'd be talking about violence, not a fight), and this implies Rei sees Akai as roughly equal/wants him to have a fair fighting chance, following the social contract of announcing his presence. He launches the attack, takes the initiative but the distance is so large, and he telegraphs his intentions clearly enough that his advantage is minimal.

Akai has the distinct disadvantage of carrying his rifle case, protecting its contents, because he'll need them later. He is, as the series lets us know, a capable fighter (described stronger as Masumi, who can deal with Ran, an established capable martial artist), and we can see it in this fight. He's reading Rei's movements and blocking most of the hits - for what it's worth, Rei's style seems more focused on quantity of attacks over quality. He does get Akai with some unconventional angles of attack (like swinging up into a kick from falling), and mostly this initial struggle is about them fighting for control.

When we cut back to the fight, they're still at it. I find it interesting that Akai tries to talk Rei down throughout the fight. Because the presence of mind necessary to form coherent sentences in a fight is not nothing, and the fact that he at least tries to go for a different solution is noteworthy, even if it is ultimately useless.

Then Conan calls Akai. This is in a small pause to the fight, because, surprise surprise, fighting takes effort (another reason professionals avoid it). It is really funny to me how Rei respects the rules of a fight, but he also sees an opportunity in his opponent's distraction, and seizes it (at the cost of also throwing himself down into a chasm, the self-sacrificial bastard).

Only at this point does it feel like Akai is taking the fight more seriously. I'd wager this is a) because Rei has displayed the willingness to destroy himself to take Akai with him, b) due to the enclosed space - less space to dodge and c) because at least he is aware time is ticking. They're both injured, and the enemy is coming soon. This fight better be over quick.

They only don't fight each other to the death because of Conan's timely intervention. He calls to Akai for help, and just like that, the conflict is resolved, for now. Akai wordlessly rejects Rei's request for a second round, which Rei just...accepts. Allows Akai that level of control, and the control of the flow of information (namely, they don't tell Conan they've been at it). It baffles me, but then again, I suppose it is a fight, the fight has rules, and, clearly, something more important takes precedence. Then again, this whole damn exchange makes no logical sense. Rei has sworn bloody revenge on Akai, who just saved his life today, and instead of doing something about the BO they're fighting a little. Logic is nowhere to be seen, all of this is emotional. On both sides.

I guess bonus points in professionalism for working together for the rest of the rest of the movie, even if they're sharing intel with/depending on a literal child for the solutions to their problem. It's a very unusual set of circumstances indubitably not covered by their training, granted, so what can you do (I'd still love for the adults in this universe to do their job, sue me).

Last point of note for the movie, in my opinion, is Akai waiting after all the chaos is over for Rei to spot him. Is this a case of checking in and simultaneously showing that he, too, made it out alive? He is clearly noticed by Rei, and only then walks away. And Rei just lets him. Akai is in control, in the end.

[mulders-too-large-shirt]

the x files au where everything is exactly the same except mulder takes home the child neanderthal from the jersey devil episode and raises them as his own

[gregoryeddiesgoldchain]

i love abbott wednesday but i also adore the equally important abbott thursday when i talk incessantly about this show with all of you 🫶🏾

[rocketbirdie]

estuans interius ira vehementi, cepharoth!

[julietwiskey1]

In the trailer it is interesting that we get more of a clarification on how large Jinx’s bombing of the council tower was. The large stone table were broken, but still recognizable. At least some of the chairs aren’t total ruins. And the floor seems to be intact.

It wasn’t some large nuke that would take down a city, doesn’t even seem to have destroyed a tower beyond the room it was shot into.

So far for Jinx’s attacks it hasn’t harmed more than the people she was targeting. Enforcers and the council. The people of Piltover who are viewed as responsible for Zauns suffering.