#dinah campbell

[everdeenxmellark]

“sometimes i think i feel more at home

outside the earth's atmosphere”

- dinah, asteroid city

[thiselectricnightmare]

Gentle reminder:

You can't wake up if you don't fall asleep.

[jetslay]

DC Women by Jamal Campbell.

[aboutzatanna]

Jamal Campbell referencing Zatanna joining the League in Justice League of America #161:

Main difference is that Zatanna is in her classic fishnets outfit than her pony tail look.

[dailydccomics]

an almost insultingly brief family vacation art by Jamal Campbell Titans: Beast World Tour - Star City (2024)

[jessicatates]

Don't make me laugh, my face will crack!

[ultrameganicolaokay]

Birds of Prey #12 by Kelly Thompson, Gavin Guidry, Javier Pina and Sophie Campbell. Variant covers by (1) Tiro Cons and (2) David Nakayama. Out in August.

"Their attempt to control the portal dimension has backfired in a hilarious but violent way, and the Birds of Prey find themselves dealing with some… unexpectedly cute results. Meanwhile Oracle’s escape plan nears completion despite some over-enthusiastic assistance. Cassandra Cain has a big idea."

[shellibisshe]

—picrew family

@leviiackrman tagged me to use this picrew and make an oc family!

I’m not sure who all would be interested in this, but if you want to do this then tag me!

I struggled a little bit but ultimately I decided to make Sylvie’s family (her parents Andrew and Dinah + her srs squad Oracle!)

the greens | andrew, dinah, and Sylvia

oracle | erica, dakota, anya

[nats-bottom]

MC - Bodyguard

Summary: Midge Campbell and her daughter arrive in Asteroid City with her Bodyguard, who are in a secret relationship.

Pairings: Midge Campbell and Bodyguard!Reader

Warnings: Mild cursing

Notes:

I also have accounts on Wattpad and AO3! The users there are @ paige_vers

Please give me requests! You can submit them here or on my insta, @ scarlettsoutset

ᨖᨖೱᨖ⧗ᨖⴵᨖ🕷️ᨖⴵᨖ⧗ᨖೱᨖᨖ

"That's Midge Campbell!" I hear off in the distance.

"That must be her bodyguard." I hear someone else say.

We had just arrived in a small town in the middle of the desert, called Asteroid City. Well, it wasn't really a town, it was just a few buildings outside of the asteroid that named the city. I was driving Midge Campbell and her daughter, Dinah. Dinah won some award for creating something. Something that makes plants grow faster? I wasn't really sure what she called it, but boy was she smart. And I really admired her for that. Not quite like I admired her mom, though. She was such a great actress. She really knew how to get into character. And she was really kind. She had a great voice too. And not to mention she was smoking hot. And she was great in bed too. But that part was a secret. Not even Dinah knew about us. 

We walked into the small diner in town and sat down. I sat down last, letting Midge and Dinah choose their seats first. I sat on the side of Dinah, as to not get in her way of making friends with the other patrons. I figure she might want to get to know them since she will be spending a few days in this hell hole. 

I look down at my food and before I can react, a man, one of the other patrons in the diner, takes Midge's photo. I silently curse to myself as it's supposed to be my job to prevent occurrences like this. I stand up, but before I could say anything, Midge talks.

"Did you just take my photo?" She asks the man. He replies and introduces himself. His son introduces himself as well and his son, Woodrow, gives a little wave to Dinah.

"I assume you already know who I am. This is my daughter Dinah. And this is my bodyguard, y/n." Midge says. 

"Bodyguard, huh?" The man, Augie asks. I can tell that he clearly has something for Midge, but I won't let that fly. Not on my watch.

"Yeah, she keeps me and Dinah safe and protected. But mostly me. Dinah can handle herself most days." Midge says a little protectively. Protective of both me and Dinah. 

"I didn't know they let women be bodyguards. That's pretty, um, cool."

"Yeah I think it's pretty cool. I got to pick which bodyguard I wanted and so I chose her." You smiled a bit as you loved hearing this story. When Midge was younger, before she was married to her ex-husband and before she had Dinah, she had her big break. She needed a bodyguard, and the agency was lucky enough to let her choose which one she wanted. She looked at the lineup and looked at the clipboard she held in her hand full of each person's resume. It didn't take her long to choose me. I was the only female there. Not that that's why she chose me. After our first date she told me that she thought I was the most attractive one there. She also thought that I had the best resume out of everyone there, and I looked the toughest. I've been her bodyguard since then, and we've been secretly together ever since.

"What are you going to do with that photo of me?" Midge asks Augie.

"If it's any good then I'll sell it to a magazine."

"Show me first. Let me approve it." Midge demands. Their conversation continues, while I sit in silence, jealous of his flirty manner. He tells us that he's a trench photographer, and shows us the scar in the back of his head from where he got hit with shrapnel. It's pretty cool and all, but I can tell that it doesn't impress Midge. She only has eyes for me.

TIME SKIP

We get to our little "cabin room," which is snug for the three of us. I was going to get my own, so that the girls could have their privacy, but Midge insisted that I stay with them. To keep them safe in case anything were to happen. And of course to sneak in little moments of just the two of us when we could, when Dinah (or any others) weren't around. The cabin has two rooms: a bathroom and a living room/bedroom. In the living room there is one queen-sized bed and one couch to sleep on. There is also a little kitchenette and a table with four chairs, along with a small television. I bring all of our luggage inside the room and help the girls unpack. I help Midge unpack, as Dinah likes to do things on her own. She is a teenager, after all. 

Midge and mines hands brush against each others, and we look into each other's eyes. I smile at her, and she smirks back. We know that we can't do anything right now because her daughter is in the room, but later we'll have a chance. 

Once Midge's bags are all unpacked, she flops down on the bed dramatically and I just chuckle at her and smirk. Dinah just rolls her eyes and sighs. I start to unpack my bag, stealing glances at Midge. Dinah, oblivious to all this, continues to unpack her bag, eager to get out of the cabin. Once I'm done putting all my clothes and other items away, I sit down on one of the chairs at the table, watching Midge's chest rise and fall with each breath she takes. 

"Mom, I'm going to go meet some of the other kids." Dinah says, hand on the doorknob.

Midge sits up, resting on her hands, saying, "Wait, we need to figure out sleeping arrangements."

"I am NOT sharing the bed with you again. I am too old for your cuddles Mom. I'll take the couch." 

"Well then where is y/n going to sleep?" Midge asks.

"It's ok. I'll take the floor. I'm sure they have some extra blankets at the front desk." (Or in the vending machines haha) I say, a little disappointed. 

"I can't ask you to do that," Midge says, turning her attention towards me. "You can share the bed with me." She says, hiding her excitement.

"Are you sure? I'm more than fine to sleep on th-"

"Y/n" Midge interrupts sternly. "I said you can share the bed with me." She says as she looks me deep in the eyes. A look that I am all too familiar with. 

"Ok, now that we've got that settled can I go now?" Dinah says annoyingly.

"Yes Dine, you may go. Just stay safe."

"Do you want me to come with?" I ask, knowing that it's my job to protect the both of them, not just Midge. Even though it is mostly just Midge I'm protecting.

"No, of course not! You'll just be an embarrassment." Dinah protests. 

"Ok, well you know where to find us. Have fun! Love you!" Midge yells out while Dinah walks out the door. Midge gets up from the bed and walks over towards me. She comes over and sits on my lap, straddling me. "Now that she's gone, what are we going to do?" She plants a kiss on my lips.

"I think you already know baby girl" I say smirking after pulling away.

[the-bi-library]

Here is the part two of my bisexual BIPOC books posts!

Part 1 here

Books listed:

I Feed Her to the Beast and the Beast Is Me by Jamison Shea The Relic Spell: Book 1 of the Phyrian War Chronicles by Jimena I. Novaro The Warlock Snare by Jimena I. Novaro Highly Suspicious and Unfairly Cute by Talia Hibbert The Aurora Circus by Viano Oniomoh Rescues and the Rhyssa by T. S. Porter Far Sector by N. K. Jemisin and Jamal Campbell Xeni by Rebekah Weatherspoon Flip the Script by Lyla Lee A Scatter of Light by Malinda Lo The Space Between Worlds by Micaiah Johnson Shatterproof by Xen Sanders The Fall of Whit Rivera by Crystal Maldonado Scavenge the Stars by Tara Sim Zara Hossain Is Here by Sabina Khan When Tara Met Farah by Tara Pammi Royally Yours by Everly James For Sizakele by Yvonne Fly Onakeme Etaghene More To Love by Georgina Kiersten False Hearts by Laura Lam Babel-17 by Samuel R. Delany Tim Te Maro and the Subterranean Heartsick Blues by H. S. Valley Ace of Shades by Amanda Foody Becoming Dinah by Kit de Waal Caught in a Bad Fauxmance by Elle Gonzalez Rose The Black Veins by Ashia Monet Hearton by Amy Jo Cousins

[coolgal5]

STARMAN - A. STEENBECK

Auggie Steenbeck x reader

Part one of ????

Part two https://www.tumblr.com/coolgal5/738210108662775808/starman-a-steenbeck

(GN reader, we need more auggie on this app)

You had wanted to be an astronomer since you were younger. You had always had an affinity for outer space and even more so you loved the unknown. Something about trying to find the answers to things nobody had ever known had always been the best to you. So when one of your closer colleagues, Dr. Hickenlooper, invited you to travel with her to a Jr. Stargazers convention you knew you had to go.

Asteroid city was familiar to you, you had grown up in a nearby town. You however had never seen it this packed before. School children, parents, cowboys, military men, you even noticed a movie star. You were staying with Dr. Hickenlooper for the most part of the trip but after you guys had unpacked at the motel she was pulled away by someone to work on preparing stuff for later in the day. This left you on your own for about half an hour. You recalled seeing a small diner on your way into town and you figured you should probably eat something.

You waltzed into the diner and glanced around. There was a few tables spread around and a bar. You thought about where you should sit when you noticed someone familiar. Midge Campbell, the film actress sitting at the end of the bar. You walked over, pulling out the seat beside her and sat down.

“Pardon me, Midge Campbell?” You spoke softly as to not startle her

“oh yes hello?” She quickly replied, glaring at you through the thin frames of her glasses.

You offer out your hand for her to shake.

“Hello! I’m familiar with some of your work and it’s very good, you’re very talented.”

She smiled lightly, seeming to ease up.

“Oh yes thank you. I’m glad you think s-“

She was cut off by a snapping sound from the other end of the bar causing the three of you to snap your heads around to the cause of the sound.

A man sat there, around his early forties with who you assumed was his son.

“You took a picture of us” Midge spoke, glaring at him as if he was something she had found on the bottom of her shoes.

“Mhm” He nodded.

As you looked at him you began to think to yourself. You noticed he was REALLY attractive. He had messy hair and a scruffy beard that was patchier than a pair of old jeans but he seemed to pull it off WAY too well.

“Why?” Midge continued to interrogate the man.

“I’m a photographer” Even the way he spoke was attractive, the way he seemed so sure of himself and you found your cheeks heating up at the thought.

“You didn’t ask permission”

“I never ask permission”

“Why not?”

“Because I work in trenches, battle fields and combat zones.”

“Really?” “Mhm”

“You mean you’re a war photographer?” You chimed in.

“I sometimes cover sporting events, my name is Auggie Steenbeck.”

“What will you do with it?”

“I’ll probably try and sell it to a magazine now that you mention it, Midge Campbell and her friend, eating waffles.”

“Make us a print first, to approve”

You listened to the way midge spoke, she had a REALLY pretty voice. It felt really strange to see someone who you had only seen on the screen in real life.

Just then, the younger girl beside midge raised her hand.

“This is Dinah”

“This is Woodrow” Auggie stated, motioning towards the boy beside him.

“I have a question” Dinah finally spoke as Auggie nodded.

“Have you ever been shot? With bullets?”

“Have I ever-“ he chuckled lightly “Once or twice, just grazed”

“He got shrapnelled in the back of the head once, show her” Woodrow tipped in before Auggie turned around, revealing the mark on the back of his head.

Midge took a sip of her coffee before speaking again.

“I don’t say I forgive you yet by the way”

You all turned back to your food, but you continue glancing off to the side at Auggie

This was going to be a long two days.

[zahri-melitor]

Newish Comics:

Batman #150: oh look, we're pulling through elements of Gotham War here for payoff! And we have some commentary on what it means to be a henchperson in Gotham and its effects on not only that person but their family.

Birds of Prey #11: Dinah and Mari discussing not having your powers at your fingertips...yeah Mari, Dinah gets that.

The art on this remains spectacular, and I hope Constantine really was off to find Xanthe Zhou.

Shazam! #13: aww yeah we finally got a Freddy viewpoint and voice, and we are on track to get Freddy powers back. Very solid time spent in the Shazvan on characterisation.

Love your work, Josie Campbell.

The Boy Wonder #3: oh gosh, this was right on point for Tim and Damian. I particularly enjoyed how tech focused it was in terms of devices (making that a point of difference from other issues), and in how it both had Damian completely misread Tim's motivations and be convinced Tim was Up To Something, but also have Tim outright explain to Damian that he has problems trusting Damian because of past events and that he finds Damian hard to read. It felt very in conversation with Red Robin period between them, and the impact Spook's beheading had on setting their initial dynamic. Justification! On both sides!

Juni Ba clearly gets their dynamic, which is something I really appreciate.

The Warlord #59: This week in Skartaris the kids including Joshua sneak into the dungeon and see what they think is a demon. Joshua gets trapped inside as the rest flee, and ends up talking to Travis.

As you can see, bondage is still in effect.

Joshua finds out Darvin is planning to kill Travis, and decides he wants to let Travis out - and in the process of unlocking the chains Travis feels the watch on Joshua's arm!

And....end of issue, before the reveal!

[gpuzzle]

Big ol' review of Asteroid City, with a blatant disregard for spoilers and extremely long:

The way people talk about Asteroid City - if at all - has spanned somewhere between the myopic, the hypermetropic and the astigmatic. Yes, it's ostensibly Wes Anderson telling a thousand of his intertwined stories, at least at the small level. You do have the classic Andersonian parade of characters, of tiny fragments, of recurring characters. It weaves in plot in plot in plot. I’ll start with the subplot and move up into the true metaplot.

You get a dizzy little romance between June (Maya Hawke), an appropriately religious elementary school teacher with a class of incorrigible ten-year-olds that she attempts to corral throughout the movie, and Montana (Rupert Friend), the only member of a gang of singing cowboys with any speaking lines. It is the purest of artifice; the singing cowboy is an American invention, and Hawke’s character struggles to handle how her reality has been shattered and the kids have seemingly become obsessed with an alien that has come to Asteroid City and picked up a meteorite, culminating in a scene where one of her pupils deliver an appropriately silly Western Swing number “Dear Alien (Who Art In Heaven)”. It is by far the most whimsical, dumbest, and most ostensibly “regular movie” metastory within the entire thing. But in its extreme artifice and very obvious “fakeness” in every aspect, this subplot being the least Andersonian save for the dialogue and framing rather than plot and theming really highlights the levels. Here’s Anderson delivering a straightfaced story with only his aesthetic leanings, drawing back into the past, but making it so blithely artificial it’s impossible to even consider it serious for an instant.

You get Woodrow Steenback (Jake Ryan) and Dinah Campbell (Grace Edwards) as part of this quintet of brainiacs that all come up with fully sci-fi devices; spanning projecting images on the Moon from the Earth (that gets mentioned as a potential application for space advertising); a jetpack; an honest to goodness disintegrator; a new element; and radioactivity-assisted plant growing. In a handful of scenes, these five brainiacs introduce themselves - first by naming an increasingly large number of famous people, then eventually with the introduction of an alien, as a dedicated group of five that are intent on figuring out just what it is, where it came from, and how to get that information out; intertwined with Tilda Swinton as Dr. Hickenlooper, a scientist who burned the stars in her eyes, literally - and how they come into conflict with the US government regarding that, notably in the figure of Jeffrey Wright as a General Grif Gibson and Tony Revolori as his aide-de-camp. It eventually culminates in a passionate kiss between our two teenaged romantic leads, with Ryan's character projecting a heart with "W.S. + D.C." on the moon, visible from everywhere.

This is a Wes Anderson movie, but he's given us only the outline. The scenes that feature these characters are not few and far between, but we don't get a true look into that romance. But that's not the point. The pace of the romance happens at nigh breakneck pace, since we don't get to spend nearly as much time with the characters as you'd expect where this the entire plot of the movie. That's an underlying Andersonian story that weaves and pops. It’s fascinating; I’ve never seen the crux of a Wes Anderson movie down to its barest essentials like here. But that's not actually the story being told.

The other 3 space cadets have mirror relationships with their parents: Aristou Meehan plays an daredevil who takes on dares compulsively, usually of a self-destructive nature (including climbing a cactus and jumping from the roof of a building), and yet is given a moment of extreme sincerity and the need to be noted against a father that is at once both incredibly protective and absolutely at his wits' end with this kid (played by Liev Schreiber); this guy could be any of quite a few characters on his run from Bottle Rocket onto Darjeeling Limited. Sophia Lillis plays a girl scout clad in girl scout attire all through the movie, mirroring her mother (Hope Davis); they both individually have a great appreciation for Midge Campbell (Scarlett Johansson), an in-play movie star and Dinah's mother, first directly by Lillis' character outright stating that she's a fan of Johansson's character, and by Davis' character later in the play in a small scene while they wait for the communal showers to open up where she actively voices her appreciation for Johansson's character in a way that actively mirrors some of Johansson's earlier lines; while Ethan Josh Lee plays the brainiac that breaks the alien story and is the one that most actively fights the US government, in a way mirroring his dad (Stephen Park) confronting the motel manager (a wonderfully cast Steve Carrell) but also taking on bigger and bigger challenges. This too is very Wes Anderson, in the same way that you'd get in The Royal Tannembaums; the way parents and offspring mirror one another.

The other two parents are instead the main characters of the play – Augie Steenbeck (Jason Schwartzman) and Midge Campbell (Scarlett Johansson). Campbell is a star who often plays women drawn to cruel and violent men, but holds artifice – she spends most of the movie with a greasepaint black eye, to constantly remind the audience on all levels of the sheer degree of artifice in movie making. She blends real and imaginary by having long conversations with Steenbeck out of a bathroom window, opposite his bathroom and makeshift photography studio. Raising again the matter of “this is all artifice”, the only way you can see the two of them presents us with the desert mountain skyline – and a billboard as part of said skyline, bringing ever forward the degree of cinema is an invention. She acts out scenes with Augie Steenbeck that blend real and imagined, and Midge Campbell’s metaactor (Mercedes Ford, also Johansson) is similar; the brief train scene where she’s convinced to return to the play at the last hour blends character and reality. She says she’ll be found dead in a bathtub, having drunk herself to a pill overdose – and we briefly do get to witness that. During a line read with Steenbeck, she coaxes him to use his grief to get the line across – the grief from losing his wife. The meta implications are obvious. She is a resounding foghorn that tells us that we are dealing with a fundamental level of artifice. Johansson gets to wax and wane in three different roles of doomed, self-destructive women – Midge Campbell’s next character, Midge Campbell herself, and Mercedes Ford – and that blend makes it difficult to assert how much she’s telling the truth, and how much is she acting at all times. She’s excellent; by far the best role that Johansson’s ever taken and she executes it perfectly.

Schwartzman's in-play character begins with a fundamental drama - a widower who has yet to tell this kids their mom died. About two scenes into that play, that entire suspense is just delivered into a brief scene. This plot returns every so often most symbolized by the character of Stanley Zak (Tom Hanks), Augie's cantankerous father-in-law, and Augie's three daughters, Pandora, Cassiopeia and Andromeda (played by Gracie, Willan and Ella Farris, respectively), who take on this nigh Weyrd Sisters quality of trying to be three witches to bring their mom back. He finds himself involved in an affair with Midge Campbell as the two dialogue through bathroom windows, and culminating in a scene where Midge Campbell  reveals that she’s told her daughter the affair, and Augie Steenbeck burns his hand on a griddle for no apparent reason. This too is an Andersonian plot, with all its inherent quirkiness and family drama and ultimate yearning and learning to deal with an emotion.

But he's also a war photographer who got wounded multiple times, including shrapnel to the back of the head. He takes a lot of pictures, from nuclear explosions to Midge Campbell eating some waffles to eventually the alien plot. The entire framing of pictures, of capturing images, really comes to a head with one picture that he takes and keeps and that becomes the key part – that of his first (and now dead) wife, played by Margot Robbie. This is the link that gets us to the blending of metacommentary from his side. If Scarlett Johansson’s meta commentary arrives by dint of her own character blending the line between performance and reality, Jason Schwartzman’s metacommentary arrives in a crucial scene that ends the third act of the play; the actor breaks from the scene, and exists via the stage, Truman-show style, stunned, trying to understand the motivations for his character, such as burning his own hand on a griddle on purpose. And thus the two worlds that we had existed in start to intertwine as they unravel rapidly. The first world is the in-universe play which is the gorgeously produced. The second one is the TV production presented by Bryan Cranston about how that play was made.

Asteroid City is established as a series of lies and artifice on top of more lies and artifice. It establishes this from the word go; we are immediately presented to a TV broadcasted, presented by Bryan Cranston, who has a brief cameo nearing the end of Act 2 and start of Act 3, finding himself in the wrong spot. We have Edward Norton as Conrad Earp, a playwright that channels the parody image of the asshole playwright. It introduces the setting of the play, the characters, their actors. And then, once we cut to the play, it's very obvious that we're following the directions of the playwright - are shown the entire city following the exact directions of the stage laid out. Then we start following the acts of the play, and it is similarly made explicit – scenes and acts are labeled and presented to us as they appear. When we return to this broadcast in black and white, we are presented to vignettes in the lives of these characters. First, Earp and Jones Hall (Schwartzman, playing Augie Steenbeck’s actor) have what can be considered a minor romantic meeting in an early meta scene, wherein Hall delivers ice cream, punches a window and becomes Steenbeck to convince Earp to let him be in the play, which forms the core of Hall’s arc. We are next presented to the scene where the understudy (Jake Ryan) convinces Mercedes Campbell to return to the play at the last minute. These intertwine with Schubert Green (Adrien Brody), a womanizing director who similarly helps blur the line between acting and reality. It leads to a scene in an acting school that introduces us to most of the adult metactors, as well as there being a discussion about dreams, and the importance of dreams to writing, and getting into a dream state.

And then the two worlds rapidly collide when Schwartzman exits through a stage door, playing Hall unable to comprehend Steenbeck’s motivations, with Green (Brody) telling him that he doesn’t need to understand, he’s doing great. This rapidly collides into the last scene. Dreams aren’t a part of this movie until the end, where the meta breaks. As Hall goes to take a cigarette break, he spots, opposite his theater – the actress who was supposed to play Steenbeck’s dead wife (Margot Robbie), clad in Elizabethan attire. The two have a brief heart to heart, she reveals she found another role after a scene was cut, and they go over her scene – one where she appears to him in a dream and they have a conversation about the alien. For all intents and purposes, this is the cut scene from the play, delivered to us in the setup of the TV show, in a way that’s not clear it even happens in the TV show. We never return to the play.

We instead cut to the description that Conrad Earp died at 50 in an automobile accident, with the empty chair as the obvious sign, and then we return to the acting school scene and the talk of dreams, and to get into a dream fugue state. The scene resumes from the last time it was presented, in a comic “everybody falls asleep instantly, from falling on the floor to somnambulism to regular naps” – and Jones interrupts with “You can’t wake up if you don’t fall asleep” that culminates in everyone saying it in mantra like fashion, with the alien showing up in the actual scene and walking towards the camera. It is genuinely unsettling. And that theme is the underlying message; the way that stories intersect with the real. Jason Schwartzman plays an actor playing a character burning his hand on a griddle to see if he’s awake, but this is also acting. He shows little of the actual reaction to it, and even comments that “this really happened”. That movies, plays, stories – they’re artifice, they’re not real. They’re dreams. But if you live in a dream all the time, you cannot be awake; you cannot experience the real.

The epilogue wraps up the play. Augie has overslept and everyone else has already left but his family. They bury the ashes in that plot, Woodrow admits he no longer believes in God – and it’s highlighted when Augie’s order at the diner features now one less flapjack and one more black coffee. The threads of the Steenbeck family wrap up, and they drive away.

While I’d wager that Asteroid City is a delightful watch and its minute-to-minute watching is effervescent the way the best Wes Anderson scenes are, clad in its tones of pink and orange blending into a singular tone and blue, teal and turquoise, as well as cuts of bright white; Asteroid City is a complex, difficult movie in the way that its message involves the metastory, and that we are shown a level of metastory, of talking about stories, about the way that stories are about the artifice, the way stories are a falsehood, the way that we must thus engage with them is with the full awareness that they are falsehoods. It is excellent, postmodern cinema by way of Thomas Pynchon. Fully recommend if you’re willing to see it for what it is, but you’ll despise it if you don’t, because otherwise it can read as a series of barely connected threads that are never developed.

But that was never the point.

[pooonnyboooyyy]

My Starlight Express HUMAN! Au: World plus citizens. Part one

General: Racecity, USA takes the place of the train yard and it’s centered around the 50s-60s. Racecity is the home of the Racing National Championship with it’s reigning champion being from Racecity.

-Richard “Rusty” McCoy

Rusty is 23 and is from a very religious and old fashion family. He lives with his father, Poppa McCoy (A former campion.) His mother, Belle McCoy and his brothers Fredrick McCoy(Flat-top) and Dustin McCoy (Hopper.) He dreams of winning the Championship with his father’s old racing car but is often bullied by the others. He has a major crush on Pearl

-Pearl DuPont

She is 22 and new to town and is from a rich and prominent family. She is friends with Dinah, Di, Buffy and Ashley and is often seen at the disco downtown. She is sought after by a certain new-comer in the race to be his partner, despite her promise to Rusty to be his partner.

-Derek “Greaseball” Russell

He is 26 and is the reigning champion of the National Racing Championship. He is pretty arrogant and self-centered and is the fiancé of Dinah (not to be confused with Di who is his sister’s girlfriend.) For all of his faults he is supportive of his sister’s sexuality. He is the main bully of Rusty. He is extremely proud of his diesel car engine that he says is faster than lighting. Is often seen around his fiancé and his gang. Has been undefeated for 10 years

-Gale “Greasy” Russell

She is 15 and is the little sister of Greaseball and is the girlfriend to Di. She is just under the age of qualification for the Championship but plans on playing in it next year. Her legal guardian is Greaseball and lives with him. She, like her brother is arrogant and self-centered. Works at the auto shop for some extra spending money (totally not because there’s a cute waitress at the dinner next door.)

-Dinah Campbell

She is 24 and is the fiancé to Greaseball. She works at the dinner and is a manager, she is the legal guardian of her distant cousin, Di. She is very loyal to Derek and has been his partner since she was 14 and he 16 (the partner qualifying age is 14.) Will often be seen at the disco. And will hang out with her fiancé and his gang (plus Gale)

-Dinah “Di” Humphrey

Di is 14 and is the girlfriend to Gale. She is nicknamed Di so that she doesn’t get mixed up with her Legal guardian and distance cousin who is also named Dinah. She works at the dinner where she is the newest waitress, but will often sneak out to see a certain champion’s little sister at the repair shop.

-Callum Benjamin “CB” Breaker

He is 24 and works for the McCoy’s at their scrap yard. And is a literal diagnosed psychopath who has unalived in the past sooo not the most qualified person for making sure breaks work properly. He has a type of obsession with Dinah (he’s been trying to sabotage Derek’s car so he can get with her.)

- Electra Futureman

22 and a newcomer to the Championship. He has more of a 80s aesthetic and look to him. His car is electric and is lighter than air making it more faster. Wants Pearl for his partner and travels with his own entourage (the components). Extremely full of himself and is a soar loser. Hostile towards Derek and Rusty.

What do y’all think? I decided to add both Bochum GB and Dinah and Wembley GB and Dinah because I really couldn’t decide. And I used a random name generator for both GB’s human names and used the first letter of the rest of the train’s names for the rest of it. More is to come!

Next part will be the rest of the freight trains and the coaches.

[dailydccomics]

Green Arrow & Black Canary by Jamal Campbell

[jessicatates]