#drew snyder

[mariocki]

Night School (Terror Eyes, 1981)

"There's been another killing."

"Mmm."

"That doesn't seem to surprise you."

"When man kills for the sake of killing, there's no reason why he should stop."

"Do you really believe that man can go out and kill, just like that?"

"Why not? You see, animals kill when they're hungry or when they're threatened. But man is the only animal who destroys his own kind for the sheer pleasure of it."

[ruleof3bobby]

THE SECRET OF MY SUCCESS (1987) Grade: F

Time has been horrible to the mostly on the nose jokes. Felt like a rip-off of other more popular 80's comedies. Don't Watch.

[sotheresthisseniorcitizen]

[voskhodart]

I woke Snyder up from his nap and he immediately ran off to get a boob job and change roughly half the pronouns on her Wikipedia page.

[daily-cassie-sandsmark]

[lulu2992]

Inktober 2023, Day 4: Dodge.

And quite a spectacular one!

[mitjalovse]

A couple of surprising finales presented a direction that turned into a conclusion with a hindsight, but you also had a hunch there was more to be promised. Ice Cream For Crow by Captain Beefheart and The Magic Band, for instance, is quite weird. That's normal for him, though he did go on the LP I mentioned into a soundscape that could be described as the 80's Tom Waits taking a ton of hard drugs, then visiting his favourite place to gather some strangers to play music – notice I didn't say musicians – and finishing this with a trip to a local wasteland, where his cohorts are told to play whatever instrument the way they like. Unsurprisingly, he makes all that work out and yet he could've gone further in this mode, mind you, though he just … stopped.

[ccmpletemess]

"Probably, but I may not have paying attention." Noah admitted with a shrug. "Ah, makes sense. I've had it for years at this point, it's easy to drive when I--" He paused, swallowing before a soft sigh escaped his lips, "I have a prosthetic," he shrugged. "Well that and I don't know shit else about cars." He shot the other a grin.

“surprised they didn’t tell you to come back once it was finished,” he muttered before shrugging. “sort of - name’s on the building.” it wasn’t a gloat, just drew laying out the facts of what came so natural to him. “i mean, don’t need to apologize to me. it’s your car, dude,” drew chuckled. “but you definetely don’t want it to rattle when you turn the ignition. probably just something not fitted right or it’s come loose over time. how long you have the car?”

[distort-opia]

And in today's second installment of "How about that guy Tom King's brain??"... did you know the man basically developed an entire stabbing-as-sex metaphor between Batman and Joker over the course of multiple comics and that it's just absolutely bonkers? :)

So. Remember this spectacular page from Batman/Catwoman (2021) #9, in which Joker describes a particular fantasy of his regarding Batman?

"And that's when I put the knife into him. [...] And I put the knife in him again." Joker could not have made this more about sex if he tried. Hell, he tells Selina that he thinks he could fuck Batman better than her. But alright, keeping this in mind-- the metaphor of the knife and penetration, what does it imply about the other two times Tom King has written interactions between Batman and Joker where there's a knife present?

Alright, I'm putting the rest under the cut, since there's a lot of comic panels, my own ranting... and attempted stabbing.

Batman: The Brave and the Bold #9 ("The Winning Card")

In The Winning Card, a reimagining of Batman and Joker's first ever meeting, we get two fights between them that are so heavy with symbolism; but it's the second confrontation we're interested in, and that's pictured above. We see that it was Joker who drew blood the first time... it's him who sunk the knife penetrated Bruce at the very beginning. And really, was there a need for the unending focus on Bruce pulling out the blade? But then there's what he does next, and the way it's framed... He starts beating Joker, but then realizes that beating him does absolutely nothing.

So he switches to trying to communicate with him, to trying to tell (the worst) possible joke, all while holding up the knife:

First of all: genuinely terrifying, if I may so myself. Secondly, we're shown Bruce bringing down the knife doing the penetrating, but the next page is not about him having killed Joker. It's Bruce and Alfred having gone fishing, talking about what happened... and why Bruce left Joker alive.

And this is how Tom King chooses to have Bruce say it:

"He put the knife in me." Tom King I am inside your walls. This is exactly how Joker phrased it in his fantasy. And then, we're shown that Bruce couldn't kill Joker; he stuck the knife in him, but didn't kill him.

But what's the other time Tom King wrote Batman, Joker and a knife? Well, that's during the infamous The War of Jokes and Riddles. We're told TWOJAR happened in the second year of Batman's career, so (at least in King's little Universe) pretty soon after The Winning Card-- which takes place in Year 1. And in TWOJAR, after finding out Riddler's motivation for causing so many lives to be lost, Bruce tries to stab him:

[squinting my eyes suspiciously] Thrust the knife out, huh. But then, Bruce never manages to commit murder, because Joker steps in:

Batman (2016) #32

So. If we follow King's own metaphor... Batman tried to have sex with the Riddler and Joker stopped him. Joker couldn't allow it. Bruce ended up stabbing penetrating him instead.

Pictured above: me

Is King the first to do this sort of thing? No, obviously not. Miller equated the violence between Batman and Joker to sex in The Dark Knight Returns, Snyder and Capullo did that too in both Death of the Family and Endgame. Still, it's... deliciously fucked up, and I thought it needed some showcasing.

[overlordmetal]

Art Rewind: DC

Similarly to what I did last time with a few of my Dragon Ball artworks from over the years, I selected some highlights out of some DC fanart I’ve created.

"The Dark Knight"

A sketch work I drew in 2018 to test out an art journal I’d just gotten at the time. While he could have benefitted from longer ears, I still really like how this one has aged.

"Batman"

An artwork based on the iconic still toward the ending of the iconic opening from "Batman: The Animated Series". I drew it as a gift for a friend’s birthday in 2019.

"Batman and Robin"

An art collaboration between @eigs and I, she drew Robin while I drew Batman. Originally only a sketch in 2019, I returned to it earlier this year and digitally colored over it.

"The Kill(ing Joke)"

A couple of Joker artworks I drew, this first in 2020 based upon his comic appearance, and the second in 2021 based upon Jared Leto’a appearance in the music video for Thirty Seconds To Mars’ "The Kill".

The Penguin

Penguin is (usually) my favorite Batman villain, and as a result, I wound up showing him a little appreciation in 2020 with an artwork of his own.

"Man of Steel"

I drew the DCEU iteration of Superman in anticipation of Snyder’s cut of the Justice League film in 2021. I know the trend was black suit Superman at the time, but I hadn’t drawn Superman in so long, I just wanted to get him in his standard colors.

"Doomsday"

An artwork I’d drawn of Doomsday in 2021. Fantastic Superman villain.

"Batgirl"

Drawn in 2021 as my entry in a "what-if?" challenge where I depicted Stephanie Brown in my own redesign continuing as Batgirl while Barbara Gordon remained as the Oracle instead of reclaiming the Batgirl title like she did in the New 52.

"It's Not Easy"

Drawn to celebrate Superman Day in 2022, I aimed to capture both the brilliant hopeful side of his character while simultaneously addressing the alienation and burdens he battles behind closed doors. I’m not too crazy about how this one turned out, largely because I didn’t put enough work into the background but I am proud of the shading and coloring and I still really like the overall concept.

"Superman"

Drawn in 2024 to celebrate Superman Day again. I couldn’t go for anything too complex due to my work schedule but I think I succeeded in a simplistic approach a lot better this time. It’s also probably my best Superman artwork to date.

—

I’d like to thank you if you’ve read this far, I hope you enjoyed and that you’ll have a good rest of your day. If you have thoughts or comments you’d like to share, you’re more than welcome to. These are characters I grew up with and I’d love to draw them more should the opportunity arise.

[laciebuncat]

I drew this art trade for a dear follower from deviantart by the name of @Krisztian1989 he ask me to draw Robin Snyder from The Powerpuff Girls.

[youaintnothinbuta]

race x reader where reader (fem preferably, but could be gn) is a brooklyn newsie, she’s spot’s best friend. race catches her eye at the rally (is that the right word lol) at medda’s theatre and he finds her after. you can pick what happens next. thank you!

Thank you so much for the request!! <3

“You always this distractible, Race?”

Summary: You and Race meet for the first time after Medda Larkin’s show, after not being able to take your eyes off him during the performance.

Pairing: Fem!Reader x Racetrack Higgins

Word count: 920

Warnings: none. Fluff. Probably typos/bad grammar, u know the drill <33

Request something here !

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You and Spot began the long journey through the streets of Brooklyn to Manhattan and eventually Medda Larkin’s theatre, where the crowd was growing quickly. You wandered inside, looking around, Spot nudging you to look in the direction where he’d Just spotted Jack Kelly.

“Jack!” He called out.

Jack turned toward the pair of you, his eyes lighting up as he saw you and Spot. With a boyish grin, he made his way over to you, giving Spot a pound hug and you a real hug. “Well, if it ain't the pride of Brooklyn,” he smiled, “And her loyal sidekick.” He teased Spot, lightly punching his chest.

Medda Larkin herself wandered over to Jack, with him introducing the two of you to her.

“Are you two hiding too? Jack’s got a whole litter with him tonight.” Medda joked, teasing Jack.

“Goons. You know how it is.” Jack shrugged. He did indeed have quite a few of the boys hiding out at the theatre with him that night, after they all had a run-in with Snyder that was a little too close for comfort.

“Consider yourselves my special guests tonight,” Medda smiled, her usual twinkle in her eye. Just then, she got called on stage, and the lights in the theatre began to dim, everyone in the audience getting settled in their seats. Jack headed back over to his group, which comprised of about 6 or so of the Manhattan newsies. You and Spot found seats by the side of the stage, just as the curtains drew back, revealing Medda standing centre stage, her voice resonating through the theatre as she began her performance.

Spot seemed quite taken with Medda’s performance, his eyes adhered to her entirely. You on the other hand, kept finding yourself distracted. Sitting on the other side of the theatre, you watched as Jack seemed to be telling off one of the boys. He took something away from him, a cigar maybe? It was hard to tell in the dimly lit theatre.

After staring for perhaps a moment too long, the boy’s eyes locked onto yours, the sudden eye contact startling you, making you avert your gaze back to Medda. You were pretty sure you knew who it was. Racetrack, you’d heard him be called. He was one that was talked about a lot, but you’d never actually met him.

Throughout the rest of the show, you found your eyes wandering off of Medda and getting stuck to Race. Strangely, he seemed to sense your attention each time, as his gaze met yours repeatedly. It was as though he could feel your eyes on him, and each time, his gaze ensnared yours.

As the theatre erupted into applause as Medda left the stage, Spot soon found himself chatting away with all the Manhattan boys who were there. You glanced outside the front doors of the theatre, and saw Race standing alone, leaning against a lamppost. His eyes met yours, and a small smile played at the corners of his lips, a small gesture inviting you to join him.

You silently excused yourself from the group. Race remained where he was, his posture relaxed as he took his cigar from his mouth.

"Racetrack Higgins, ain’t it?" You raised an eyebrow.

“Guilty as charged. So, you and Spot, huh?”

You laughed, almost snorting, shaking your head. “He pay you say that? We’re just friends.”

He raised an eyebrow, his gaze holding yours in a way that made your heart skip a beat.

“Good to know.” His voice carried a teasing tone as he took a step closer, his grin widening.

You smiled, a slight blush tingeing your cheeks. "What’d you think of the show?"

He chuckled softly, shrugging. “Don’t know. Didn’t catch much of it.”

“Oh, really now?” You quipped.

“Yeah. Some girl was givin' me the eye somethin' fierce, couldn't concentrate.” He teased you.

“Huh, wonder who that could be.” You shot back, smiling as you grabbed the cigar from his hand.

You took a drag from the cigar, puffing out a little (pathetic) smoke ring, coughing, making Race laugh. “You always this distractible, Race?”

He grinned, tipping his hat back a bit, shaking his head, “Only when there's a pretty girl around, messin' with my head.”

You rolled your eyes playfully. “Smooth talker, huh?”

“Hey, it's the truth,” he said with a nudge to your shoulder. Race's fingers brushed against yours as he took his cigar back, his touch lingering just a moment longer than necessary. Your breath caught with the feeling of touch, you felt your cheeks go pink.

You noticed the group starting to make their way over. “I'm not saying I’m expecting you, but tomorrow I might be waiting outside that little bakery with the good pies.”

Race smirked, nodding, a glint of mischief in his eyes. “I think I could find an excuse to head that way.”

Before you could say more, the group of boys wandered over to you two, Spot giving you a questioning eyebrow raise before telling you it was time to go.

With that, you headed off with Spot, en route back to Brooklyn for the night. Similarly, Race joined Jack and the other boys, who were headed to find their night’s shelter, too. As you walked away, you stole a glance over your shoulder, catching Race's eyes watching you, a smirk still playing on his lips. The feeling was mutual, and you couldn't help but smile to yourself at the thought of seeing him again.

[dreaminginthedeepsouth]

The D-Day cover of the New Yorker from 1944 might be the best in the whole history of the magazine :: "Rea Irvin (August 26, 1881 – May 28, 1972), was an American graphic artist and cartoonist. Although never formally credited as such, he served de facto as the first art editor of The New Yorker. He created the Eustace Tilley cover portrait and the New Yorker typeface. He first drew Tilley for the cover of the magazine's first issue on February 21, 1925. Tilley appeared annually on the magazine's cover every February until 1994.[1][2] As one commentator has written, "a truly modern bon vivant, Irvin was also a keen appreciator of the century of his birth. His high regard for both the careful artistry of the past and the gleam of the modern metropolis shines from the very first issue of the magazine ..."[3]" :: [Robert Scott Horton]

+

« As observers of totalitarianism such as Victor Klemperer noticed, truth dies in four modes, all of which we have just witnessed.

The first mode is the open hostility to verifiable reality, which takes the form of presenting inventions and lies as if they were facts. […]

The second mode is shamanistic incantation. As Klemperer noted, the fascist style depends upon “endless repetition,” designed to make the fictional plausible […].

The next mode is magical thinking, or the open embrace of contradiction. […]

The final mode is misplaced faith. […] Once truth [becomes] oracular rather than factual, evidence [is] irrelevant. At the end of the war a worker told Klemperer that “understanding is useless, you have to have faith. […]”  

Accepting untruth of this radical kind requires a blatant abandonment of reason. Klemperer’s descriptions of losing friends in Germany in 1933 over the issue of magical thinking ring eerily true today. One of his former students implored him to “abandon yourself to your feelings, and you must always focus on the Führer’s greatness, rather than on the discomfort you are feeling at present.” »

— Timothy Snyder, On Tyranny: Twenty Lessons from the Twentieth Century

[voskhodart]

23 | corpse

Don't cry as if he wouldn't be proud of you. A thirst for patricide runs in the family.

[swayhere]

canon starter call - open to anyone !

i have a strong urge to write some canon muses, so if you would be interested in writing against any of the canon muses listed under the READ MORE below, please comment/IM me and i can send a starter your way or reply to one of your starters.

i do not require you to know anything about my muse's canon, but i'm more than happy to tell you about it if you ask. i'd be happy to write canon muses against your ocs! also, mixing fandoms is 100% ok with me unless your canon muse is problematic and makes me uncomfy. my canon muses do not have all their memories or relationships from their life unless we plot it, but they will have the same general personality/ambitions.

if you are willing to write against my canon muses but don't care which, just like this post, and i'll take a look at your open starters and/or send you a closed starter at random with a muse i think fits the vibe.

*please don't agree to write against my canon muses if you're one of those picky weirdos that will be up in arms if i don't write a cannon muse exactly how you would.

( if you'd prefer to write against an oc muse only, check this post. )

canon muses i'd like to write: bold = extra big muse rn. strikethrough = exclusive, so not rn.

muses from tv shows: 

911 — eddie diaz , evan buckley , athena grant , bobby nash , karen wilson

911: lonestar — carlos reyes , grace ryder , judson ryder , t.k. strand , owen strand

as the world turns — dr. reid oliver , luke snyder

boy meets world — shawn hunter , jack hunter , angela moore , topanga lawrence

chuck — sarah walker , chuck bartowski , bryce larkin 

degrassi — jimmy brooks , sean cameron , ellie nash , marco del rossi , sav bhandari , drew torres , zoe rivas , miles hollingsworth iii , tiny bell , esme song , 

gilmore girls — jess , luke

good trouble — gael martinez , jamie hunter , callie adams foster , mariana adams foster , evan speck , joaquin perez , dennis cooper 

how i met your father — sid , ian , sophie , jesse

how i met your mother — marshall eriksen , lily aldrin , victoria

how to get away with murder — laurel castillo , connor walsh , oliver hampton , michaela pratt , frank delfino 

jessica jones — jessica jones

lost — kate austen , juliet burke , daniel faraday , desmond hume , sayid jarrah , sun-hwa kwon , claire littleton , walter ‘walt’ lloyd , charlie pace , hugo ‘hurley’ reyes , shannon rutherford , miles straume 

new amsterdam — lauren bloom , elizabeth wilder , casey acosta

new girl — nick miller , winston bishop , cece parekh

one tree hill — nathan scott , lucas scott , keith scott , chase adams , brooke davis 

outer banks (obx) — jj maybank , kiara carrera

please like me — arnold 

rosewell, new mexico — michael guerin , maria deluca , isobel evans

scandal — olivia pope , prezzy fitz

scooby doo — daphne blake

stranger things — robin buckley , steve harrington , jim hopper , chrissy cunningham , eddie munson , max mayfield , eleven , mike wheeler 

superstore — jonah simms

the 100 — finn collins

the bear — richie jerimovich, carmy berzatto , marcus , sydney adamu  

the mindy project — danny castellano 

the office — ryan howard , jim halpert , pam halpert , kelly kapoor , holly flax

the politician — river barkley , astrid sloan 

the young & the restless — sally spectra , adam newman , chelsea lawson , phyllis summers , lily winters , sharon newman , chance chancellor , victoria newman , tessa porter , amanda sinclair , cole howard

younger — josh , kelsey peters

muses from books: 

along for the ride ( book version only ) — eli stock , auden west , maggie  

one of us is lying ( book version only ) — cooper clay , nate

red white & royal blue — alex claremont-diaz , prince henry , zahra bankston

we were liars — gatwick ‘gat’ matthew patil

muses from movies: 

dead poets society — neil perry , charlie dalton , todd anderson

harry potter — lee jordan

les mis — enjolras , grantaire 

super 8 — joe lamb , martin , preston

twilight — irina denali , jasper cullen

[lulu2992]

I watched Rebel Moon: Part Two – The Scargiver.

The film felt less “awkward” to me than Part One which, although I agree had flaws, I enjoyed and thought was unreasonably criticized. In my opinion, Part Two’s pacing was better, it was more suspenseful, more “epic”, and there were a few rousing moments. That said, it makes sense since A Child of Fire was mostly about recruiting and introducing a team of warriors while this movie is about them actually fighting.

It was already obvious to me that a lot of work had gone into this project, but then watching Creating a Universe - The Making of Rebel Moon confirmed this. They spent so much time building this world, its people, cultures, creatures, technologies, languages, etc. It feels like everything and everyone we see on screen was carefully crafted and has a detailed backstory. Also, they built a spaceship and an entire village, dug a river, created a field, organically grew wheat, and had the actors actually harvest it in the film! I think that’s impressive.

Zack Snyder had been building this universe in his mind for years, drew his own storyboards, and even assembled custom camera lenses because he had a very precise idea of what he wanted the movie to look like. It’s heartwarming to see that people (cast and crew) who worked with him defend the project and say how invested, respectful, and passionate the director was. For him and for the many equally creative, talented, and dedicated teams involved, I’m glad the artistic vision they shared at least had a chance to become a reality.

As imperfect (but honestly far from being as bad as people keep saying) as what we’ve seen so far may be, I still believe the saga has a lot of potential. We’ll only be able to properly judge it after seeing the long, R-rated versions of the films anyway (and hopefully a Part Three)...

In the end, though, I realize what I truly care about, more than how the story of Rebel Moon is told, is its universe as a whole, but also the passion of the many people who put their hearts and souls into bringing it to life to such a high level of detail. It exists, and as someone who’s been building many worlds in my own mind since I was a child, that makes me happy.