#i think the characters are fantastic and the story is solid and it's fun to play

[hotasfahrenheit]

my top 10 ql shows of 2024

we're a week into the new year already so i guess i should finally get this list posted ��👀👀

to make this list, i kept an ongoing note in my phone all year of all the ql shows i watched, and then i sat down a couple days ago (*cough*a week ago*cough) and rearranged them to figure out which ones were my favourites. i didn't have any kind of ranking system going through the year (besides being very sure by the beginning of february what was going to be my absolute favourite of the year- and i was right) so this was all based on the vibes i was feeling about all these shows as i made the list, thinking back on them over the year.

i had JUST finished one of these shows so that's part of why i wanted to let it sit for a few days- make sure my ranking wasn't skewed by the feeling of having finished a show then immediately making the list right after while it was fresher than anything else. a week on, i'm still solid on these. i think. i keep looking at this list and being like "wait, did i really love that show more than this other one? did i? how is that one not in the top 10? wait but the ones above it are also just so good" and if i don't just post a list then i'll never stop fidgeting with it, so here we go!

10 - 4Minutes

was 4Minutes perfect? no, but i enjoyed the twisting layers of narrative and the speculation and discussion around this show so much. there were multiple times i thought i had things about the story figured out, and i kept being close to correct, but it kept finding ways to surprise me anyway.

9 - Love Is A Poison

this show was an unexpected delight in so many ways. it was funny, it was smart, it was wild, it was bonkers, i hope they get to make more of it.

8 - Jack & Joker

the longing, the heists, the shenanigans, the friendships, the everything about this show. it got a lil shaky towards the end but on the whole it was such a fun time, and it's still so incredible and such a triumph that they even got this show made, and i love it forever.

7 - Meet You At The Blossom

ANOTHER TRIUMPH OF A SHOW. so pretty. so splendid. so many long sleeves being waved around. so much nonsense and adventure. a fantastic pairing of characters, a fun side couple, just all around perfection.

6 - Love Sea

does this show get a biased boost in the ranking because i love Fort and Peat so much and even an imperfect show with them in it was going to be something i loved? maybe. possibly. probably. Peat spent the whole time looking expensive and pretty, and Fort spent the whole time looking like he was going to devour him, and they're just so good together. sorry not sorry.

5 - 1000 Years Old

this show gets two gifs, because they're my gifs, and i loved it SO MUCH. definitely a weird little show, but it had so much heart, and the way the story built was incredible, and it was just such a warm, beautiful show about found family and embracing your weirdness and being yourself and also love. all about love. the deepest love, and patience, and being willing to try again no matter how many times it takes. also soup, and so many umbrellas.

4 - My Stand-In

(this gif is from this set i made)

this show. THIS SHOW. the acting, the story, everything about it was absolutely insane and was all-consuming especially towards the ending of it. i love stories with complex, nuanced characters, and i love actors who can make you angry with how good they are at playing terrible people. this show had me shouting in the group chat all the time and it was just such a wild ride. an EXPERIENCE from start to finish.

3 - Love In The Big City

an absolutely stunning work of art. i watched the first two episodes with @poetry-protest-pornography when it first released then we both got busy with life for a bit; i listened to the audiobook at work the last week of December and immediately slammed through the rest of the episodes compulsively. i couldn't stay away. i had to inject it into my being. i'm aware that i interacted with and experienced this story differently than a lot of people i've seen talk about it on here because it didn't resonate with me in all the exact same ways as i am a straight person, and i saw a lot of people talking about how deeply it spoke to them about the queer experience, but the themes of loss and loneliness and searching for purpose and meaning and love were universal enough that this show did a number on my heart and soul and still is echoing in me now.

2 - Let Free The Curse of Taekwondo

another stunning, emotional show. this story had me in its GRIP from the first episode and has still not let me go. it was a rollercoaster and was such a deep tale about forgiveness and finding ways to just live life and how it's never too late for a new beginning. about how sometimes you can't let go of people, and you shouldn't. about being able to find and keep love and joy even through the darkest times and places.

1 - Love For Love's Sake

aslkdfjhalsfkdjhafd obviously. obviously this was my number one. an absolute powerhouse of a story about love and acceptance and being willing to not only help other people take second chances on life, but allowing yourself to as well. about being willing and open to loving and caring for others, and loving and caring for yourself. about taking control of your situation and writing your own future. about love, for love's sake.

THAT'S THE LIST.

everything here is obviously my opinion, if there's a show you're curious about that you loved that you don't see here, comment and i'll tell you where it ended up in my longer list (unless it's something i didn't get to this year!) and let me know how my list compares to your faves!

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Bonus round: honorouble mention - Knock, Knock, Boys!

listen, as much as i loved all the other shows here, i considered making this a top 15 list instead of 10 because i loved this show so much and it didn't feel fair that it wasn't included. it was goofy, it was heartfelt, it was fun the whole way through and i really loved it a whole lot. 15 would have been too many tho, so this just gets an honourable mention at the end instead.

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any gifs in this post that don't have credit under them are ones i made! i don't have the time or energy to make new gifs for every show so i just pulled from things i'd already made and had on my hard drive, or used ones made by others where needed. thanks to the other gif makers whose stuff i used!

[sunsetzer]

I still don't entirely understand why Minrathous didn't do better against the dragon attack when they had three party members, the Shadow Dragons, the Templars, the city guards, and a goddamn death laser from the archon's palace?? Like, whether the Venatori had their hands in the situation or not, it doesn't feel realistic that every city guard and templar did nothing because they'd been paid off or something. I know it's because Rook is the ProtagonistTM but why is their presence that important? It's not like they're the only one in the world who can kill a dragon like in Skyrim with the Dragonborn.

[designernishiki]

I feel like I liked yakuza 5 a lot more than most people for some reason

[lyricthecat-12]

I urgently needed to talk about the last scene between Sonic and Shadow in the third movie, because I think what they did is simply beautiful. 🥹💙❤️🖤

Before Sonic 3 came out, there was debate over who would be the one to change Shadow's mind since at that point, there was no solid indication that Amy or Rouge would appear. I was a fan of the idea that maybe they'd have Jojo be the one to remind Shadow of Maria's wish, since she was an established character from the start and fits the profile like a cheerful, caring, and optimistic girl.

However, seeing that in the end they made it so that Sonic was the one who talked to Shadow and convinced him to fight to save the world, surprised me and at the same time fascinated me infinitely more. Because they managed to make the change organic by connecting it with narrative elements that were also raised and developed from the beginning; Sonic's grief over losing Longclaw and his paternal relationship with Tom, making this moment something special and significant for both of them:

It is a moment of connection and understanding between two people who have lost the person who was once the most important in their lives, who loved them when no one else did and gave them a home,

That for a long time they had to deal alone with the pain and guilt of having been the trigger for their deaths but, as they emphasize in the film, While Sonic was able to find a family that would love him and help him get better and cope with that pain, Shadow was alone and the only person he interacted with after awakening, only manipulated him in order to fulfill his revenge.

Until this moment, where Shadow finally meets someone who not only knows his pain perfectly but has also learned to move forward and not let it corrupt him even in the most difficult moments, and who in turn motivates him to do the same.

All of this contributes fantastically to their connection, as it is no longer just that their personalities and ways of acting are opposite, but also the way in which their stories correlate and at the same time distinguish each other, creating a new and emotional parallelism between them: They are two sides of the same coin, two extremes that ultimately come together to bring out the best in each other.

Which is beautifully reflected throughout the final battle. Sonic and Shadow display effortless synergy, supporting each other, backing each other up, and even casually joking around.

A good reminder of the great chemistry and dynamism they used to have years ago. Unlike now that they make it seem like Shadow barely tolerates Sonic, before they both had a friendly rivalry where they respected each other, valued each other and helped each other without problem. And I'm really glad the movie brought back some of that dynamic and reflected it in such a natural and fun way, and I hope that continues for future SCU projects instead of sticking to the current direction.

And I'm not just saying this because I'm a fan of Sonadow, but because I genuinely believe that this is the most natural direction for their relationship after all this time.

[blluespirit]

Overall NATLA Thoughts

Okay, now that I've watched the series, I can give my thoughts.

Overall, I thought it was good!!! I had fun watching it! I'd rate it a solid 6.5/10. It's nowhere as good as the original, but it was definitely enjoyable and made some nice changes here and there that I liked. There were also some things I was also Not a fan of too.

I said in another post that it's best to treat this like an AU of the original. There will things that are great and things that are bad. That's the nature of adapting something.

Having said that, I need to get my initial thoughts off my chest... here we go.

Things I thought were good:

Sokka's characterisation - I really enjoyed him! I thought Ian did a good job! He played the funny moments well and retained the underlying seriousness/cautiousness. It wasn't perfect, but I enjoyed the changes a lot and think it was overall a solid performance.

Zuko's characterisation - Like Sokka, I do think I was most satisfied with their performances. A lot of Zuko's moments from the cartoon are sometimes... well, cartoonish and definitely wouldn't translate to live action, but I think Dallas did a nice job at balancing Zuko's desperate anger and that occasional sassiness well.

Zuko and Iroh moments were great. Had me on the floor crying. As it should have.

The bending looks a trillion times better than the movie - I understand it would not have been easy for the actors but, overall, I was very happy about it.

The scenery was stunning. It just looked so beautiful. I loved it so much.

Absolutely ADORE that they made Zuko a good calligrapher and artist. I read a fic about a million years ago where Zuko is a fantastic calligrapher and I thought it was perfect and made so much sense, and now I can say it's canon. This is perfect for me.

S U K I

The Freedom Fighters were ✨ perfect

They were so real for making Oma and Shu lesbians

Koh, Wan Shi Tong and Hei Bai looked fantastic, but I have more to say about all of them below, unfortunately.

I actually like the change they made that Katara is Aang's sole waterbending teacher.

Aang is not perfect, and needed more goofy scenes HOWEVER, I did like how they've had Aang's guilt more prominent in the story. The original didn't do a very good job with that, imo.

Zuko entering is breaking and entering era by breaking into an impenetrable Earth Kingdom prison is just perfect.

In Masks, I like how Aang and Zuko got a longer conversation - that was pretty cute.

I liked how they changed Yue a bit and got her out of the arranged marriage... how Yue saw Sokka in the Spirit World before meeting him in the real world.

Things I didn't like:

Far too much info-dumping/exposition. So much spelling things out. It was not as egregious as the movie, and I get there's a lot of information that needs to be conveyed well and quickly... but sometimes it really took me out of the show.

Why are Mai and Ty Lee here.... I was hoping the live action would give them a bit more depth (and they might as it goes forward!), but why put them in season 1 at all if they're just going to stand around???

Some odd changes - putting this as one point, but there are some bizarre changes that didn't make sense to me, as they did not benefit the story or deepen the characters. I have two main examples: a) making it so Aang didn't run away from home, and b) making it so Zuko actually fights Ozai in the Agni Kai.

Characterisation of Katara was Not Great. I don't think I got many hints of the reckless, compassionate, badass Katara until the end when she fights Pakku and rallies all the women together to fight (which happens off-screen). She was sweet and kind, but she just lacked the fire that OG Katara has.

Azula's characterisation - Azula is desperate to impress Ozai and so her character is just…. brewing with anger, frustration, desperation. I was SO excited to see the Azula we are introduced too… perpetually and irritatingly calm, calculating and ruthless. She's perfect, she's terrifying! She's literally the character of all time. But this Azula had more Zuko vibes? I don't think there's anything wrong with giving Azula more concrete motivation by wanting to impress Ozai and establishing that Ozai is abusive to both his kids, but I do think trying to do that right off the bat is a mistake.

WHY is Wan Shi Tong here. I love Wan Shi Tong, but like I said: Why Is He Here? Why could we not have his iconic, ominous as fuck introduction from The Library, and instead he's introduced in a random season 1 episode giving Aang Information(tm) about the Spirit World.

When Aang gave Koh the statue, and then he just takes it and immediately lets all the villages go, and neither of them even say anything, I actually laughed out loud. Like, I am so sorry, but what in the jesus fuck was that.

Speaking of Koh - I think Koh is better the less we know about him. Roku saying ~all Koh wants is a family like the rest of us~ just pissed me off?? I like my Koh the Face Stealer Terrifying and Unknowable, thank you.

NOTHING EVER REALLY HAPPENS WITH HEI BAI!!?? where's my precious spirit bear?? Like Aang never really does anything with him and the replacement Koh story is boring and it sucks.

Bumi.... sorry I just didn't vibe with him at all.

Things I can't decide on:

Fancy spirit knife to kill the moon spirit annoyed me a bit, but I guess they wanted to Kuruk something to work with and a little bit more interaction with Aang which I get but idk. I really flip/flop on this one.

I've been very on the fence about having Azula (and Ozai) being in the show in season 1 in general. I'm not sure if it benefited either of their characters.

Azula & Ozai's dynamic - Okay, so, I think they're trying to give Azula more depth, right? They're trying to establish what it was like for Azula to live with Ozai and that she's also (like Zuko) trying to desperately prove herself to him, but Ozai using Zuko's... achievements to do that just felt so weird. I get he's doing it to manipulate her, but that just felt so wrong when in canon it's very obvious that Ozai just didn't give a single fuck about Zuko. Ozai pits Azula against Zuko by saying he's a failure, he's a bad bender etc. Azula is born lucky, Zuko is lucky to be born - like, Ozai says that to Zuko's face. I don't know if I am communicating this point very well, but it just didn't seem right to me??

Zuko vs Zhao in the Siege of the North... I genuinely do not know how to feel about it! I didn't love it, I didn't hate it. I don't know how to feel about Zhao telling Zuko that his mission is a sham and that Azula is the prized one... It feels like it's saying the quiet part out loud? In the OG we all know that Ozai sending Zuko on that mission was an excuse to get rid of him, but we can work that out, no one actually says it. And then Iroh just fucking killing him/mortally wounding him instead of the Iconic scene where Zuko reaches out to save him despite everything Zhao has done to him, but Zhao's own pride gets in the way from letting him accept help from Zuko.

Zuko’s crew being the 41st is not necessarily a bad thing at all!!! But I do just want to say that in the original, the attack goes ahead, and presumably, those soldiers die. It’s horrible. Zuko’s sacrifice is in vain, and it was always going to be in vain because the Fire Nation as it stands would not allow Zuko's compassion to win. Ozai would not allow it. While not necessarily a bad choice (all the soldiers bowing to Zuko on the boat was so sweet I loved it!) but I think it does take away some of the horror of Zuko’s story (same as it does with making Zuko fight back in my opinion) because the whole point is that Zuko did the right thing - and he was punished for it, and those soldiers died anyway.

anyway...

Okay!! got that off my chest. I know I just had a big whine here, but I still had a lot of fun watching this show. I think some of the backlash is a bit over the top and unwarranted. It was never going to stand up to the original - and that's okay.

Enjoy it for what it is!

[dorothylarouge]

Dorothy's Big List of Comic Book Recs - DC Comics Edition

I often get asks about getting into comic books, and how daunting it seems, given the huge back catalog of titles and issues available. I'm here to tell you it doesn't have to be scary! From miniseries that act as good introductions to characters to runs on ongoing titles by individual creators that serve on jumping-on points, there's lots of ways to get into comics without having to have a lot of background knowledge, and I'm going to give you a lot of potential places to start. Please note that this post only covers DC Comics; Marvel and indie lists will follow! Also note that I haven't read everything, and I won't recommend something I haven't read, so a few runs or books some consider must-reads may not be on here. This is based purely on books I have read and enjoy, and that I think are suitable for new readers. I'm also not including books from the Milestone and Wildstorm imprints as they're kind of a separate sphere to me, although some Vertigo books may be included.

SUPERMAN

All-Star Superman by Grant Morrison and Frank Quitely: This is the book that made me a Superman fan. It is an out-of-continuity celebration of Superman and his world, and an exploration of why Superman as a character has endured for nearly a century.

Superman For All Seasons by Jeph Loeb and Tim Sale: A gorgeously-illustrated and Americana-flavored recounting of Superman's early years in Metropolis, anchored narratively by the changing of the seasons.

Superman: Birthright by Mark Waid and Lenil Francis Yu: For my money, the definitive origin story for Superman. Great characterization of the entire supporting cast, including Lex Luthor, make this a perfect entry point into the character and his world.

Action Comics (1939) and Superman (1939) by Jerry Siegel and Joe Shuster: The earliest Superman stories are still really great, and have a populist edge that many later stories sanded down. They're pulpy and fun and I recommend them!

Action Comics (2011) by Grant Morrison: This run spans issues 1-18, plus a special issue 0, of the series launched as part of DC's mostly-failed 2011 reboot, and covers Superman's early years in this continuity. The early issues bring back some of the edge that was present in the Golden Age comics, and the rest of the run is solid stuff as well. Morrison always comes highly recommended.

Superman: Red and Blue: An athology series that focuses on a broad sampling of Superman's world and supporting cast, written and drawn by various creators.

Action Comics (1939) by Geoff Johns: Specifically, I would say that issues 855 to 870 are a good span to be checking out for Geoff Johns' run on the book. These include some great stories focusing on classic Superman villains such as Bizarro, Toyman, and Brainiac.

Superman Smashes the Klan by Gene Luen Yang and Guruhiru: An adaptation of a classic Superman radio story set in the 1940s and focusing on Superman's place as an immigration narrative. And Superman gets to rough up some Klansmen!

Man and Superman by Marv Wolfman and Claudio Castellini: Another story of Superman's early years, this one focusing on his struggles to adapt to life in the big city after moving from Smallville, as well as his first encounters with Lois Lane and Lex Luthor.

Superman: Up in the Sky by Tom King and Andy Kubert: A lovely self-contained story which demonstrates just how far Superman will go to save a single life.

Superman (1939) by Elliot S! Maggin: This mammoth run spans issues 247 to 400 of the classic title, and includes some fantastic stories such as "Must There Be a Superman?" (issue 247), "The Greatest Green Lantern of All" (issue 257), and "The Living Legends of Superman" (issue 400)

Superman (1939), Adventure Comics (1938) and Action Comics (1939) by Mort Weisinger: This run spans a lot of the Silver Age era of Superman, including Action Comics #241-392, Superman #120-231, and Adventure Comics #247-396. It's a lot of issues, but in those days you can mostly read them in any order since they're pretty self-contained. This run includes a lot of classic villains and stories, as well as the earliest adventures of the Legion of Super-Heroes.

Supergirl: Woman of Tomorrow by Tom King and Bliquis Evely: A spacefaring take on a True Grit-style western with gorgeous art, and a definitive story for the Girl of Steel.

Superman’s Pal, Jimmy Olsen (2019) by Matt Fraction and Steve Liber: a madcap romp and a delightful sendup of Silver Age weirdness.

BATMAN

Batman: The Long Halloween and Batman: Dark Victory by Jeph Loeb and Tim Sale: Another Loeb/Sale joint, focusing on Batman's earlier years and the transition of Gotham's underworld from the mob to a coterie of costumed kooks.

Arkham Asylum: A Serious House on Serious Earth by Grant Morrison and Dave McKean: An examination of the facility housing Batman's rogues, and what those rogues symbolize in his world.

Batman (1940) by Dennis O'Neil: This is a classic run which re-established a dark tone for the Dark Knight which has endured to this day. The run spans Batman #224-268, along with a handful of issues of Detective Comics. Among the major developments of this run are the introduction of Ra's al Ghul and his daughter Talia.

Batman: A Lonely Place of Dying by Marv Wolfman, George Perez, and Jim Aparo: The definitive story about why Batman needs Robin. Read it in trade since the story spans both the Batman and New Titans titles.

Batman by Grant Morrison: I'm hesitant to include this because it delves so deep into Batman lore, but it really is essential reading, introducing Damian Wayne along with other concepts. Please do disregard Morrison's frankly appalling characterization of Talia. Read in omnibus format as the run spans multiple titles.

Batman: The Killing Joke by Alan Moore and Brian Bolland: It's cliche at this point but the story still is fantastic and one of the best Joker stories ever written.

Batman: No Man's Land: An epic storyline across many titles dealing with Gotham being cut off from the US after a massive earthquake and Batman's efforts to keep the peace in an abandoned city. Read in trade format.

Batman (2011) by Scott Snyder: This run spans issues 1 through 51 of the New 52 relaunch, and introduces concepts such as the Court of Owls. It's a fun run, including a brief period where Jim Gordon acts as Batman.

Batwoman (2011) by J.H. Williams III and W. Hayden Blackman: A gorgeously-illustrated book about Batman's cousin and her adventures as the Batwoman. Worth reading for the art alone.

Nightwing (1996) by Chuck Dixon: Dixon's a tool but this is still the definitive Nightwing run. This run includes volume 1 of Nightwing, a 4-issue mini, as well as issues 1-70 of volume 2, which establishes Dick's home base of Bludhaven as well as his rogues' gallery.

Detective Comics (1937) by Paul Dini: This run spans issues 821 to 852, and features some great stories by one of the great Batman writers and a co-creator of the classic animated series.

Robin (2021) by Joshua Williamson: A great run that helps to flesh out Damian Wayne's place in the DC Universe.

The Boy Wonder by Juni Ba: A great story with gorgeous art that focuses on Damian Wayne and his relationships with the other members of the Batman Family.

Batgirl (2000): The first series to focus on a Batgirl, specifically Cassandra Cain, the best Batgirl, as she struggles to adapt to life after an abusive childhood being raised as an assassin.

WONDER WOMAN

Wonder Woman (2006) by Gail Simone: Simone's run is the longest that a woman has ever written comics' premiere female superhero, and it's just good comic book fun. The run spans issues 14 to 44.

Wonder Woman (1987) by Phil Jimenez: Jimenez's childhood love of Wonder Woman shines through in his run, which placed a renewed focus on Diana's supporting cast and especially her family. The run spans issues 164 to 188.

Wonder Woman (1942) and Sensation Comics (1942) by William Moulton Marston: Wonder Woman's creator laid down the basics of the character and her world, and those early Golden Age stories are still a great read. They're fun, engaging - and more than a little kinky with hindsight.

Wonder Woman (1987) by Greg Rucka: In the early 21st century, Greg Rucka was The Guy for writing female superheroes, and his run on Wonder Woman is great. It features Diana becoming an ambassador, writing a book, fighting Medusa, and matching wits with Veronica Cale, her own Lex Luthor. The run spans 196-226. I must also mention Wonder Woman: The Hiketeia, also by Rucka, which is a Greek tragedy where Diana finds herself torn between duty and justice.

Wonder Woman Historia: The Amazons by Kelly Sue DeConnick: A beautifully-illustrated story of the Amazons and the Greek goddesses, which lays the foundations for Wonder Woman's world.

Wonder Woman (1987) by George Perez: This run reintroduced Diana after Crisis on Infinite Earths, and the first 25 issues feature Perez's simply-unmatched artwork. The whole run spans the first 62 issues of the book, and serves as a blueprint for most subsequent takes on the character.

THE FLASH

Flash Comics (1940) and All-Flash (1941): The Golden Age Flash and his early stories by his creator Gardner Fox. Must-read if you're interested in Jay Garrick, the first Flash.

Showcase #4, 8, and 13, and The Flash (1959): The Silver Age Flash, Barry Allen, made his debut and early adventures here. Much of the art is by the great Carmine Infantino, and Gardner Fox returned to write some stories. The whole concept of the multiverse debuted in this run.

The Flash (1987) by Mark Waid (as well as Grant Morrison and Mark Millar): This run starts in issue 62 and lasts until 162, with a brief run by Grant Morrison and Mark Millar towards the end. This run is the definitive Flash run, focusing on Barry Allen's protege Wally West maturing in the role of the Flash and establishing himself as the true fastest man alive.

The Flash (1987) by Geoff Johns: This run spans issues 164 to 225, and refocuses the Flash's traditional rogues' gallery, offering modern origins for many of them, while also introducing new foes like Girder, Blacksmith, and a new Reverse-Flash.

The Flash (2016) by Joshua Williamson: This run spans issues 1-88, as well as 750 to 762 of the relaunched volume 1 of the book. I hate the recentering of Barry Allen from 2009 to 2019, but Williamson's run is the most tolerable, and serves as a love letter to the Flash, while also setting the stage for Wally to return as the primary holder of the mantle.

The Flash (2023) by Simon Spurrier: The current run of the Flash, it focuses on Wally as the main Flash and the Flash Family as an ensemble. The extended first arc features a threat to time itself, and goes into some really surreal and experimental territory for a Flash book.

Impulse (1995) by Mark Waid, et al.: A more lighthearted and comedic companion book to Waid's run on Flash, this book focuses on Bart Allen, Barry's grandson, who was raised in the future and has the attention span of a goldfish, as well as his relationship with the zen guru of speed, Max Mercury.

GREEN LANTERN

The Green Lantern (2018) by Grant Morrison: A police procedural starring Hal Jordan that gets into some pretty freaky territory, with gorgeous interiors by Liam Sharp.

Green Lanterns (2016) by Sam Humphries: A buddy cop type title focusing on the team of Simon Baz and Jessica Cruz. Humphries' run spans the first 32 issues of the book.

Far Sector by N.K. Jemisin and Jamal Campbell: A murder mystery in space which establishes a new Green Lantern, Jo Mullein. Super easy to get ahold of since it was rereleased as part of DC's Compact Comics line of $9.99 trades.

Green Lantern/Green Arrow (1970) by Dennis O'Neil and Neal Adams: This run brought a social conscience to comics as Green Arrow was reinvented as a left-winger and a man of the 60s counterculture, joining Green Lantern on a quest across America. The run spans issues 76 to 89 of the book.

Green Lantern (1990) by Ron Marz. Marz's run starts in issue 48, and sees the Green Lantern paragon Hal Jordan descend into darkness before being replaced as defender of Earth by Kyle Rayner. The run lasts until issue 125, and as Kyle is my favorite Lantern I have a fondness for it.

Green Lantern (2005) 1-67 and (2011) 0-20 by Geoff Johns: Johns brought Hal Jordan back as the main GL, and his run expanded the world of Green Lantern by introducing the emotional spectrum. His run is the basis for most Green Lantern lore going forward, and is pretty essential reading.

Green Lantern: War Journal by Phillip Kennedy Johnson and Montos: A 12-issue series featuring John Stewart as he ventures into space to fight a dark force corrupting life in the galaxy. The new definitive John Stewart run.

TEAMS AND TEAM-UPS

JLA by Grant Morrison, Mark Waid, Joe Kelly, et al.: This was a back-to-basics approach to the Justice League with a core group of characters. Morrison's run on the book is probably the best, but Waid and Kelly also bring in some good stories.

Justice League of America (2007) by Brad Meltzer and Dwayne McDuffie: Another relaunch of the time, this time with a large roster inspired by the classic 1970s era of the League. Some great stories in this run, including a crossover with the Milestone characters.

JSA (1999) by Geoff Johns, Paul Levitz: The first team in comics was relaunched in the 90s by Geoff Johns, who established the Justice Society as a family first, later bringing in the Marvel Family for some great stories fleshing out Black Adam's character.

Justice Society of America (2007) by Geoff Johns: Johns' second run on the JSA is a continuation of the first, with a focus on legacy and new heroes reclaiming the mantles of Golden Age heroes. Introduces the delightful Maxine Hunkel as the wind-powered Cyclone.

New Teen Titans by Marv Wolfman and George Perez: Lightning in a bottle. This book likely saved DC after the disastrous DC Implosion. The best Titans run of all time, quality of art and writing that has never been recaptured with this team. If you loved the cartoon as a kid you will love this book.

Young Justice by Peter David and Todd Nauck: For all intents and purposes, the Teen Titans for the 90s generation. Funny, heartfelt, with great cartoony art by Nauck.

Doom Patrol (1987) by Grant Morrison, Rachel Pollack: A truly, wonderfully weird tale of the most off-beat superheroes of all, with themes of identity, life, and art woven throughout.

The Terrifics by Jeff Lemire, Gene Luen Yang: At a time when Marvel was treating the Fantastic Four like dirt, DC put out their own version, which captures the wonderous adventure of a Silver Age science fiction book with some great character work from a great core cast. A thoroughly underrated title.

Suicide Squad (1987) by John Ostrander: An often darkly-humorous book about a team of second-string supervillains coerced into doing the government's dirty work. The definitive Suicide Squad run.

Villains United (2005), Secret Six (2006), and Secret Six (2008) by Gail Simone: A group of supervillains forced together by circumstance and find themselves working together as mercenaries. A real found family of freaks type of situation.

Legion of Super-Heroes by Paul Levitz and Keith Giffen: This run spans issues 282 to 313 of the 1980 book, and 1 to 63 of the 1984 book. Includes some of the greatest Legion stories, including the Great Darkness Saga.

Birds of Prey (1999) by Gail Simone: This run covers issues 56 to 108, and focuses on female heroes kicking ass, basically Charlie's Angels with superheroes.

Batman/Superman: World's Finest by Mark Waid and Dan Mora: A team-up book between Batman, Superman, and the DC Universe, set earlier in their careers.

Justice League International (1987) by Keith Giffen, J.M. DeMatteis, and Kevin Maguire: As much a workplace comedy as a superhero book, this is a very different take on the Justice League, from the time when "bwa-ha-ha" ruled the DCU.

THE FOURTH WORLD

The Fourth World Epic by Jack Kirby: Read in omnibus or trade format. The first stories of the Fourth World from the King of Comics, Jack Kirby. The story spans Kirby's run on Superman's Pal Jimmy Olsen, The New Gods, The Forever People, and Mister Miracle, and ends in The Hunger Dogs.

Orion (2000) by Walt Simonson: A follow-up to Jack Kirby's epic, this book focuses on Orion, the son of Darkseid, and his quest to vanquish his father once and for all.

Bug! the Adventures of Forager by Lee Allred and Mike Allred: With Mike Allred's striking artwork, this book serves as a love letter to Kirby's time at DC Comics.

Mister Miracle (2017) by Tom King and Mitch Gerads: A slightly-psychedelic take on the Fourth World, focusing on Scott Free and his family with the backdrop of a bloody war unfolding between New Genesis and Apokolips

New Gods (1989) by Mark Evanier: This was a return to form for the New Gods, who hadn't had a lot of new stories to themselves since Kirby left DC, and it's a great read.

AND THE REST

Green Arrow: The Longbow Hunters (1987) and Green Arrow (1988) issues 1-80, by Mike Grell: Probably the definitive Green Arrow run. Political, edgy, and mature.

Animal Man (1988) by Grant Morrison: A fun and surreal series of adventures featuring one of the DCU's unsung heroes.

Booster Gold (1986) by Dan Jurgens: A Reagan-era story of a money-obsessed celebrity superhero rediscovering the altruistic spirit of a true hero buried deep within him.

Zatanna: Bring Down the House by Mariko Tamaki and Javier Rodriguez: A quest through the realms of magic as a reluctant witch gets caught in the crossfire of a mystical war.

Amethyst, Princess of Gemworld (1983, 1985, and 1987): For fans of magical girls and sword and sorcery, this is a must-read. A girl from Earth discovers she is the princess of a mystical realm and embarks on a quest to save it.

The Question (1987) by Dennis O'Neil: A grounded, philosophical story of a man trying his best to make things better in a city abandoned to corruption and decay.

Monkey Prince by Gene Luen Yang and Bernard Chang: Drawing on Chinese mythology, this book focuses on an unlikely superhero with connections to the monkey king, Sun Wukong.

Blue Beetle (2006) by John Rogers and Keith Giffen: Giffen leaves after issue 10, but Rogers continues until issue 25, and the rest of the volume is pretty decent as well. It establishes Jaime Reyes as the Blue Beetle, and if the cards had been better he could have easily become DC's answer to Spider-Man. Ah, well. It's always nice when he gets a book, and this is probably the best one.

Galaxy: The Prettiest Star by Jadzia Axelrod and Jess Taylor: a YA graphic novel featuring a transgender alien princess. What's not to like?

Hawkworld (1989 and 1990): A science fiction epic of Thanagar, world of the hawks. A great read on its own, but it unfortunately did a lot of damage to the continuity of the Hawkman family of characters.

Hawkgirl (2023) by Jadzia Axelrod and Amancay Nahuelpan: A fun little miniseries focusing on Kendra Saunders moving to Metropolis and having to deal with the trauma and hardship of her past. Guest starring Galaxy from that other book!

Starman (1994) by James Robinson: A grungy, Gen X book about legacy and what we leave behind, with plenty of hooks for the new reader to investigate regarding the Golden Age superheroes.

The Power of Shazam! by Jerry Ordway: The post-Crisis take on Captain Marvel and the Marvel family. A great read, and the last great run for the classic versions of these characters.

Sandman (1989) by Neil Gaiman. Obligatory Neil Gaiman is a piece of shit out of the way, his Sandman book is a beautiful and at times horrifying read, and its importance as a story manages to outweigh my disdain for its creator.

Swamp Thing (1982) by Alan Moore and Steve Bissette: Moore's run begins in issue 19 and ends in issue 64. This is the definitive Swamp Thing run, which set the standard for all to follow. It's a creepy and often touching story which remains some of Moore's best work in the medium.

[eponymous-rose]

Some (many) thoughts on Arcane s2 while it's still fresh in my mind:

(tw: discussion of fictional depictions of suicide)

I'm gonna do some nitpicking here, but only because I really did like it overall - I think for me s1 was a solid 10/10 and this season was an 8.5/10, so I'm certainly looking forward to rewatching it! The animation was a big step up from s1's incredible work, the music was great, the performances were fantastic. I do think the overall writing/story fell down a bit, though.

It's weird, because my go-to when character arcs feel rushed is to want more episodes, but I don't think that necessarily would have solved my issues with this season.

Cait turned on Ambessa on a dime - we love to see it, but I think we maybe needed a few more overt hints of her discomfort with her position, maybe a sense of wrongness in their adoptive relationship and some parallels with Jinx & Silco given what Vi says early on ("why are you the one acting like her?"). Ambessa believes her daughter to be lost, and Cait has lost a mother - they were certainly playing on that substitution, but the eventual turn, while fun, felt a bit quick and unearned. I saw someone joke about the word "Cupcake" flipping Cait back like a sleeper agent, but that's kinda how abrupt things felt.

I think Mel's plot largely hung together okay, although it was pretty disconnected from everyone except Ambessa - would've loved to have seen some acknowledgement that Cait was filling her shoes as Daughter for a while there.

Isha was sweet and I liked the parallels with the Powder-Vi relationship (LOVED Jinx running with the pink chalk and Isha with the blue), but I think the sacrifice metaphor got a little muddled. The parallels with Powder charging in and killing everyone around her, versus Isha charging in and saving everyone but herself felt a little forced and I struggled to see how they served the greater narrative. The whole point of Powder's failure was a messy combination of bad luck, overcompensating for what she perceived as a lack of confidence in her, etc. Isha had Jinx's confidence on her side, I guess, and now of course we have the foreshadowing of Jinx dying to save someone else, which she's been trying to do since Act II.

Suicide was a pretty heavy concept throughout the first season. We had the parallels of Jayce and Viktor, we had the little-remarked-upon moment where Viktor hesitates before cutting the wire on Jinx's bomb. I actually think this season did pretty well with those two (although I'll talk about a couple things that irked me below), but the concept that we can't escape the things that we've done and we instead have to find salvation in those around us felt kind of contrary to Jinx's finally finding a way to die for her sister. I don't know that Jinx's story was necessarily supposed to feel satisfying or complete, but without another season there's not much to dig through there.

And that brings up the main reason I don't think more episodes would have resolved my quibbles with this season: it was pretty prone to overexplaining. To me, one of the most exceptional things about that first season was how little it explained. You had these gorgeous, evocative flashes of Vander trying to kill Silco, Silco stabbing him and fleeing into the night, and that's all we needed! That's it! We didn't need to know the specifics, we didn't need more backstory than that - the whole point of the season was that these kids are trying to make their own stories, and these guys have set the stage and are in the process of bowing out. Much as I loved the glimpses this season into the past generation's adventures, it felt like it was pinning something down that was more effectively left to the imagination.

There were also some weird fumbles with discussions of disability, especially in that last episode. I loved so much of what season one did with it - the older generation of Zaunites almost all had some form of disability due to the way they'd been systematically poisoned and their constant exposure to danger, and that was a really in-your-face way to challenge the early "why can't we all get along" stuff. And so much of Viktor's and Jayce's arcs are tied in with the sense of time running out and how Heimerdinger's long-term goals are incompatible with helping the people suffering right now. But instead we get this weird "you didn't like your imperfections so you tried to eliminate all imperfections", which doesn't quite ring true.

We just fundamentally didn't get to a resolution that I think was heavily implied, especially in Act II. "No one in power is innocent" is a great, raw line, but we didn't really see it play out. Instead, we have everyone stopping from othering each other in order to band together against an even bigger Other. As a side note, I don't think that Sevika's ending is meant to be a positive thing - we see from the skeptical looks of others that she's got a long road ahead. The revolution we saw coming just sort of fizzled out, and I think it's still on the horizon, which makes things feel incomplete.

There were also a lot of notes that repeated instead of echoing or harmonizing. We had variations on the theme of Vander dying three different times. We had Vi being unable to kill her sister several times. The repetition felt a bit like it was filling time instead of moving things forward the way s1's plot kept pushing.

This season is also the first time I felt the hand of League of Legends Canon shoving the plot into place. We knew Vi was heading for that enforcer uniform, but after the initial conflict it sometimes felt more like we just unlocked a new skin for the character. The Vander-as-Warwick stuff was kind of silly and out of left field, although it was executed pretty well and certainly pulled at the ol' heartstrings. Ekko getting his time abilities was fun and impacted the final fight, but I feel like we were missing something there as well that I'm having a harder time putting my finger on. Some of Viktor's lines felt designed to make the League players in the audience go "HE SAID THE THING". And I hate the feeling of setting up the Next Installment in the Cinematic Universe, probably just because I'm exhausted with Marvel stuff - I'd love for an adaptation like this to be able to really and truly stand on its own.

Overall, it just felt less like the characters were driving the story and more like they were ticking off boxes, which is just something that any good finale has to contend with one way or another.

Anyway, that's a lot of nitpicking. Fundamentally, this felt almost like it was a really strong fic that did a surprisingly good job of wrapping everything up and was stunningly put together in places... but still lacked the spark of the original.

Stuff I loved: Vi/Cait getting a pretty strong arc and certainly the first lesbian sex scene I've ever seen in a TV-14 cartoon. Animation and score was stunning. I did love the what-if of episode 7 - something I've been waiting for them to acknowledge is that literally everything that happens in the show follows from that one break-in during episode one. I actually think Vi and Jinx's reunion and reconciliation felt earned.

I'm curious how I'll feel on subsequent rewatches - the first time I watched s1, I remember being blown away but not in a "this is the best thing ever" way, and it wasn't until the second time that it really clicked for me.

[lurkingshan]

A list of sins in the Wandee Goodday finale

Yak finally confessed that he is still having hallucinations when he steps into the ring—and Dee did NOT tell him to bow out of the fight.

Dee magically cured Yak’s years long trauma ringside and there were zero consequences for Yak lying and hiding his mental health struggles for the entire show.

Yak gave a big speech about Dee believing in him more than he believed in himself—which is not the actual story we got on our screens. Cool fanwank of your own show, though, I guess!

The show began with telling us that Yak could not be out with a man because of the effect of homophobia on his career, and now he’s doing love confessions in the ring and this is apparently fine. Add it to the list of GMMTV shows trying to have it both ways with the bubble.

They only gave us Kao’s love story via a retrospective exposition dump and an awkwardly shoehorned in asexuality PSA. They could have actually written him a plot and showed us these themes, but I guess that was too much to ask.

The money problems magically went away by Yak winning one fight, and there was no fallout for Yei hiding things from Cher.

Ter and Taem were paired up as expected—A POX ON YOUR HOUSES WRITING TEAM. Everyone who caught the signs that they intended to redeem Ter was correct; I have no idea why they chose to have him harass and assault Dee when this was their intention the entire time. Pairing him with a character who survived a different assault makes it so much worse. Just another sign of the poor judgment behind this show.

Yak’s graduation becomes a background detail handled with a two second appearance in a montage.

And instead we spend time on a very strange PSA telling us that old people have sex, too? How this is relevant to anything I could not tell you.

Continuing their bad dynamic from the entire story, Dee pretends he’s not going to thank Yak in his little beauty pageant speech (that he’s giving for receiving a professional scholarship, for some reason). Contra the writers of this show, I don’t actually think it’s funny that Yak feels so insecure and Dee is always fucking with him.

DEE SANG A GODDAMN SONG. WHY?!? This show has just gotten so embarrassing.

Dee finally asks Yak to be his “real” boyfriend, but it has no meaning because he already has been for weeks. And they already did the big public kiss moment in episode 11! It’s like they wanted the tension of not letting them get together until the end but were not willing to sacrifice the weekly ship moments so they tried to have it both ways. It just did not work. Tell a good story or make a branded pair content vehicle removed from story, you can’t do both.

They made Yei and Cher’s wedding kiss so weird by having Yak and Dee do it first whyyyyyyyyyyy

Welp! At least I got to see Oyei and Cher get married; I’ll be hanging onto that one.

This one goes down as the show that finally pushed me over the edge re: GMMTV and their tendency to start strong before completely losing the plot. I was primed to love this show and it thoroughly let me down. None of the threads they set up at the start were followed through and virtually nothing that happened in this story had real consequences or meaningfully mattered. What an absolute waste of a fantastic cast and a solid and fun premise. I will be skipping most GMMTV dramas going forward unless I hear they hold up all the way through.

[gffa]

Hi, since you’ve been reading the star wars books, do you have one you’d recommend as a starting point for someone who’s never read any of them and is interested in seeing what they’re like?

Hi! This is going to be very subjective, given that I'm not sure what your favorite characters are or which era you're interested in, and if you're interested in the best books out there or ones that typify what the books are overall like. BEST BOOKS: - Revenge of the Sith novelization by Matthew Stover, god-tier ability to take my favorite SW movie and make it even more emotional and hard-hitting. It adds even more depth to the story, has beautiful writing, and just is a really satisfying read imo. - Padawan by Kiersten White, which is a story about a young Obi-Wan going on an adventure by himself and I think really captures how I see his youth, that there was struggle and difficulty, but overall it explains why he loves being a Jedi and why there's so much joy in his life. - Light of the Jedi by Charles Soule is good for if you're interested in the High Republic stories and I still think is easily my favorite of the entire line. There was so much good foreshadowing and banger lines that really got Star Wars and was an exciting plot to really hook me on THR.

BOOKS THAT MOST TYPIFY WHAT SW BOOKS ARE LIKE: - Brotherhood by Mike Chen is one that I have some stuff I side-eye in it (everything with Mace) and some stuff I was over the moon for (everything with Obi-Wan) and some stuff I was in the middle about (everything with Anakin). That's Star Wars novels in a nutshell for you! (I also think Dooku: Jedi Lost by Cavan Scott is another good starting place, it's an audiodrama, but it gives an interesting backstory to the character, has some interesting Jedi worldbuilding, and does some really great character work with Asajj Ventress.) - Wild Space by Karen Miller is a Legends book (and I usually try to stick to Disney continuity just for ease's sake) but it has some eyeroll-worthy stuff, some unearned stuff, and some absolutely batshit bonkers in the best way stuff. It's a RIDE to read and maybe not one to take super seriously but I feel like it captures the spirit of SW books. (Alternate suggestion: Dark Rendezvous by Sean Stewart is a really good Yoda & Dooku book with a lot of good appearances by other Jedi characters and one of the better books for Jedi stuff, plus lots of feelings and banger conversations between characters.) (Alternate-alternate suggestion: Another Legends suggestion, since there are a lot of SW books in that continuity, you could read the Jedi Apprentice series by Dave Wolverton and Jude Watson, as long as you know they're aimed at a pre-teen audience and are written accordingly and they are SUPER dramatic and put Obi-Wan through the wringer. I'm not always wild about Watson's writing, but when she writes a banger line, she writes a BANGER line, and they're very fun books that a lot of fandom still folds into their writing.) - The Aftermath trilogy by Chuck Wendig is a good place to start if you want to explore the connective tissue between the originals and the sequels, though I always recommend that I think they work a thousand times better as audiobooks. It's mostly new characters (which, welcome to SW novels) but it also has some really good Leia and Mon Mothma scenes, too. - Leia: Princess of Alderaan by Claudia Gray is for if you're more interested in the Original Trilogy characters and while I wish there'd been more worldbuilding in this one, it's a solid story from someone who genuinely loves this character, and will give you a good idea of what you can expect from Leia books. (If you're more interested in a Han/Leia story, The Princess and the Scoundrel by Beth Revis is on the same level. Solid story with occasional moments of fantastic. I had a blast with the Leia sections especially!)

[ro-is-struggling]

Fireproof Series Masterlist || Johnny Storm x Reader

disclaimer: the pictures above are purely for aesthetic purposes and do not represent the physical appearance of the reader

Series summary: you and Johnny weren't supposed to get along. You were the exact opposite of each other. While he was loud and outgoing, you were quiet and introverted. He loved to be the center of attention and you actively made efforts not to be. He had made a name for himself as one of the biggest players on campus while you stood out for your academic achievements. You hated guys like Johnny, and he had no reason to associate with people like you since you rarely shared spaces. And yet, against all odds, you were able to forge a solid friendship. In fact it was the contrast that made the two of you work so well. You called out his bullshit and he pointed out yours. You were a good influence on each other, no one could deny that. It was a perfect relationship, you knew all the bad things about each other and still chose one another....

But what happens when romantic feelings start to flourish?

This series is a collection of one shots that will give you a glimpse inside Johnny and y/n's complicated relationship.

Warnings: slow burn, friends to lovers, mutual pining, a bit of angst, fluff, lots of cliches (like seriously, I was kinda playing the game of how many cliches can I put in the same story? lol) 2000s teen flick/ rom com coded (so I guess it’s a bit cheesy? read at your own risk!), FEMALE READER

This fic starts a bit before the events of the first Fantastic Four movie, when reader and Johnny are in college (but it gets to the movies don’t worry!)

English is not my first language

Author’s Note: I recently rewatched the old Fantastic Four movies and I had so much fun I just had to write something for Johnny. Yes it's terrible plot wise but I love the early 2000s vibes of it. So I tried to keep a bit if that vibe with very overused tropes/scenes and stereotypical characters (yk like the annoying popular girl, the playful fuck boy love interest with a heart of gold and the ‘I'm not like other girls’ main character). I have a soft spot for those kinds of stories and I thought Johnny was perfect for it! I tried to keep a balance as to not make it too over the top, I hope I did a good job

The idea for this fic is to make a sort of collection of separate one-shots that show different moments in Johnny and reader’s relationship, if that makes sense. I have most of the story planned and written, but it is not completely closed. What do I mean by that? That I have a beginning, conflict and ending thought out, but that doesn't mean that once I post those parts the story is over. 

I'm structuring this fic more as plot points than anything else (i.e. how they meet, when they have their first kiss, what the big love confession is like, stuff like that). Beause of that, there are parts of the timeline of the relationship that aren't shown. And that leaves me time to imagine a lot of things, if that makes sense? So if I have a random idea about a silly thing that happens between them in the middle of "the plot" (or if you guys think of something!), I can add it and expand the context without changing the whole story.

ALL PUBLISHED PARTS:

Part 1: First Impressions

Part 2: Second Chances

Part 3: {COMING SOON}

[queen-lance]

hey! i was wondering if you had any recs for getting into new gods comics? i’ve been wanting to for a while but have been struggling to find good reading guides haha! and i know i need to be prepared by the time ram v’s series drops😔🙏🙏

Hi! I'm obsessed with the New Gods right now, but it's a pretty new fandom to me. I had read New Gods by Kirby a few years ago, but I had never gone fully deep in the comics like now, soooo I haven't read EVERYTHING yet, but let's go

Well, the place to start is with the King of Comics himself: Jack Kirby's Fourth World. So we have:

- New Gods (1971)

- Mister Miracle (1971)

- Forever People (1971)

They're all fantastic and I really love them

If you're a completionist, you can also read Superman's Pal Jimmy Olsen #133-148

There's also the graphic novel Hunger Gods. It's not really canon (the next writers ignore what happens there), but it's part of Kirby's Fourth World and worth checking out

Everything aside of Kirby is... Controversial, to say the least

We have

- Justice League International (1987): Honestly one of the comics I'm the most fond of. It's not really a New Gods story, but it's worth checking out if you want more of them

- Forever People: I haven't actually read this one cause I wanted to jump to Orion and Scott & Barda, but it's pretty short (only 6 issues) so you could check it out. I know I will in the future

- Cosmic Odyssey: An interesting story, but... I really don't like its take on Orion and other characters

- New Gods (1989): Basically continues Cosmic Odyssey. Again, there's some interesting concepts, but... I don't like it. Maybe you will! But it was just frustrating to me

- Mister Miracle (1989): I like it! The first issues by DeMatteis have the same vibe of the JLI and it's pretty fun. The rest of the series is more inconsistent, but overall worth checking it out

- New Gods (1995): I'm enjoying it so far!

- JLA (1997): This is entirely skipable cause they're not the focus, but I like it as a story if you're REALLY craving for more

- Orion (2000): I haven't read it yet, but everyone says it's great. I can definitely @ you later when I get there 🫡

- Mister Miracle (2017): This is THE most controversial one. It's by Tom King, a guy who I'm not the biggest fan of (see: ex CIA in 2003). I think it's definitely worth checking out if you're into his writing style cause it's honestly one of his best works, but his Orion and Lightray are simply terrible. His Scott and Barda are good tho so...? Eh 🤷‍♀️

- Barda (2024) by Ngozi Ukazu: My biggest recommendation. It's just so good!!!!!!

There's also Final Crisis. Plus plenty of comics I know basically nothing about, like Seven Soliders: Mister Miracle or Bug! The Adventures of Forager

I honestly think if you read Kirby's Fourth World, you'll already be prepared for Ram V's The New Gods

So good luck and I really hope you enjoy it as much as I have!

[forcebook]

Hello there, do you mind sharing your favorite bls of 2024? Thanks!

hi! honestly i suck at keeping track of shows and ranking them asdfghjkl i want to keep better track next year tho and maybe even make some celebratory gifsets but we shall see!

and since you asked for it, i decided to check mdl and do a deep dive on which shows have aged well in my mind and score lmao

my top rated dramas of 2024 are:

love for love’s sake

my only 5 stars drama of the year. doesn’t surprise me at all. this show took me completely my storm at the beginning of the year. it has such a compelling story and it’s so efficient on so many levels. but most importantly, it sticks the landing. it gives closure to a story that wasn’t even finished. and it does so well. the definition of lightning in a bottle!

love in the big city

this show made me feel emotions unknown to humanity so i get my rating asdfghjkl felt really personal to me. it is also incredibly efficient and very necessary!

knock knock boys!

i said it halfway through its run and i’ll say it again: one of the best bls of 2024. no wonder i rated it this high asdfghjkl within its premise it promised very little and delivered soooo much with some incredible takes. while i love when bls do new things, to me a story told well is fantastic regardless of how cliché it might be to some. and knock knock boys manages to feel very familiar but also very refreshing with the way it handled some topics. super funny and it stuck the landing to me. in a completely different way from love for love’s sake but very satisfying!

jack & joker: u steal my heart!

this is the thai bl of the year to me. for all the conversations it started, interesting characters, refreshing plot and also for existing purely on the love and dedication of its creators. while it is not perfect, i do hope that when we look back on 2024, we see it as the year of jack and joker

century of love

i’ve loved daouoffroad since love in translation. i was a bit skeptical of century of love at first but i ended up loving it a lot. i’m also not surprised at all this made my top 5 asdfghjkl

now i would like to add a few shows that haven’t finished airing yet but had most of their run in 2024 and i’m pretty sure they’re going to be in top rated dramas

miseinen (our youth)

it is the japanese bl of the year to me. hands down. i could rant but at the same time i have no words asdfghjkl this show goes beyond efficiency or even sticking the landing (which i hope they do), but it’s the whole vibe. because while incredibly sad, you can see how much love and care exists in it. the characters are so alive and so complex and beautiful and godddd i love them. 10/10 no notes

see your love

came out of nowhere promising very little and delivered one of the best bls of 2024 imo. i don’t even remember when was the last time i felt compelled to gif a taiwanese bl but this show is sooo inspiring and fun and important. i just love it

caged again

this show promised nothing except wacky plot and delivered such a hilarious and compelling and heartfelt story. i love when i get these little surprises. shall live on in my heart

honorable mentions:

let's eat together, aki and haru 2: more please!

my only other 5 stars of the year. but it’s a movie so i didn’t include it up there. still. it’s a nearly flawless execution of a beautiful genre that i love: queer stories revolving around food and domesticity. it delivered exactly what it promised efficiently and i loooooove it so much!!!!!

sugar dog life

also came out of nowhere promising nothing and delivered a really solid little story, also revolving around food and domesticity. can you tell i’m biased lmao

the rebound

BALL IS LIFE!!!!!! we need more bls about sports. asap. we don’t have enough!!!! and this show was a surprise to me. i ended up super invested for the most part and i do think it stands out in the tiny little corner of bl sports therefore it deserves an honorable mention

blue canvas of youthful days

chinese bls always have a special place in my heart for fighting so hard to exist. this one is no exception. it got taken down when it first started airing and i’m glad they managed to release all of it eventually. it’s far from being perfect but i was still thoroughly invested in it. i love the main couple with my entire heart. and i’m soooooo grateful they got their happy ending!!

monster next door

as a deeply introverted person, this is the representation i needed asdfghjkl it felt refreshing and a conversation worth having about respecting introverts and other people’s ways of living. plus diew is autistic to me (source: i’m autistic) and it was an overall good show!!! bigpark my beloveds!!

and that’s it! thank you for asking 💕

[kaija-rayne-author]

Some thoughts on Dragon Age Veilguard a couple weeks after playing/reviewing it.

Obligatory disclaimer, feel free to skip to the cut if you've read it.

Something came to my attention. I need to make it crystal clear that I utterly love the diversity in DAV. It's fantastic. I'm also a heavily left leaning, non-binary, queer as fuck reviewer, editor, and author.

Please be safe and take care of yourselves. Arguing with incels and white supremacists is completely pointless. They sea lion worse than an actual sea lion. Your mental health is important.

Though, every single time the anti-queer brigade comes out for a new DA game, I sit there thinking 'have you bozos ever played any DA game, like, ever?' My guess is nope.

Note: My reviews for DA and my blog posts about DAV in particular aren't edited. I don't have the time, energy, or heart to edit them properly.

It's been 16 days since I finished DAV.

And sadly, my opinion still hasn't changed. Especially after learning about Joplin from my friend's artbook. (Joplin is the original concept and art concepts for the game. It had so much we were all really desperate to see. It was gorgeous. And they scrapped it.)

I don't know why they scrapped it, it was exactly what so many of us wanted.

Honestly? I don't care why. I'm sick of all the excuses people keep making for BioWare turning out such a shitty game.

Were there reasons and difficulties I don't know and will never know about? There usually are.

But those things are honestly irrelevant when it comes to producing a quality product.

I work my ever loving ass off to make sure my books are good. And I don't have a team to help me and a 250 million dollar budget. I do everything myself because I have to.

Indie studios turn out fantastic games with cool worlds, good fighting systems, and interesting monsters all the time. With some help and some budget, sure. But not likely on the scale of what they had for DAV.

I'm both a creator and an editor. When you're making a product for sale, it's incredibly foolish to change a series title too much from what worked before. Sure, fix problems, streamline stuff, but people generally don't play RPGs for anything past the worldbuilding, writing, story, and characters. There's action RPGs, sure. I'm playing one now and loving it (Greedfall).

It's a solid RPG that feels like an RPG. (DAV did not.) The fighting system works. The companions are actually useful. They kill bad guys all by themselves! It's quite refreshing tbh.

When you're creating something for fun, sure, do what the fuck ever you want as long as it isn't harmful to someone else. (Don’t put words in my mouth. By harmful, I mean specifically things like racism, sexism, ableism etc. Not whether someone dislikes the colour green and thinks the word 'triggered' means unhappy or uncomfortable. It doesn't. It's specifically a needed mental health term.)

When you're creating a product for sale, you make decisions. IE. I chose to write a reverse harem series. That's a choice influenced by the business reality that my queer books hardly sell at all.

I still love the characters and world I built, still love the plot etc. But it was still a decision on my part. Because my work of words is my only income. I'm disabled and recovering from a pulmonary embolism. My partner is recovering from a broken back and has at least one, possibly two more surgeries to go. We don't get very much help from anywhere. Money is so tight it squeaks. I'm hoping with the decision to write m/f reverse harem, my sales will improve (They already have with only two books out. Third before end of year.)

So. No. No more excuses for BioWare. They've always, from rumour, had a lot of control over the games they make, even if EA does pollute the studio by owning it.

Someone made the choices that resulted in such a shitty game. Someone approved the terrible (in some cases, racist, sexist, and ableist) writing. Someone thought the editing was just fine (it really really is not).

Someone (likely Epler given what he's said in interviews) decided that it was a good idea to Disney-fie the most recent addition to an adult, dark fantasy game that has historically delivered a lot of horror elements. While somehow condescending to kids at the same time.

Someone decided to remove so many of those dark fantasy elements. It's especially obvious in the not-fucking-darkspawn. They made them goofy, not scary and vaguely horror inspiring. But it's all throughout the game.

Someone made decisions. Those decisions made an awful game.

Someone decided tying your companions' skill points acquisition to their level of bond with you was a good idea. Maybe it looked good on paper. I don’t honestly care. It made it nigh impossible to get them high enough to be actually useful. Meaning your OP character always has aggro. Fine, I guess, if you're a tank player, but what about the rest of us?

Someone decided to remove blood splatter from a freaking BioWare game.

Someone decided to go with that wretched art style.

Someone decided nerfing the rogue class was a good idea. Why even have them? They're just light skirmishers, not rogues. Without, y'know, the rogue skills that make a rogue.

It was a decision, each and every time.

Someone decided everything about that game.

So miss me with the excuses.

I would like actual reasons, but I highly doubt we'll ever get them.

Someone made unwise and often foolish decisions during development of DAV. The results are clear.

Simply by the fact they aren't releasing sales numbers... that indicates it's probably not doing well. Larian basically called their earnings for BG3 out weekly.

It mostly just makes me sad now. DAV could've been fantastic. Because of decisions human beings in positions of power made, DAV, while having some good parts, just sucks.

[redhoodinternaldialectical]

My Jason Todd Rec List and Character Manifesto! (Version 3.0! Edited and updated first on 28/01/2024 and then again on 23/09/2024)

This is a fuckin mess my ghouls, but I got categories and I got opinions and who can stop me from typing em out? Certainly not @lazaruspiss who is the reason this thing got made!

The format is gonna be:

title and page numbers (No #s if I'm recommending the whole title IMPORTANT UPDATE: Each title will be a direct link to a free digital copy! Make sure you have a good adblocker and enjoy!) picture Summary and general notes My estimate of how unhinged he is in this portrayal What his morals are like; note this isn't about whether he's a protagonist or antagonist

Since cream rises to the top, let us start with:

The Creme de la Creme

The best of the best. The most fun, the most compelling, the most interesting looks into his character.

Seeing Red aka Green Arrow (2001) #69 - #72

This one really does have it all. Jason runs rings around both Batman and Green Arrow at the same time, all the while going after a goal neither of them ever truly figures out in large part because this story wasn't afraid to let Bruce be either wrong or lying about Jason's motives. It also wonderfully leverages the ways in which the Bats and the Arrows are really good foils for each other. I think I'm going to be turning over the ways these interactions went down for a long ass time. I've been really wanting to go page by page for a comparison between the way Jason treats Mia in this and the way Jason treats Tim in the Titans Tower showdown. Bottom line for this one: It's just so good!

Jason's sanity level: Six out of Ten hinges affixed. He's got a solid grip on things, is reasonably level headed, only problem is he might have completely forgotten how to interact with other human beings outside of combat. Love him for that.

Jason's moral compass bearing: Sympathetic Villain. Decidedly willing to mow down some "brain donors", and his goals are pretty morally grey, but he clearly still has a strong code of ethics.

Task Force Z

This whole comic one big love letter to Jason Todd. The author, Matthew Rosenberg, very deliberately takes time to showcase all the strengths and flaws of his character that make him so beloved. He's competent, he's mistrustful, he's determined, he's heroic and yet poses as the villain, he's human yet badass, and he holds his ground against the rest of the Bats while still clearly loving them. If I was ranking these comics purely by plot and pacing this would not be in creme de la creme territory, but it's a fantastic synopsis of what Jason is all about and if I could only give someone a single series in order to let them understand who Jason is (and I couldn't give them Under the Red Hood), I'd give them this.

Jason's sanity level: Eight out of Ten hinges affixed. He's pretty level headed, but at the same time he very clearly is way too casual about violence to be full hinges affixed - the PTSD is very apparent in him.

Jason's moral compass bearing: Antihero. His motives are understandable and firmly rooted in doing the right thing, but at the same time he is very willing to be ruthless and to kill when he feels it's the right decision. Balanced!

Pay as You Go aka Outsiders #44 - #46

Jason's role in this story is fairly small, but it's a wonderful bit of characterization for him. The way he approaches Nightwing to offer his help and the way Nightwing accepts that offer are fascinating and very deserving of your time!

Also there's gay sex and a prison breakout, like, what more could you want? Actually I suppose you could also want (what I'm pretty sure is) Roy's first time meeting Jason as the Red Hood and some really cute scenes of him and Lian, and guess what this story has got that too!

Jason's sanity level: Ten out of Ten hinges affixed.

Jason's moral compass bearing: Antihero. He's deliberately choosing to play the villain, but he's very willing to work with the Heroes and is going out of his way to exonerate an innocent man.

Batman (1940) #408 - #411 Jason's debut featuring Ma Gunn's School and his first ever outing as Robin fighting Two-Face

Just LOOK at this PRECIOUS BOY! I wanna pinch him on his cheeks and give him a handful of these bad boys

Jason has a ton of personality to him right out the gate. The first story has Ma Gunn as the villain and she's a lot of fun. The second story in here with Two-Face is also enlightening with regards to Jason's early personality, even if it's not quite as fun.

Jason's sanity level: Ten out of Ten hinges affixed.

Jason's moral compass bearing: Hero.

Under the Red Hood would be next if it wasn't already filed under ->

Foundational Texts

This is the shit that defines Jason as a character. Much is mutable in any given comic, but somehow, someway, all depictions of Jason are impacted and informed by these three stories. Enough has been said about all of them that I'm gonna keep it brief.

Red Hood: The Lost Days

(You may have heard a lot about Talia's role in this one: I would encourage you to read my analysis of her in this story and do your best to see her perspective in all this, she's a heck of a lot less villainous than people keep saying she is)

Jason's sanity level: Eight out of Ten hinges affixed.

Jason's moral compass bearing: Antihero. He kills some incredibly nasty people, while also doing some genuinely heroic shit. The only places where his morals deteriorate are in the presence of Batman and the Joker.

Under the Red Hood

Jason's sanity level: Four out of Ten hinges affixed. Remember how his morals deteriorated in the face of Batman and the Joker? Yeah, that's mostly because he's way, way too personally invested to think straight about them. He's strategic as fuck, but this is not a stable man's strategy for dealing with his issues.

Jason's moral compass bearing: Sympathetic Villain. He is a revenant, a vengeful juggernaut, and breaks an awful lot of eggs making this brilliant disaster of an omelette.

Batman (1940) #426 - #429 A Death in the Family

Jason's sanity level: Ten out of Ten hinges affixed.

Jason's moral compass bearing: Hero.

Joker becoming an ambassador to Iran plotlines count: One too many.

Solid Storylines

These ain't the vaulted heights, but not everything has to be the Sistine Chapel. They're solid, and if you're wanting more Jason I do certainly recommend them.

Countdown Presents: The Search for Ray Palmer and Countdown to Infinite Crisis (special note here: Countdown to Infinite Crisis must be read backwards, meaning you start with Issue #51 and then read down to Issue #1 and Countdown Presents isn't in chronological order and just... oh boy this storyline is a mess, but much of it is also quite good)

Jason is in what I like to call his Purposeless Depression Era during this. It's after his plans in Under the Red Hood fail and he's really just got no place to go, no place to be. He's keenly aware that on a cosmic level, he truly does not belong in this world anymore. He's supposed to be dead. There's something I find quite neat about this team up, with Donna Troy and Kyle Raynor and Bob, it's out of the ordinary for Jason, it's not bat related, and the ways he fits and doesn't fit with the other characters are just neat.

I especially recommend Gotham by Gaslight. The plot will be a lil hard to follow if you haven't read the others, but by the end of it Jason hopes to return to Steampunk Gotham instead of his own Gotham where he doesn't think he belongs, and the moments of him hoping to literally leave his universe behind are both sweet and sorrowful.

Jason's sanity level: Ten out of Ten hinges affixed. He's just sad and lonely.

Jason's moral compass bearing: Hero. Even if only Donna is willing to tentatively try to see him that way.

Robin (1993) #177 and two pages of #182 and the front half of #183

Despite how much Jason is known for it, I think this is the only time we see him trying to run organized crime outside of Under the Red Hood (and uh debatably Battle for the Cowl). Short lil string of appearances, but critical for understanding how he's seen by Tim during this era if you care about that. Also I think this combined with Outsiders #44 - #46 (further down this list) it really cemented my understanding of Jason being strangely honest and forthright.

I think a major way other Bats fail to comprehend him is that they expect him to manipulate through lying, which just isn't his style. He doesn't lie about his motives; he doesn't obfuscate his tactics; he doesn't hide how he's feeling. Hell, he doesn't even try to lie his way out of prison! I could not tell you why this series of interactions gave me this impression but it is why I have such faith that when Jason says something, he probably just means it, even when characters like Dick or Tim assume otherwise.

Pity this was the lead up to Battle for the Cowl.

Jason's sanity level: Ten out of Ten hinges affixed. He's even attempting to pick himself up out of his Purposeless Depression Era slump at the start.

Jason's moral compass bearing: Antihero.

Nightwing (1996) #118 - #122 aka Brothers in Blood aka the One Where Jason Gets Tentacles

COWARDS and KNAVES will tell you "the tentacles are so icky and everyone is so OOC" or whatever but again they are KNAVES and COWARDS because bitch this shit is GREAT

Jason: Wow! My bestest big brother killed someone who deserved it, so now I (the person he's rejecting only because I kill people who deserved it) have a real chance at being his family again!! :D Hooray! :) Dickie-Bird why don't you look happy to see me? :) Dickie-Bird I went out of my way to get us matching outfits and stalked your work and killed people in your name so it's nice and easy to make room for me in your life! :) :) :)

Dick:

Jason's sanity level: Two out of Ten hinges affixed. My mans is off his rocker and I adore him like this. Frankly, the entire storyline is unhinged, and it only feels appropriate that Jason is similarly bonkers in yonkers.

Jason's moral compass bearing: Villain. You can sympathize with him, and he is still trying to carry out justice, but I have to call it for straight villain when he's threatening to bomb a building full of innocent people.

Batman and Robin (2009) #23 - #25

I don't have much to say about this one. It's good. The above page is pretty much the highlight.

Wait actually I do have something to say and it is that I would like to lick Jason's abs, pls & thx, because the other highlight is that Winick clearly believes in redeeming Jason's value as a villain through sex appeal and it is working lmao

Jason's sanity level: Ten out of Ten hinges affixed. Certifiably sane, he's passed all his psych exams!

Jason's moral compass bearing: Villain. He threatens to bomb a train station full of innocent people. While he does do that in service of freeing himself and Scarlet, thus making it not completely self centered, I still gotta put him firmly in Villain.

Nightwing (2016) 2021 Annual

In high contrast to the previous two in which Jason acts as a villain to Dick, this one has them working together and the tentative peace and cautious trust they've got going is interesting to me. Very reminiscent of his appearance in Outsiders!

Jason's sanity level: Nine out of Ten hinges affixed. He's quite chill, but there's just this little edge to him that says his relationship to violence is a little too casual a little too deep to really be fully hinged.

Jason's moral compass bearing: Edgy Hero.

Joker: The Man Who Stopped Laughing

With Jason's return to being an antagonist after a long stint in the Hero bin comes his return to being really fucking dangerous and whip smart! My boy quotes serious philosophy that gives him a real point to make against non lethal vigilantes and cops! I also think the part where he lets himself be arrested just... it says so much and all of it is wonderfully interesting and feels fitting for his character. He's kept deeply human, and just all of this portrayal gels together really well.

Originally I had this up in Creme De La Creme because really, even though Jason isn't the star of the show, and even with Gotham War having, er, Minorly Derailed Jason's role in things, and one or two inevitable scenes where ya just have to accept that he's not as trigger happy as he should be because DC is married to the Joker - even though all of that is true, this is still a phenomenal rendition of Jason. However, with all of those annoyances and with Task Force Z being written by the same author, I decided to put it down here and leave TFZ in it's place. Basically it's got an arguably better story-line than TFZ, but contains less Jason.

Also I like that he's friends with my favorite, Stephanie Brown :3 and he and Rose's chemistry is nice. On top of all that? It's a fun comic. Like, I generally hate the Joker, but I found myself enjoying watching the Joker do his Joker things in this one.

Jason's sanity level: Nine out of Ten hinges affixed. Level headed, calm, careful, really the only reason this isn't a 10/10 is cause he's obsessively focused, which like, honestly is pretty reasonable I think.

Jason's moral compass bearing: Clearly Justified Antihero. I almost put down Hero on this one, but ultimately he is just far enough over the line with how he treats the less threatening of the rogues like Killer Moth.

Your Mileage May Vary

These stories I can't recommend without major caveats or warnings, but I still think are worth mentioning.

Gotham War (It's such a mangled mess that I'm just gonna link a reading guide. The same website that all the others are on will get you to all the titles this guide lists)

So, the main problem here is that Gotham War spans five different titles and had three different authors whose renditions of Jason do not feel cohesive or even coherent. The funny thing is though, each rendition has real merits, and while it doesn't go far enough in condemning Bruce's horrifying treatment of Jason for many people's tastes, I have to point out that it's one of the only comics to condemn an instance of Bruce mistreating Jason at all. The fact that the other Robins come to his defense is a HUGE thing! The bar may be in Hell, but it did clear the bar!

Due to how disjointed it is, I'm going to very loosely separate Jason out into two versions of himself. Think of these not as hard lines, but more a spectrum he slides across depending on what author has him that issue.

Jason Primus combines the ideas in Jason's Under the Red Hood speech about controlling crime rather than trying to stomp it out with his more Heroic modern interpretation. He's a chill, funny, smart guy whose protectiveness over the mooks is really charming.

Jason's sanity level: Ten out of Ten hinges affixed. Jason's moral compass bearing: Hero.

Jason Secundus is much more violent, not used to working with other people, and paranoid and antsy in a way that causes him to take it out on people who really don't deserve it. This is a compelling take on him, though I like him closer to Jason Primus. His trauma has clearly shaped him a lot, both for better and for worse.

Jason's sanity level: Seven out of Ten hinges affixed. Jason's moral compass bering: Anti-Hero, most of this focuses on him antagonizing two former Joker goons which kinda doesn't work well cause they're mostly scarecrow goons actually and also at one point he hurts them in a way that borderline just seems like stress relief. It's nothing worse than what we see Batman himself doing countless times, but it's still jarring because we've been made to strongly sympathize with the goon in question.

Batman: Three Jokers <- I read it while typing this up (the first version of this lol), so I got a lotta thoughts

Guh, this one is just fucking sad

So, I don't mind a story being blunt with its message as long as the message actually holds up. Unfortunately, this three parter's attempt at the cycle of violence lesson is... bad. Real bad.

Jason in it is neat! This is a good Jason portrayal somehow despite literally everything about the way this comic frames him! The narrative expects us to believe he is a danger to society on the cusp of becoming another Joker, because he *checks notes* shot the Joker dead, shot at a Joker loyal guy, and roughly interrogated an injured child abuser. At no point does he show signs of wanting to hurt innocent people. At no point does he show signs of doing any hurting without premeditation or a need to defend himself. I'm baffled by this.

My kingdom for a fucking CRUMB of nuance, I swear, smh...

I hear a lot of people hate his one sided romance towards Barbara. This is understandable as it squanders the opportunity to have a female character not be stuck as the narrative sponge for man emotions. I like it from the perspective of a Jason fan, and give condolences for the Barbara fans. It's not healthy, and good fucking job on the janitor sweeping away his letter to her so poor Babs doesn't have to deal with that shit, but I do like Jason's desperation to be loved by someone, anyone, who might show him compassion.

Jason's sanity level: Six out of Ten hinges affixed. He's sad, he's lonely, he needs some PTSD specific therapy, he's a bit creepy about his crush on Barbara, but quite frankly he has it together a lot more than the narrative would like us to believe. The way the other characters treat him like he's some kind of monster just waiting to snap and start maiming people indiscriminately makes me really uncomfortable.

Jason's moral compass bearing: Antihero. Quite frankly I'm tempted to say Hero out of spite.

Red Hood and the Outlaws (2016) #1 - #43

There are three transcendental character moments in this run that I think make it worth reading even if not all of it's your cup of tea. On the other hand though there are some big issues that could very easily be deal breakers. Oh and anything after #43 is a wasteland and #43 is included purely for the implication that being transgender made a woman immortal.

The narrative structure is really heavily dependent on rule of emotional impact/cool/allegorical usefulness. Many events will not make any fucking sense based on petty things like basic logic or the laws of physics, but they do work just fine in the area of what makes the story more fun or the emotional beats hit harder. Stronger than average suspension of disbelief is necessary for the reward of getting a lot of stuff that's, like, just really fuckin cool.

The romantic side plot with Artemis is... odd. Either the author, Scott Lobdell, intended to write Jason as a desperate loser trying to date his uninterested lesbian friend who he co-parents with, or he accidentally wrote a romance so awkward and comp-het that I cannot wrap my head around reading it as reciprocated. This works for me because I have a lot of fun reading Jason as a desperate loser who's not even actually in love with her, he just is desperate to cling to the closest thing he's ever gotten to a nuclear family and in denial about being either aro/ace or gay.

Now, lets explore a lil bit of the whole Jason is a loser angle, cause it's not the whole story, there are many points in which Jason gets to be a badass motherfucker, but he is much, much less of the hypercompetant, highly determined, murderous threat he used to be. Almost none of the newer renditions of Jason are. This Jason in particular though is very soft and cuddly, and fits the archetype of man trying to be the edgy bad boy but who secretly just wants a hug and a warm glass of milk.

If I were to describe my personal Jason in a few sentences I would say that he is someone who loves himself viciously. He feels he has been wronged and is willing to burn down the world to rectify that. He will hold your ass at gunpoint and demand the hugs and warm glasses of milk that he fucking well deserves!

This Jason is about as far away from that as you can possibly get. I still like him though, and I do not count him as being a different character, because when you start with emotional logic that goes like this:

It wasn't my fault + I deserve better = I get to burn the world down in order to get better

It becomes extremely difficult to ever stop burning the world without also deciding "It was my fault" or "I don't deserve better". Jason is meant to have changed a lot, and this is a plausible evolution of the Jason I prefer.

Finally, the handling of Bizarro, a mentally disabled character, is a sensitive enough topic that your mileage will vary, even if I can't think of a bad thing to say about it. Jason and Artemis are really pretty good about treating him with respect, giving him help where he needs it and autonomy where he's capable of taking it. They raise him, but don't control him, and he is literally like three days old when they find him so this isn't infantilization. It takes the framing of Lenny from of Mice and Men and Flowers for Algernon and rejects them in a way that I am satisfied with. You'll just have to read it for yourself to see if you're satisfied as well.

Jason's sanity level: Ten out of Ten hinges affixed. I kinda wish he was more unhinged.

Jason's moral compass bearing: Hero. He even saves a puppy and gives them pats.

Knight Terrors: Robin

Have you ever been in the mood for a syrupy sweet hurt/comfort fanfiction in which Jason and Tim were magically forced to talk about how much they like each other in order to overcome their own insecurities? Do you wish that existed as a lavishly illustrated two issue comic?

If you answered yes to those two questions then congratulations! It does exist; this is it; go have fun!

If you think that sounds like ham fisted garbage turning what should be several long arcs of serious reconciliation and deeply meaningful character moments into two issue fan service schlock then condolences! I wish you all the best in denial, as all comic fans sail that river sooner or later and I shall join you upon it someday.

What category do I fall into? Well I think this is definitely ham fisted, but I won't kick a boar out of bed as long as they ain't a bore, and this little ditty is certainly entertaining.

Jason's sanity level: Ten out of Ten hinges affixed.

Jason't moral compass bearing: Hero.

Batman and Robin Eternal

This is a decent portrayal of Jason in his modern, much friendlier, and much more bat family integrated rendition. He has some fun moments in it, and I like his staby bracers.

I don't like this comic. It commits the most dire of writing sins: Being boring. I think about Jason every second of every minute of every day; if your comic that majorly features a good portrayal of him cannot hold my attention, then something has gone very wrong. Hopefully one of you will like it more than I do.

Jason's sanity level: Ten out of Ten hinges affixed.

Jason's moral compass bearing: Hero.

Suicide Squad: Get Joker! (Content warning for suicide, skip to the hot take if this'll get to ya - also spoiler warning cuz I can't discuss this properly without discussing the ending)

A three issue miniseries in which Jason is inducted into the Suicide Squad on a mission to kill the Joker. He's highly competent as a team leader, grounded, intelligent, and uses measured violence in a way that is satisfyingly tactical. The squad they threw together honestly has some pretty neat chemistry as a whole, and the characters were appropriately messy and quite likable.

This isn't higher on the list because it thinks it earned it's ambiguous ending, and frankly, it's wrong about that. Ambiguous endings live and die by the question they make the audience sit with - It has to be worth losing out on the emotional payoff of a solid ending.

The question of "If you left Jason in a room with the Joker and a gun with one bullet, would he shoot the Joker or himself?" is a really shitty question. Like, did the authors not realize that just on a logistical level, Jason could leave the room and find a second bullet after shooting the Joker? Like, seriously, even if we accept the premise that Joker's speech got to Jason, there are no reasons for him not to choose the "both" option. The only way I can imagine this working is if the Joker is actually the fucking Purple Man from Jessica Jones using mind control.

So we exchanged the validation of literally all our protagonists' struggles/sacrifices paying off for... the vague implication that Jason unforgivably betrayed his teammates, himself, and the entire world because he was so eager to die that he couldn't wait ten fucking minutes. If I loved the Joker I might feel differently about it, but as is, I felt insulted.

This would have been Solid Storylines or maybe even Creme de la Creme if not for that implication. It's not boring though! The rest of it up to the end is honestly pretty damn good, if a bit convoluted, and much of the ending's sour taste can be assuaged by getting out a sheet of paper and doodling Jason opening Joker's head with a handgun and then going out for icecream with the team.

Jason's sanity level: Ten out of Ten hinges affixed. He's a sad, sad lad tho.

Jason's Moral Compass Bearing: Anti-Hero, forced to be much more violent than he wants to be.

A Hot Take

I bet you thought the tentacles were the hot take! HAH! MuahahaahhHAHAHAH - Prepare now, puny mortals, to witness me defend Pill Helmet Jason AND his fashion choices!

No, I am not talking about Winick's redo late in the game, we've already been over that one. I mean I will defend Grant Morrison's flop era, three foot head gear wearin, goofy ass, unwashed ass, "how to build ur brand" reading maniac

It's time to talk about Batman and Robin (2009) #1 - #6

The interpretation of one scene makes or breaks this Jason:

If you believe he is being insincere and manipulating her into putting all her emotional eggs in the basket of his crusade, ignoring her wellbeing in favor of his 'brand', then this is probably the worst mischaracterization of Jason ever written.

If you believe he is being sincere, genuinely comforting her in the only way that he's got to deal with his own trauma, giving her real affection and not pushing her to take either option with the mask because he trusts her to make that decision for herself, then this gets Jason very right.

No matter what Morrison might have intended, I choose to believe it's the latter. This is terrible advice to give a trauma victim, but it makes perfect sense for Jason to believe that about his own trauma, and thus to pass that maladaptive view along.

He doesn't try to assure her that the mask can come off safely or that he'll get her a doctor because he really can't promise her either of those things. It would be cruel to her to pretend that he's got a solution. Jason can't undo the damage that was done to her any more than he can force a dead Bruce to kill the Joker.

Instead he offers her purpose, and reassurance that she's gonna look badass if she never does take it off, and protects her when she's in trouble.

You can claim this is just him acting out his chosen Hero role, but like, WHY would he have chosen to method act that role 24/7 if he wasn't trying to BE a Hero who protects people like Scarlet? There's nothing in it for Jason to fake this.

I also think if he was being written out of character as a manipulator we would have seen him use a romantic or sexual angle which he absolutely doesn't do.

Dickie, you are such a funny Batman, they never shoulda brought Bruce back tbh.

Instead, he seems to be taking a more parental role, in a near perfect reflection of how Bruce took him in when he was a kid. Just he's doing it his way, meaning that whenever Scarlet goes further with the violence than Jason seems to want to, he backs her up instead of chastising her.

Speaking of violence and morals, Let the Punishment Fit the Crime is a coherent moral position to take, even if you (understandably) disagree with it, or disagree with what punishments fit which crimes. It's basically the same moral position as every other version of Jason there's ever been! Like, is he even killing more people than he used to in stories like Under the Red Hood? No, I don't think he is. In fact, I would argue that Morrison's Jason is significantly less violent than Winnick's overall!

The branding thing is weird, lil annoying too after a while, but ultimately it still makes sense. And brings me around to my promised defense of his fashion choices.

First of all the symbolic importance of the fact that he wears white cannot be overstated in my mind. Will I elaborate? No, this post is way too long already lmao! Second off, it's supposed to be silly. I believe the silliness was a conscious, calculated choice, and the right one to make.

Jason doesn't believe that fear works, he's not trying for pure intimidation, and he knows that he's going to have to appeal to people in his bid to be seen as a Hero. Making himself seem big but non-threatening, a bright patch in the night, makes real sense.

Take a look at this view of Jason from Scarlet's POV when he comes to rescue her from the cops after she kills her dad:

He's got a smoking gun in his hand and he just shot two cops dead, yet we're hard fuckin pressed to find him intimidating aren't we?? Cornball dialogue, and the silliest fuckin hat in the universe, because he's not meant to be from this era, he's emulating the Golden and Silver age comics and all their goofiness. He's trying to be the older, happier, sillier batman that used to exist (at least in his head), while doing what he believes is right and necessary.

The costume makes sense dammit!

Also it just doesn't look bad, I can't provide an argument for this, it's just true!!

Also also every one of these fuckers should be wearing a helmet too, this is basic brain safety, if you're gonna go around antagonizing fuckers with guns you need to make your head at least nominally bulletproof, it's that simple!!!

Also also also the fact that he had red hair in this is oft maligned, but it gives Jason an in universe avenue to express a grievance with a super important part of the way Bruce treats him in his post-crisis time as Robin - Bruce was using him as an emotional replacement for Dick.

Morrison may not have liked Jason, but he demanded that every single iota of Batman lore be treated as important canon and that means that he also treats all of Jason's history as important canon too.

Now... do I recommend you read this? (This section was rewritten on January 28th, 2024)

Yes, with significant caveats. There's a reason I chunked this in with YMMV.

First is the Batman typical ableism of just really fucked depictions of mental illness. I normally wouldn't warn for this because everyone knows most of the rogues and will be aware of what they bring to the table, but Professor Pyg is obscure enough I wouldn't expect people to know, and the way he's written just... hurts. Like there's just something about him that is painful to read as someone that's got several schizophrenic friends who are near and dear to my heart. I would hesitate to recommend it to any of them the same way I'd hesitate to recommend Silence of the Lambs to most other trans people.

Secondly this comic is Extremely Gay (a definite positive!) however it is Extremely Gay in a way that kinda requires some onboarding and analysis to properly parse and that is actually why this post was edited:

The first time I read this comic, my impression was that it was vitriolically homophobic. Considering that at the time I had heard many things about Grant Morrison, and none of them good, I went with my gut. I put here that while I would defend Jason's characterization, I couldn't in good faith recommend something so bigoted, detailed what felt bigoted, and went on with my day.

Then a while later I saw a post that I suspect was talking about this one saying something along the lines of "How the hell could you call Grant Morrison, who gave us so many of our most iconic gay characters, homophobic? The racism and such I can understand but homophobic? No."

To which my initial response was a resounding: Wha??? Like, genuinely how was I supposed to read this and not get homophobia out of it?? But I went and looked Morrison up and yeah sure enough the guy's queer so I dug deeper and mulled it over until I figured out what the fuck I was missing. So, this section is a correction and an apology about that earlier homophobia claim. Sorry about that.

The styling of this queerness are highly akin to that of the John Waters movie Pink Flamingos which I'll let Matt Baume explain better than I ever could. This guy right here is pretty much the perfect example, Hell, he's even literally named The Flamingo.

Essentially it's queerness is all aggressive, unapologetic, and designed to be provocatively shocking, which can be jarring if you're not ready to flow with it. Also he likely had to arrange a lot of things to get around censorship, same as Judd Winick did. For instance the fact that Dick spoke the same circus lingo as the troupe of Very Queer Freakshow Workers who destroy the police precinct was meant to imply that Dick is Very Queer too. Pretty sure he would've said that in a far less convoluted way if he could've.

So, with the bulk of my initial reservations about this comic disproven... I have no choice but to straight up recommend it to anyone who thinks they can jive with this vibe of storytelling!

Jason's sanity level: One out of Ten hinges affixed. Obsessive, not taking care of himself, possessed of some really maladaptive trauma coping frameworks, completely unhinged. My condolences to his mental health, but I do love to see it.

Jason's moral compass bearing: Antihero. It's weird because this is undeniably a much darker comic, and Jason certainly feels darker, but in terms of what he actually does, and what the other characters do, his violence is honestly very tame.

So, cards on the table, here is the core of who Jason is to me:

He's got clear moral motives and a drive to help as well as harm, though violence and harm are the main ways in which he tries to improve the world.

When confronted he does not back down; he does not let himself be overshadowed or silenced. He is confident in his decisions and every bit of push back is already accounted for in his head.

Everything he does is premeditated. He is not impulsive. His plans may sometimes be unhinged but they are methodically planned.

He is painfully sincere, the way fire is painfully hot.

He desperately desires love and connection, but it will take many years of constant rejection and fighting before he is willing to accept any kind of compromise to his ethics for the sake of civility.

Under all the hurt and combativeness, he's a pretty goofy guy! He's got a sense of fun and likes to be flamboyant and silly when he can!

He's a villain, a hero, a protagonist, an antagonist, and everything between the extremes. He exists as a powerful counter-thesis to Batman, and as such DC can't ever fully answer the question of what to do with him. He exists in this waffling limbo state as his morals are debated, stretched, refuted, turned on their head. I think that makes him a wonderfully fascinating character to love.

I hope you enjoyed this and, like, go have fun reading comics!

[efangamez]

Yoooooo the GRIM expansion "The Palace of Eyes" has some actually NUTS lore. The work for the content is almost finished, but it needs to get fine tuned for publication while I include it in the handbook.

I'll be talking a bit about it here, so if you don't wanna possibly get ANY spoilers, you can dip now!!!

Okay so because I have pretty chronic pain in my fingers I'm going to be using text to speech or speech to text to share some of this information. So this will be my first time writing something that has like time travel and dimension travel shenanigans and the way that I was inspired by Metal Gear Solid to have these wild storylines all going on at once with some twists and turns but it's still kind of holds together through lower explanations is really really cool. I've honestly had a blast making every one of the story beats come together in one giant epic of a story to be honest with you.

There are actual pieces of lore in here that were crafted not only because they were cool but because they are thematic and have almost a cinematic and ideological feel to them. I think that the more that I build worlds and the more that I come to terms with who I am as a person the more fleshed out and well built stories can be created through my games. I kind of realized that when I made Neon Nights and some of my other games. I thought that if I just made a system that had a little bit of scaffolding I think that would be enough but to me I really do think that just like in a video game playing in a world where you are able to explore and uncover mysteries and be shocked by events I think it's really really cool and I like that. I think that's because one of my strengths and interests is in narrative and while I've gotten older I don't really have the patience too much anymore for prose, but I have fallen in love even more with World building and creating narratives with that World building if that makes sense.

I think that this expansion will not only be a really fun thing to explore within the GRIM multiverse but to also kind of look within yourself and to relate to some of these characters in their struggles and to kind of be invested in their stories and what's cool about tabletop games is that their stories are not fleshed out all the way. The scaffolding is there with strong connections to the world but the way that you the players will interact and the way that the watcher who is basically the standing for GM or DM in a game will be completely unique. I think that that's one of the powerful components of an RPG. And while GRIM may not have the most robust mechanics for role-playing in a system or using a system to roleplay rather you can still create Grand narratives by just being interpersonal with your players.

I don't know I just kind of wanted the info dump a little bit and not have my fingers hurt while I type so that's why I use speech to text. I'm really really excited working on this. I have over 34 pages of content in a document that hasn't even been designed yet. This thing is going to be a big lad probably over 100 pages at least. It's going to be kind of hard also to price this at $9.99 but I think that to me what matters most is getting this out there and kind of showing off my talents as well as giving people an awesome epic to play along with GRIM.

Anywho I hope you have a fantastic day today! Make sure you drink your water you eat your food and you take care of yourselves. Love ya!

[obstinaterixatrix]

THE GLIMM*R ZINE IS AVAILABLE FOR DIGITAL DOWNLOAD TO BACKERS AND IT'S SO GOOD IT'S SOOOOOOOOO GOOD I think it has a good mix of requited/unrequited, mundane/fantasy, literal/figurative (though dreams inherently skew more figurative than literal) (maybe more... a good balance between a 'concrete' implementation of 'dream' in the sleep sense, and 'abstract' implementation of 'dream' as the wish/goal sense?)

all the artists did a great job, I think every single story was complete and satisfying and competently executed (though obviously some of them hit my biases more than others). I can think of positive and unique things to say about each story. so I will.

Midnight Smack by Anna Chen Campbell: The art style is fun and distinct and very expressive, I loved the role reversal of a fantastical creature being in the position of going What The Fuck. Very solid meet-cute!

Dear Nina by Kristina Luu: The story is told through the perspective character reminiscing of the past, which means a nice intimate first(/second) person narration. I really liked the mood whiplash of wistful longing and seething cynicism, the atmosphere is top-notch.

Good Morning, Rose by Rowan Maccoll: I love the dream vibes in this one--it really captures that experience of going along with different scenes that aren't supposed to cohere, disjointed in a way that works for the story. I love how the... not-really-negative space is used during the true form reveal, very atmospheric.

R.E.M. by Jona Li: It's one of the heavier stories because [spoilers] the narrative centers suicidal ideation/suicide attempt, and I think the artist does a good job with emotional nuance; I also like that there's ambiguity whether the subject of the dream is their real self, or a projection of the dreamer. The contrast between hard/soft textures is super arresting.

Merderous by Gabrielle Kari: The first of three illustrations! Alas, the two-page spread is broken up in pdf format... I can't wait to get my physical copy so I can see it in its fully glory... it's got what's clearly an intricate narrative with no context or explanation, so you get to puzzle out your own interpretation if you want, which I liked.

Eternal Waltz by Adeline Kon: EXTREMELY heated drama between women. It has resentment, it has longing, it has separation and bitter reunions, it has violence, and it has a butch woman who's definitely an arrogant fuckboy. I want fifty more comics just like this.

Derailed! by Kimberly Wang: I'm very unfairly biased towards this comic because I've been following this artist for a while and I Love Their Work. Great composition, great expressions, great energy, just all around great stuff (there's also an interview about Of Thunder And Lightning in this zine!). Anyway, they described this comic as "type A hobonichi girlie meets girl who's perpetually late and has no impulse control, who survives", it's very funny and very charming and I knew I'd love it from the very first preview. and I was right. I want fifty more comics of this duo.

The Visitor by Yuchen H: The second illustration, which is also the cover of the zine. The art looks so soft and edible, really captures a dreamy atmosphere. I want to bury my face in those feathers. The pain (and longing...?) for someone ignorant to the impact of their own actions... solid vibes.

One Last Dream by Laura Rovinsky and Ez Carol: The protagonist is an old woman in hospice care, which really grabbed my interest. Despite the heavy premise, it's super sweet and cute and Filled With Joy, and there were a lot of elements I liked (the main character being active in working with the love interest, the main character's waking life being enhanced by the dream, etc). I would love to see more old women protagonists!

Step By Step by Jess Fleming: I liked the maze setup--the artist did cool stuff like the blueprint-to-completed-gardens page, and the atmosphere's very... I think liminal fits best. Also, the impossible status divide between a groundskeeper and a noblewoman who's in an arranged marriage to end a feud, AND the emotional implications of constructing the maze PLUS having to guide the noblewoman to her betrothed? Very good setup for The Longing

Love Everlasting by Ellen Mei: The third and final illustration. VERY clear narrative and VERY heated drama. I love an unethical scientist and I love how Very Definitely Unhappy the android looks about the situation. Sooo tasty and unhinged, nobody's getting out of this unscathed.

anyway, those are my thoughts, must-read for yuri enthusiasts, if you didn't get the chance to back the kickstarter definitely pick up a copy once it's for sale. I love it.