#i want to apologize for existing

[anadorablekiwi]

I forgot about my wrio plushie

[plagalkey]

ENERGETIC ⚡️

you make me feel so high

[mobius-m-mobius]

#so unserious 😂💖

[cent-scratchnsniff]

Please don't hurt yourself

[tuituipupu]

im gonna be the hater and say get baby assagna away from him

[unriding]

a … a gift from the talented @kruinka 🥹 thank you so much!! ദ്ദി ༎ຶ‿༎ຶ)

[zilabee]

the roman fucking empire:

gif by @autechres

[zehl0w]

Very messy scribble of a comic because they were on my mind (I doubt I’ll ever clean it up so I’m just posting it now so it doesn’t rot in my procreate files LOL)

[themyscirah]

What runs/stories do you recommend for someone starting WW? Could you please be specific (/nicely)

Yeah ofc!

My Wonder Woman Starter Recs (specific style 😎)

First stops: for an initial introduction to Wonder Woman, I'd generally recommend going to at least one of three places first. These three are:

Wonder Woman: Historia: The Amazons by Kelly Sue DeConnick

Wonder Woman: Year One by Greg Rucka

Wonder Woman: the Hiketeia by Greg Rucka

Of these I generally recommend reading Historia first, as it's a retelling of the origin of the Amazons as a race and how Diana came to be (so it essentially starts from the beginning) and is also the most recent of the them (if that means anything). Something to note about Historia though is that it's a DC Black Label book, so it's events aren't strictly canon in the main DCU and there are some changes and new elements present. I don't think this is something that should discourage anyone from reading it though, it's the best WW origin story out there, and even in strict main canon over the years her origin is one that has had many fluctuations and small (& sometimes big) changes. WW:Historia is three prestige format (longer) issues.

You'll notice the third book there is WW: The Hiketeia. Hiketeia is a great book if you're looking for a view into Diana as a professional and experienced hero. It's a graphic novel so standalone and not too long, and has a great Diana and really interesting plot (Diana vows to protect a young woman and finds herself pressed against the wheels of Greek Tragedy). This is also the first work with Diana done by Greg Rucka, one of her most prolific and loved writers. A sampling of this work (and also Historia) I think gives a good guide to where to go next in terms of runs on her main title.

Wonder Woman: Year One is the second book on the list up there, but I'm mentioning it last here as it's a bit more complicated in terms of format. Unlike other year one books, WW: Year One is actually a series of issues on her main title, showcasing Diana's arrival to man's world in Rebirth (and also current p sure) continuity. The issue numbering for this one is strange (only the even issues 2-14 on WW (2016)) so I recommend looking for this in trade form if possible.

These 3 books I think give a taste of some of the best standalone stuff in the Wonder Woman mythos, and give the reader a good idea of where they may want to go next in terms of longer runs on the title. So I'll break that down here as a Step 2.

STEP 2: WHERE NEXT?

Here I break down some highly recommended runs based on what they have in common with the standalone books from step 1. As a rule, these runs are going to be much longer than the above and generally more connected to the wider DCU and other books. Look for the italics to see the introduction to each new work. Explanation paragraphs follow after each italic/bold rec.

Curious about Greek mythology in WW and the Amazons' origins after reading Historia? Liked the prescence of a supporting cast and Diana learning about Man's World from Year One? Willing to read a longer run? I recommend: Wonder Woman by George Pérez

George Pérez's time on Wonder Woman totally reinvented the character after Crisis on Infinite Earths, and is fundamental in establishing many core concepts of her lore. At 62 issues, 2 annuals, and a 4-issue crossover event at the end (War of the Gods), it's definitely a commitment to read, but it's the most enduring and well-loved run on Wonder Woman for a reason--it's just that damn good. Lots of focus on mythology (although with a lighter tone than Historia) alongside Diana learning her role in relation to Man's World & establishing herself as a hero and ambassador. Pérez's run also has almost-certainly the most expansive and developed supporting cast in WW comics, something that really drives the emotional core of the series, especially in later issues. Obligatory note that this series was written between 1987 and 1992 and contains some very occasional aspects that I thought were in some way dated/uncomfortable etc. while reading (details of Cheetah's origin, depiction of the Bana-Mighdall, Hercules) but despite that I still highly, highly recommend this run. The word fundamental cannot begin to describe it.

Liked the experienced Diana of the Hiketeia? Interested to see her attempt to balance the high stakes responsibilities of an ambassador and superhero? Looking for some really badass moments and fights? Haven't read enough terrible tragedy? I suggest: Wonder Woman by Greg Rucka 2003 EDITION.

Some of Diana's coolest moments of all time are collected here. Also one of her most controversial. The 1st Rucka run is very much the story for anyone who liked the Diana of the Hiketeia and the tragedy of that and Historia. 2003 Rucka Diana is a Diana tested, forced to make decisions that are anything but easy, and live with the consequences. She's extraordinarily capable, but her enemies know that and are prepared to that end. This run, along with the Pérez run, rank among my favorite Wondy comics of all time (those and Historia are my top 3). This run is such peak Diana, especially in terms of sheer badassery. Her final confrontation with Medusa is in my opinion perhaps the greatest Wonder Woman fight scene of all time. Her encounter with Athena in the second-to-last issue breaks me every time. Cannot recommend this book more.

*a note abt this run is that it is more context-dependent than the other ones listed here, as it's the run that finishes out the Wonder Woman vol. 2 book and so has some guest appearances from characters introduced in other prior runs (Artemis of Bana-Mighdall, Cassie Sandsmark, and Vanessa Kapatelis, to name a few). I read this run before knowing much (if anything) about any of them, and still enjoyed it a lot, so I wouldn't be worried about this really but just thought I'd mention it.

Rucka's 2003 run is published from Wonder Woman (1987) #195-226. You can also find it in trade and I believe(?) omnibus. Sometimes the Hiketeia is included in collections of this series, as the 03 run is thematically similar in many places, just with a much deeper look at Diana and the world & with higher stakes.

Liked the specific characters and plot threads of Wonder Woman: Year One? Want to see what happens with Diana's exile, or learn more about Barbara Ann? Want a Diana in between the extremes of young and highly experienced? Wonder Woman by Greg Rucka 2016 EDITION may be for you.

...yes I'm putting ANOTHER Rucka book on here. He writes a great Diana, what can I say. This run is the same one that Year One came out of, just the follow ups to that story and versions of the characters. I have this run listed as separate from Year One though, as there's some really big time skips since the events of that first volume. A lot of time has passed since then, and there's more history between the characters, not all of it without drama. This run continues to be weird with the numbering, as well as some artist changes, so I definitely recommend looking into reading this in trade format (physical or digital) if at all possible. My recommended reading order is WW 2016 by Rucka vol. 2 "The Lies" (Wonder Woman: Rebirth Special #1, followed by 2016 main title odd numbered issues 1-11), then Rucka 16 vol. 3 "The Truth" (odds 13-23) then Godwatch (evens 16 through 24) followed by 25? But The Truth and Godwatch combine near the end so that doesn't really work either. This run is so good but recommending it is such a pain because the numbering is so all over the place. On God I never know which order to read this in. Going to revoke my previous statement and say read it as Rebirth Special 1, then only odds 1 through 11, then from 13 through 25 normally. That may lead to some weirdness as you read because the two stories take place at different times and have different art styles, but they come together at the end pretty dramatically so I think it's less confusing to read it this way? Maybe? So strange bc this is one of the go to good starter runs and yet it's set up so unintuitively. If someone has a better way to read this then let me know and ill edit, ik this explanation is super confusing bc neither way to read it is totally ideal imo and I feel I definitely read it in a weird order.

Going to call that a good rundown of some of my greatest recommendations in terms of Wonder Woman comics. If anything wasn't fully clear here or anyone (not just anon) has questions or wants to talk abt WW comics/my choices feel free to send as many asks or dms as you want. Have a good day everybody, & as Diana says, may the glory of Gaea be with you <3

[art-of-a-ghostie]

The more I read about this post written by @vulturevanity the more I realize that Gio is, in a way, a foil to Lorelai.

Gio lives in a fantasy, but only on appearance, because that's actually his everyday life. Lori lives in a fantasy, but only of appearance, to escape from her everyday life.

Gio has a lot of friends and yet he never sees romance in any of them. Lori secretly longs for friendship but she is so sheltered in her fantasy that prefers looking for romance, crushing on Giovanni at first sight and making up many false boyfriends.

Gio is probably one of the most honest and emotionally open characters in the story. Lori keeps so much turmoil and doubts inside.

Gio has a fire motif because he loves fire and he finds it a symbol of his evilness (his steams can be described as smoke, has a fire-themed blanket in his bed, describes himself as "a Phenix reborn from the fire" in his Vincent Murder outfit…). Lori has a fire motif because she hates it and finds it a symbol of her evilness (she "slices" a dragon who "burned her village", her "evil witch outfit" is described as a "Marshmallow roasted in the fire for too long"…)

Gio's food symbol is Soup, something that is not every first choice but is healthy and can be enjoyed easily (Even his boys at first made fun of him and didn't take him seriously), also soup can only be introduced in one way, like how he has a high opinion of himself so he doesn't put on any facade (not even when he is Vincent Murder's costume he shies away and acts differently), Lori's food symbol is Candies, something unhealthy who at big doses can be unhealthy (In her childhood Molly loved playing on her side but as she grew up they fell apart) and can be made look prettier, as she has a low opinion of herself and put on a facade (She has multiple identities in her stories and put on a fake smile sometimes, especially around Giovanni).

Giovanni has an epithet he loves to train and wants to become more powerful, Lorelai has an epithet she wouldn't like to have and wishes she could be weaker (or not have one at all)

Giovanni is impulsive and doesn't make plans, Lorelai is a perfectionist who plans every detail ahead in her fantasies.

[teaboot]

Your post about art vs content got me thinking about the differences between the two. To me there is no difference besides the mindsets. One is of creator and the enjoyer, the other is content and consumer it removes the personhood, the joy/emotion, from the equation. Like a writer or video creator may not see their work as art so content creator maybe a way to refer to themselves comfortably but it sounds so machine, emotionless and lifeless, like a cookie cutter recipe mass producing something verses people lovingly crafting something...then again Disney uses a cookie cutter recipe for the most part and it brings out bangers cause people lovingly make it their own so maybe I'm thinking too hard on this

Does my long-winded rant make sense?

see, I get what you mean, but I still feel like the willingness to entertain calling art of any kind "content" reduces it to the facet of consumption where in reality, the experience of consuming art is not the sole defining trait of it.

Reducing arts like music, writing, painting, dance, voice acting, theater, etc. to the role of "content"- a thing created to be consumed, measured and valued by how pleasant or easy it is to digest- I feel that it was our biggest red flag to herald the incoming tide of AI "art".

Because if art is "content", if arts are nothing but consumable matter, then obviously the key to success is to produce as much soft, tasty, edible paste as we possibly can at the lowest possible expense.

It's the same issue I have with "meal replacements", diet culture, nutrient slurries, twenty-step skincare routines, 24/7 body padding and shapewear and laxative teas and "grind culture". It's not a cause, but a symptom, of the disease that is late-stage capitalism.

Things must be produced at low cost and remain in high demand forever. Things must be perfect and palatable and the new hit trend forever. People must pay hand over fist to consume without asking anything in return, and if they start dropping like flies at the unending unrewarded thankless demand of it all, then that must be treated as a weakness. We should all take pride in how much we can spend, pay, give, produce, and think as little as possible about what we ask for ourselves.

So, who cares if, of two identical paintings, one was made by a person and one was made by a computer program? It's the same work, so what does it matter? What does it matter?

I am an artist. I make art. I ask a question, make a statement, declare something horrific or challenging or upsetting or wrong or grotesque, and when you respond, we are together experiencing a conversation. We are existing, two people living one life and reaching out and touching across time and space. No matter the work, you're at the barest minimum saying, "I'm alive, and you're alive, and at one time or another we shared this same world, and at the end of the day we aren't too terribly different. My heart is worth sharing, and your heart is worth the struggle of understanding."

An AI-generated piece, a computer-generated voice, a CGI puppet of someone long since dead and gone, they cannot speak. They have no voice. Ay best, they are the most chewable, consumable, landlord-beige common denominator possible that you can sit and listen to like the lone survivor of a shipwreck listening to the same three songs on a broken record, and at worst, they're the uncaring vomit of an empty, unloving, value-addled hack wearing the skin of someone I know over their own.

When you abandon art to say that you make content, that should not be a point of pride. That's an embarrassment. That's not sitting down for an intelligent discussion with an equal, that's kneeling at the feet of the crowd and saying, "what do you want to see me do? I can be anyone you've ever loved. I can be them, I can be anyone, as long as you love me."

I can make content. I can be consumed. What do you want to consume? I'll make myself consumable. I'll make myself just like anything you like. And I'll make so much of it that you'll never have to go anywhere else, because it'll all be right here, and under all the cut-and-paste schlock you've seen before I will sit alone in the dark and the silence and I will know that I am safe, because I am valued, because I am desired, and I need to be desired or else I am worthless like a factory that no longer churns out steel or a hen that no longer lays eggs or a cow that is too old to make milk.

Content, the most literal meaning, is something which is contained inside a container. What it is doesn't really matter, and the best it can hope to be is something worthy of being scooped out and used.

Art is an experience that transcends value. Art is something you can eat without paying for. You can make it out of anything and anyone can do it. It can be crude and vulgar and bad, and that's a strength because it means something. It always, always means something, and it doesn't matter if you like it or not. It's not content because it doesn't fill anything. It's a living, breathing thing, and whether you want to birth it or eat it, then you're going to have to be willing to put the fucking work in

[bumblingbabooshka]

S'chn T'gai-Grayson Family Memes

[teapot-of-tyrahn]

Mumpearl Drabble please :3?

His name is Mumbo Jumbo. His name is Mumbo Jumbo. His name is Mumbo Jumbo. His name is Mumbo Jumbo. His name is Mumbo Jumbo. His name is Mumbo Jumbo. His name is Mumbo Jumbo. His name is Mumbo Jumbo. His name is Mumbo Jumbo.

PearlescentMoon has gone by many names: Peril. Farmer Queen. Santa Perla. Madre de Girasoles. The Great Lunar Neighbour. Even Moonatrix Octa. She was no stranger to deification. She'd been worshipped by a wide variety of people. By her own Helianthias, by the Harengons of Sanctuary, by Jeremys of Stratos: and, now, even by The Order of Octa. And yet, out of all these followings, out of all these flocks of religions, cults and sects dedicated to her image… there was only one she was interested in. The Mooners. Or, rather, its founder. And his name was Mumbo Jumbo. She had to admit, it was odd. She’d been worshipped by countless mortals throughout history, but this wasn't just another mindless devotee, no, before that, he had been someone she'd known; somebody she'd loved. A friend. Before he had been a Mooner he had been apart of Boatem. He still was. It was surreal to see the same man she'd laughed with, the same man who had teased her and taught her what it was like to love and be loved and be human… worship the very thing about her that wasn't. Worship the idea of her, worship the concept of a omnipotent, despotic rock in the sky, worship everything about herself she hated. She had hated being a goddess. That's why she had come to Hermitcraft in the first place. She was sick of being treated as a stagnant notion - something simultaneously too abstract to comprehend and yet something superficial enough to be classified by one word: perfect. She wasn't a person, just an idea. A deity. But Mumbo Jumbo had taught her how to be a person. No… he'd been the one who had made her a person. Or maybe he had just showed her that she had always been one. He made her laugh. Cry. Love. Hate. Learn. Live. Experience. He taught her how to feel, want, explore, be… he had showed her the wonders of this world, shown her that everything alive was sacred and unkillable, that this planet was alive and thus beautiful. He had made her fall in love with the dull world that she had grown to loathe over the centuries all over again. He had made her fall in love with him. And so, watching him fall in love, not with her — not with the genuine, real version of herself she'd become — but with postulated perception of herself she'd been trying so hard to unbecome? The dehumanized idea of what she was supposed to be? The version of herself he'd unwittingly taught her she wasn't defined by? It felt like death. It felt like she was dying. Was this heartache? Could somebody who never had a heart have it break? Pearl loved Mumbo. But Mumbo only loved the Moon. Not Pearlescent.

The moon had two faces; one of which was always hidden from sight. One face could never be seen the human eye. No matter how much they tried, no matter what they used — whether it be telescopes, binoculars, spectrometers, or observation stations… nobody could ever see the far side of the moon. Nobody could ever see her in full display. Only in facets; fragments. In some ways, Pearl resented this fact. Nobody could ever know her; not truly. Nobody could never know her in her entirety. What would happen if they knew the new Australian Hermit wasn't from Australia at all, but from the moon, anyway? No, actually, she wasn't from the moon, she was the moon. She was just the actual, literal moon. That big 'ol floating rock in the sky? The one rapidly plummeting towards their planet on a path set to destruction? Yeah, that was her. Well, not exactly her, but her divine shell, which missed its' goddess after she had taken mortal form so much it was trying to reunite with her by colliding with Hermitcraft… Oopsie-daisy, yeah, my bad, sorry about the impending doom! On the slim chance they didn't immediately kick her off the server due to her very presence being a threat not only to everyone but the world itself's safety, what would they think of her, then? If the fact half of the Hermit's first instincts were to start cults around The Moon in response to its enlargement was any indication, something told her they wouldn't treat her like a regular Hermit anymore. They'd start treating her exactly like what she'd come here to get away from: a goddess. She wouldn't be Pearl anymore. She wouldn't have friends anymore. Just followers. She hated that sometimes she considered it. Oh, how easy it would be, to tell Mumbo she was the Great Lunar Neighbour he loved so much. That she was who he'd been unknowingly worshipping this entire time; she was his goddess. Her feelings for him would be reciprocated in a heartbeat. He'd love her in the same way she loved him; endlessly and entirely. …But he wouldn't. Not really. He wouldn't love her. He'd love the idealized idea of her he thought she was, this version of her he'd made up in his head. And even saying he'd love her would be a stretch… no, he wouldn't love her. He'd revere her, worship her, exalt her… but not love. Not in the ways mortals loved each other. He wouldn't love her for who she was, but for what she was. And, so, she wouldn't tell him. Because as long as he didn't know, there was still a chance he could love her; the actual her. She just had to be patient. Though it was times like this her patience really ran thin.

"I don't understand," Mumbo sobbed; the sound was hoarse, gravelly and guttural. He hadn't slept in… nobody knew how long, and the hysteric delirium of sleep-deprivation seemed to finally be catching up with him. "I — I did… I did everything right! I'm doing everything right, I don't — I don't understand what I did wrong. What am I doing wrong?" He cried. "Shh, shh… you're not doing anything wrong, Mumbs. You didn't do anything wrong. You're perfect. You've done everything perfect," Pearl consoled him, running her fingertips' through his hair in an assuaging manner, trying to coax him to calmness in the same way somebody might try to coax a crying infant back to sleep in the late hours of the night… which, was what she was doing, really, in a sense. His locks were unkempt, disheveled and sloven, bedraggled despite the fact he hadn't touched a bed for weeks. But even in his grotty state, to her, he was still gorgeous. He was still perfect. "Then why is she still mad? I — I made her a temple, I made her altars, I built her shrines, and — and — and — I even convinced Boatem to give up their beds! I even —  I don't understand… I thought — I thought that would fix it… I thought that would make her happy, but she's still — is it not enough? Am I not doing enough..?" Mumbo sniffled as he looked at her with hollow, sunken eyes, a strange mixture of devotion and desperation on his face. His eyebags were so heavy they weighed down his cheeks' like an anchor, an anvil. "Can't she tell I love her? I — I just want to make her happy. I just want her to know — I — I just… I just want her to know how much I love her." Pearl's heart ached. I know. "She knows," she whispered, trying to keep her voice from hitching, trying to control her pitch. "She knows you love her. She… she loves you too. So, so much." I love you too. I love you so, so much. "No," Mumbo shook his head with a strangled snuffle, dismissing her words as nothing but empty consolations. He didn't know how true they really were, he didn't know they weren't just a friend's weak attempt to lift his spirits, but that they were a love confession from the very God he had devoted his entire being too. That she really did love him, too, more than he could possibly fathom. "If — if she loved me, she… she wouldn't still be upset. If she knew how much I loved her, she wouldn't be — she wouldn't still be causing earthquakes and stealing blocks, and — I just, I need — I need to try harder. I need to show her, I need her to know, I need her to see…" No, you just need to see. You just need to see it's me. I'm right here - why can't you see? I'm not mad. I was never mad. I could never be mad at you. I love you. Please, please, please… stop. I don't want this. I'd never want you to do this to yourself. But he never listened. He would never listen to Pearl; and the one voice he would listen to was one she couldn't admit was her own. It was infuriating… He loved her so, so much, too much, and yet he didn't love her at all. He could never love her while he still loved who she had been. Who had to be. He could never love her while his love for her was destroying him. It was killing him. And, so, it seemed there was only one solution. She had to make him hate her. She had to make him hate The Moon. She had to make him hate her as much as she hated herself. And with the fact he didn't already, despite the fact her old vessel had actively been spreading insanity amongst the Hermits, causing earthquakes and disasters, destroying the landscape? It would take some drastic measures. Lengths she didn't want to go to. But knew she had too. For his sake and her own.

When she'd abandoned her celestial form, she'd abandoned most of her deific abilities with it. Fortunately, not all of them. She had enough power in reserve to call upon a mite of her old body down to Earth; a meteor. Little more than an atom compared to her mass. But enough to serve as a teensy deposit of her powers she could tap into and exploit. Enough to influence those around around her with The Moon's voice. Enough to make it clear love wouldn't work. Enough to make it clear there was only one option.

"…'I must have them'? Who must she have? Who must she have? Is it us? Must she have me? Must she have Doc? Who? Who does she need…?"

"He who doth preach to us on the first day of the server… so doth shall be returned to dust first." "His name is Mumbo Jumbo."

His name is Mumbo Jumbo. His name is Mumbo Jumbo. His name is Mumbo Jumbo. His name is Mumbo Jumbo. His name is Mumbo Jumbo. His name is Mumbo Jumbo. His name is Mumbo Jumbo. His name is Mumbo Jumbo. His name is Mumbo Jumbo.

Make love, not war. But if love doesn't work… use war.

-- so. uh. you asked for a drabble. this is uh..... this is 1.8k words. i may have. i may have gotten a little carried away. approximately 18 times the requested length carried away. I'M SO SORRY. I AM....... SO SORRY. I GOT A LITTLE BIT ILL ABOUT THEM. I HOPE THIS IS OK LOL. ANYWAY. thinking about hc s8 mumbo and the moon's strange relationship......... what do you MEAN mumbo made a cult and a temple and a shrine completely dedicated to the moon? what do you MEAN the first thing the moon did when it gained control over ren and doc's minds was make them sacrifice mumbo jumbo specifically ? and then cub ALSO sacrificed [an imitation of] mumbo jumbo SPECIFICALLY to appease the moon ? the moon was JUST as insane about mumbo as mumbo was about the moon. mumpearl is real guys i don't know what to tell you they're obsessed with each other they're deranged yuri

[jewishvitya]

I feel like people see "abuser" as like... a variety of person. A category of its own. A kind of human. Not a label for someone who has a pattern of behaviors with reasoning and internal logic that a lot of people can fall into without meaning to, and it's possible to unlearn, even if it doesn't undo harm.

There has to be sinister villainous intent, otherwise... I don't know, my hurt isn't enough?

If I admit they're not a different kind of human, I'll have to accept that I'm capable of just as much harm.

If there's a kind of person that's evil and we can "remove them from society" then we'll be left with The Good Ones.

I don't know.

[butchvamp]

i had time to play a decent amount today and actually further the main quest & companion quests and. i dont have anything eloquent to say this time and im not feeling generous anymore... taash's writing sucks dogshit

[sentientstump]

thinkingg

about things

in the alt text with some notes