#little essay

[kryptonbabe]

Lois Lane in the military? Not a bad idea after all

From Absolute Superman #2 (2024)

It's interesting how every time I find some aspect of Absolute Superman that I don't like Jason Aaron finds a way to counteract and show me that there is a reason why this world is not exactly as I wanted it to be in the first place, and it is usually because things are more interesting if you let them develop. There is a process to things, a growth, characters to evolve and make mistakes and change from them, learn new things and take a different turn. It's more fun if you're there for the journey and not for the instant gratification of getting what you want without any complication or conflict. At first I was afraid of reading a military Lois Lane, I'm personally very antagonistic to institutions that impose authority of any kind, and one of the reasons why I like Lois and Clark so much is the way they stand against these institutions by being journalists and working for the people (yes, in a very romanticized idea of journalism, but let us have this ok?). However I believe that what Jason Aaron is trying to do is showing Lois trajectory finding that her own ideas were misguided and that there's another way to see things. I believe he wants to show us her as a flawed and human character changing her mind and finding a new way outside of the violent and authoritarian institution she's been part of it, instead of giving us an already idealistic Lois Lane from the get go. This is a new universe after all and, although Lois character had several of her core traits already in display on the first golden age Superman comics, she changed quite a lot too, developing a maturity and a self-assurance she didn't have it at first. So it's only fair to give this Lois room for growing too, to let her become her own person in this different universe, and most of all, to trust artists to tell their stories

[kryptonbabe]

This is the kind of stuff that keeps me up at night, I'm already super into speculative biological evolution, but I'm just waking up to speculative anthropology... And as I was thinking about the Vulcan-Romulan make up question I came to a few conclusions.

From a biological point of view I doubt that Romulans and Vulcans can be considered different species and are more likely different ethnic groups (as in "races") the same way humans are all the same species, but have several different ethnic groups with their own cultures. The Romulans diverged from the Vulcans for centuries due to ideological differences, not long enough time for their groups to evolve traits that would preclude them from successfully breeding, which would make them the same species according to our current biological species concept.

Knowing that the primitive Vulcans are ancestors of the Romulans and considering that their native planet Vulcan's "climate was generally harsh, with most of the surface consisting of large deserts or mountain ranges", we can think of how cultures from analogous Earth regions developed their cosmetics, the ancient Egypt comes to mind.

Their characteristic black eye makeup, or kohl, that protected the eyes form the desert sun of Egypt, highlighted their features and had a religious significance for association with the eye of Horus and other deities. Also some ingredients in their cosmetics were super toxic and had antibacterial properties because of it, for example, the lead compounds in kohl could offer some protection against certain eye diseases. Due to all of this, make up was used by both men and women.

The ancient Egyptians would use cosmetics as defense against the natural conditions of their harsh environment at first, but later such traditions would evolve to have social and religious status. We could speculate the same about primitive Vulcans, considering how harsh the natural conditions of their planet is.

This would safely lead us to assume that the cultural trait of make up was already established before the split between primitive Vulcans and Romulans. By being apart they evolved numerous other cultural traits that would make them unique, though the make up was still common to both people...

Now, we can only speculate (as if that's not already what I'm doing this whole post lol) about what led the make up habit to be abandoned by the Vulcan men, and that should be the focus of the question since, Romulans and Vulcan women simply kept the ancient tradition intact. What made the Vulcan men stop wearing their eye-shadows and what do they thought of the custom? Would they associate such a trait with their savage era before Surak's? If so, then why Spock proudly wears his make up considering his insecurities regarding his double ancestry? I still have questions, though I have some ideas, but I wrote too much already. Thanks for reading this!

I've noticed that typical Vulcan men do not appear to wear the iconic blue shimmery eyeshadow, while Vulcan women do and with glossy pink lipstick too.

Where as it seems that Romulan men do, in fact, wear eyeshadow. It seems to be an important enough part of their culture that when they put it on Jim too when Bones disguised him as a Romulan.

But you know who also wears eyeshadow (and pink lipstick)? Mister Spock!

Like look! Their makeups literally match. It's very interesting that both Romulan men and women wear makeup, but only Vulcan women seem wear makeup (well maybe the men do too we've just never seen any). And if Romulans and Vulcans have a common ancestor, does it mean that historical Vulcan men did wear makeup? Is Spock doing ancient Vulcan makeup to prove that he's like soooo totally Vulcan? What does it all mean, am I just tin foil hatting 🤔

[joicecubes]

the implications of ford pulling this photo out of his trenchcoat in the last episode you guys… THE IMPLICATIONS.

look at the state of this thing!! look at its rips! the stain in the bottom right corner! it’s dog-eared, the color is faded, the paper has browned… he’s kept this photo of them since they were kids. through all the years he stubbornly swore to hold a grudge, all the years he and stan never spoke, he kept this photo.

and we can assume he probably didn’t have it dimension-hopping, since i find it hard to believe he would’ve had it on him when he initially got sucked in, but ford pulling it out of his trenchcoat here!! implies!! that he had been CARRYING IT AROUND WITH HIM for some time after he got back!

imagine if he found it in some of his old stuff the night he returned, after punching and yelling at stan, after being sure to keep as much emotional distance between them as possible, and he finds this photo. would he have stared down at it? for a little while? smoothed the creases out on his desk? thumbed the torn, loved edges while he mourned a simpler time? then pocketed the thing to always have it with him?

i dunno. maybe i’m looking too far into it. but i can’t help but wonder if ford kept it because, against all his big dreams and ambitions, deep down he always wondered what his life might have been like if he sailed away with his brother when they were teenagers. never able to throw it away because doing so would symbolically destroy the last remnants of a childhood fantasy, the last piece of him that remains young and hopeful of a future at his brother’s side.

[poorly-drawn-mdzs]

Vibes based grading system.

(for @epistemologys, who wanted some post-canon, teacher WWX)

[exeggcute]

btw did you guys see how the hannah arendt prize committee tried to revoke masha gessen's prize after gessen, a jewish journalist, wrote an essay about how zionists and zionist-sympathizing gentiles, particularly in germany, wield accusations of antisemitism to shut down anti-zionist jews... an essay in which they specifically quoted hannah arendt several times

[beetleandfox]

I love how unsanitized The Terror feels. Like there’s grime everywhere. You can tell those men smell bad. When they do surgery you can hear the bone being cut, when they get sick they look genuinely ill. The main character’s actor even has pockmarks, he LOOKS like he could be from the 1800s! And idk, I think it’s cool that we’re so aware of the characters’ carnal desires. They’re hungry, thirsty, freezing, etc, and it is so obvious that they have a body with needs!!

I think this also accounts for how horny the show feels, even though everyone is bundled up 90% of the time and there are no real romantic subplots. Besides the fact that it’s a very carnal show, it just has the intimacy and grime of true horniness. Is this thing on

[melioristic-mellie]

‘WILSON WAS JUST AS COMPLEX OF A CHARACTER AS HOUSE!!! HE WAS JUST AS FUCKED UP AS THE REST OF THEM IF NOT MORE!!! HE WAS NOT ALL SUNSHINE AND RAINBOWS!!! HE WAS JUST AS IMPERFECT’ i yell as they drag me back into the asylum

[lazylittledragon]

can't stop thinking about how well they nailed falin's 'weird little girl' energy. when she picked up a stick and said 'ooh a bug' i felt that

[losersolace]

i think neither nico nor will is freaked out by blood and things of that nature. i see them sitting at the dinner table like “and then the monster just EXPLODED and its guts went EVERYWHERE—“ while calmly eating and the ppl around them are like ???

[kryptonbabe]

Jack Larson as Jimmy Olsen (with George Reeves as Superman) in the Adventures of Superman (1953)

So, I was thinking about Jimmy Olsen in The Adventures of Superman, the actor who played him was Jack Larson and the show went on from 1952 to 1958, George Reeves playing Superman. Jack was reluctant to take the role, he wanted to be a "serious" actor, but he needed the money so he went along. The show had a young audience and the character they most identified with was Jimmy Olsen for his charisma and innocence. Jack soon became this unlikely star, a heart-throb recognized wherever he went.

Larson was gay and open about his sexuality, kind of a pioneer in Hollywood for that. He had an affair with actor Montgomery Clift in the 1950s and he had a 35-year relationship with writer and director James Bridges. Jack produced a bunch of his films too, sadly Bridges died in 1993. Larson said that their relation “was obvious to anyone (...) since we lived together we were partners. We always went places together. We never pretended”. I love him for that.

(with Noel Neill as Lois Lane)

In the 1990s he appeared in episodes of Superboy and Lois & Clark: The New Adventures of Superman as an older version of Jimmy Olsen. Until the end of his life Jack was known for his role as cub reporter Jimmy Olsen, Superman’s pal. “I’m pleased with it, I’m proud of it. It’s nice not to be forgotten”. He died on September 20, 2015, at the age of 87. I'll make sure not to forget him.

[dinahscrossbow]

Taissa and Van's reaction to the fact that Coach Ben knew about them and could've outed them at any time (but didn't).

Isn't it crazy that you can be in a relatively comfortable position where every single person knows about your sexuality and relationship (and is absolutely cool with it), but the simple reminder that the world in general isn't like that, can immediately throw you off?

They are so scared here! The danger they're faced with is in the past (and nothing happened) and they are still SO SCARED. My babies!! Van looking around, Tai searching Van's eyes once she processed the information... so freaking good!

Somebody knew the whole time and that was the thing they were most afraid of.

Openly and proudly declaring herself "a handy lesbian" one moment, terrified that they were perceived as such "in the real world" the next.

Being queer is such a freaking roller-coaster

Yellowjackets - S03 E04

[bloggerspam]

A Christmas Carol AU

Inspired by a prompt found in the @haunting-heroes-creative-games :) (i.e. back on my shit again)

When a 15 year old Jason, pissed at Bruce for taking Robin away from him, finds his birth certificate he realizes Catherine Todd is not his real mother.

Just as he resolves to go out and search for his birth mother, Jason finds himself accosted by three ghosts in his room, talking about A Christmas Carol of all things.

===

"So, what? We're gonna Christmas Carol him?"

Dan scoffs, crossing his bulky arms with an unimpressed look. "We hated that movie."

"I didn't." Dani chirps, disturbingly cheery, "I didn't see it!"

"We hate Christmas," Danny corrects, "But the movie was alright, and the logic is sound."

"I don't hate Christmas," Dani once again interjects cheerily, "I've never participated!"

"Sound my ass," Dan growls over her, throwing his hands up. "We don't even know this guy!"

"Minor detail." Danny insists, "Tuck can look him up."

"He's a fucking Bat, Danny." Dan scrunches up his face, pinching the bridge of his nose just like Vlad does when he's disgruntled with any of Dad's shenanigans.

"He's a Robin, actually." Dani pipes in, "And he's just a kid. How hard is it gonna be to pretend to be this kid's Ghosts?"

"You're a kid," Dan reminds her, crossing his arms, "And you didn't believe me when I told you sticking a fork in the outlet would shock you."

"I believed you," Dani sniffs haughtily, crossing her arms and pointing her nose up with a snooty voice, "The warning simply did not deter me from doing it anyway."

"We don't have to convince him we're his Ghosts, or even that we knew him before," Danny reasons, needling, "We just have to convince him that we're…"

He hums, pointing at Dani. "Past."

He points at himself, "Present."

He points at Dan, "Future."

Dani does a little cheer, arms up and twirling into the air before landing with her legs over Dan's shoulders, hands and head settling atop Dan's fiery, but harmless, hair. It flickers, before going limp into long white strands that Dani messes up by gently scrunching up the strands and running her fingers through them.

Dan lets her, huffing and looking weirdly like a downtrodden, wet cat. "Why am I future?"

"Because." Danny doesn't continue, because he knows it makes Dan annoyed. True to form, his scowl gets worse, like sucking on a lemon. They all know why anyway.

Dani grins, triumphant and knowing, letting her voice go real deep, "The future," she intones into Dan's hair, "is here."

"The future is now," Danny corrects her, but doesn't lose his smile, floating up to tuck a strand of her hair back behind her ear.

"The future is already here," Dan mumbles his correction, or is it a follow-up? "It's just not evenly distributed."

"How about you distribute some of those muscles, Gibson," Danny sighs, shaking his head "Waiting for puberty is such a drag, and we both know you didn't get the mass from Vlad's side of the family."

Dan makes a moue of disgust, but it serves him right. The consequences of his own actions, and whatnot. He looks up at Dani, who simply shrugs. "I think you'll do great." She leans down to give him two pats on the arm.

"So how's acting out A Christmas Carol gonna help us stop this Jason guy from blowing up?" Dani fiddles with Dan's hair, tongue poking out as she attempts a braid, "Will he even see us? Ghosts in this dimension taste funny."

"He'll be able to see us, it's magically rich enough for some ghosts to maintain a semblance of themselves," Danny explains for the third time. Dani and Dan hum at different pitches, and even though Danny is the common denominator he kind of hates that Vlad has more of a lasting impression on them. "The ectoplasm here is scarce and mostly corrupted, though, so it's rare."

"So there's lotsa bad ghosts here?" Dani eyes the messy braid she's made, proud, even as Dan's silky hair immediately causes it to fall apart, "Or 'mentally unsound' or whatever Frostbite called it."

"No," Dan grumbles, annoyed and indulging all at once, "Corruption begets ecto-rot, but the scarcity means they're not strong enough to actually retain their sense of self enough to rot."

"Shades," Danny explains when Dani looks even more confused, "There's lots of shades."

"Is this one of the Olympian dimensions?" Dani groans, flopping over Dan's shoulder as he sits down on the sofa, "I love Pandora and all, but if I see Zeus again I'm gonna lose it."

"It's one of the hero dimensions," Danny hums, taking over braiding Dan's hair the way Jazz made him when they were little, "There's a couple of Amazons walking about, but on the whole no Olympians."

"I don't know why he didn't just dump me in a Norse dimension." Dan leans back and closes his eyes to their ministrations. "Especially with my current occupation."

The three of them are sitting in Dan's apartment, a large loft studio located somewhere in the UK of the aforementioned hero-dimension. Alber-something, Danny can't remember. Doesn't need to, it being a different dimension from his anyway.

Dan doesn't have a lot of things: a sofa and TV, a bed in the corner, a decent but small kitchen. They're still trying to figure out decorations, but Dan on the whole is a minimalist so it's been slow going.

He's working as a bartender these nights, whiling away his odd existence now that his form has stabilized.

And wasn't that a trip? Learning that hey, adult lightning halfas shouldn't really be mixed with teenage ice halfas, actually!

Apparently, ectoplasm can become corrupted if you try to combine incompatible sources.

Apparently, side effects include (but are not limited to) unmitigated violence and a devastating need for vengeance.

Sound familiar?

"This dimension has a lot of time continuity errors," Danny reminds him, "Dropping you here gave the least amount of pushback."

"Yeah, yeah," Dan flaps a lazy hand, "Praise be the speedforce and flashpoints and whatnot."

"Plus," Dani adds softly, absent-minded as she watches Danny finish up the braid, "Lotsa heroes to help out if you relapse."

Dan heaves a slow, controlled sigh. Danny and Dani both pretend they don't notice.

"Is it bad?" Dan doesn't open his eyes, his voice is so low Danny can only hear him by virtue of his ghost powers, "Like me levels bad?"

"No." Danny shakes his head, leaning into his older self, his older brother of sorts, "He decapitated eight crime lords, killed a couple of assassins, maybe an innocent or two depending on your definition of things."

"Past tense?" Dan scrunches his nose. They all hate how confusing Time Shenanigans are.

"He's living as Red Hood, right this very moment."

"Red Hood?" Dani questions, "That his hero name?"

"Crime lord alias." Danny corrects her, "But he's more of a vigilante these days. Has a bat on his chest and everything."

"But it's bad enough to warrant a trip to the past." Dan points out, "Bad enough for us to try and persuade him. Does he relapse?"

"Not…exactly." Danny scrunches his face, not wanting to explain Clockwork's ambiguity.

Dani floats to spread over Danny and Dan's laps, sprawling out and purring like a cat. Self-soothing, though it's more for their benefit than hers.

"Like Dani said, there’re lots of heroes here, and he doesn't have powers." Danny continues, petting at Dani's soft hair, "The world doesn't end. He doesn't have the means to, even with the ecto-rot."

Danny pauses, and chooses his words deliberately and carefully. "And deep down, Jason Todd is a hero through and through. Relapse would be…difficult. His Obsession is similar to yours."

Dan lets that sit for a moment, but nods, Danny moving a little with the motion. The tension slowly bleeds out as they wait like that, enjoying each other's company.

"If the world doesn't end," Dani whispers, "Why is Clockwork sending all of us?"

Danny thinks on that, on his meeting with Clockwork. The Ancient's voice when he explained what would happen.

He thinks about Jason Todd, about Bruce Wayne, and Catherine, and Sheila. He thinks about Batman, and Robin.

He thinks about Dick Grayson and Tim Drake, about Damian Al Ghul, about Cassandra Cain, and all of Jason's Outlaws.

He thinks about a tattered uniform that stays up in a glass case for a long, long time.

Most of all, he thinks about Dan.

He thinks about regrets and one bad day away.

And then he stops thinking about it, because sometimes the past is the past, and other times, it's the future that never happens that haunts you instead.

"You know, Dani." He settles on, "I'm not sure. He probably has his reasons."

Dan leans heavier onto him, and they lean together like that, with Dani in their laps.

Ghosts of decisions made, unmade, and never to be.

Follow the story on AO3 here!

[poorly-drawn-mdzs]

I came here for the silly haha doodles, but I've stayed for the absolutely blazing commentary in the tags. Your analysis of this story is so so so good! Thanks for all the work and thought you put into this!

I am just a silly little comics blog. I am not hiding anything in the tags, no way. Never.

[egophiliac]

I've had a beast of a cold for the last few days, but I wanted to get this out before the new year! while I've sort of made my peace with my first take on Lilia's UM poster, I really wanted to do a version with the new context that chapter 6 gave us. because. c'mon.

(don't worry, Lilia can carry ALL HIS KIDS AT ONCE)

[swampjawn]

God I love animation. I love it for the way it can bring anything to life beyond the constraints of boring ol' reality, but also the ways that it's inextricably linked to, and draws on the conventions of live-action film-making.

So fuck it, let's look at how Hayao Miyazaki straight up copies some camera framing techniques from his predecessor and the other most influential Japanese filmmaker of all time, Akira Kurosawa! (Kurosawa really was the master of framing scenes around his characters, so he's a great source of inspiration)

(btw, this is a screenshot from this TV special where the two met for the first time just after the release of Kurosawa's final film. It's pretty interesting, and also very cute how nervous Miyazaki seems to be to meet one of his idols.)

Specifically, how the two each choose to break the 180 degree rule (well, not technically 'break' in the case of Kurosawa) to show their protagonists' changing destiny in "Throne of Blood" and "Princess Mononoke".

For anyone who doesn't know, the 180 degree rule is a basic film-making rule of thumb which states that in any scene where two characters interact, you should draw an imaginary line between them and the camera should always stay on one side of that line.

("In the Mood for Love" - Wong Kar-wai)

This way, one character is always looking to the right of the camera, the other is always looking to the left, and the audience doesn't get confused by the geography of the scene. Crossing this line can be disorienting, but when done intentionally, it can convey a paradigm shift of some kind in the scene.

In this scene from "Throne of Blood," (a feudal Japanese retelling of Macbeth) Washizu's wife Asaji discusses tactics with him and tries to convince him to aspire to the throne and to assassinate his lord Tsuzuki while he sleeps.

As two servants appear to notify them that Washizu's sleeping quarters are prepared, the camera dollies left and around the characters' backs. This camera movement is motivated by the motion of the servants' torches outside the room, but it also signifies a change in Washizu's outlook.

Washizu is completely silent for most of this scene, contemplating his wife's advice. But as the camera slides behind his back and across the line of action, the scene is now re-framed, illustrating his change in perspective.

He's been convinced and the trajectory of his life is about to change - and now, facing away from the camera, is the time for action.

Because the camera slides smoothly across the line, Kurosawa isn't technically breaking the 180 degree rule. Miyazaki on the other hand, takes it a little further.

The complimentary scene in Princess Mononoke comes near the start when the wise woman of the village reads Prince Ashitaka's fortune after he's cursed by the wild boar spirit. She tells him that it is his fate to leave the village and travel to the west, where he may be able to lift the curse on his arm. The trajectory of Ashitaka's life changes in this moment too. As he accepts his fate, the change is symbolized by him cutting off his hair, but also by the camera jumping the line.

Throughout this dialogue scene and even as he cuts his hair, the simulated camera sits just slightly to the side of Ashitaka's left shoulder.

But once it's done, for the final shot, the scene is reframed and we jump to the other side, where Ashitaka is now looking to the right of the camera instead of the left.

Making the camera dolly across a scene like Kurosawa's version in 2D animation is no simple task, so this transition with a simple cut is in a way subtler, in another way a bit more jarring, but it conveys the same meaning.

This is the moment when our protagonists make the choice to embark on a new destiny and re-frame their lives.

This has been an excerpt from a short video essay I made a while back, which not many people watched. I think this is at least in part due to my failure to package it well, and it seems you tumblheads like this animation/cinematography analysis stuff, so this is an experiment to see if, with the help of y'all, and a new title and thumbnail, it's at all possible to give this video a second wind in the eyes of the Youtube Gods!

So if you found this interesting, I'd appreciate if you checked it out! Thanks for reading!

[shitpostingkats]

Zack Fair has a really fascinating relationship with killing where a lot of the rest of the cast doesn't. He fights people as well as monsters and gradually stops being able to differentiate the two. He helps clear out beasties and ghoulies but he also intros the game with a massive attack on a foreign nation just to shore up corporate interests and for a good chunk of the game places those two activities in the same spot in his mind. One of his side projects at work is quashing the last remnants of rebellion in said occupied country and rooting out the spies in their resistance, at which point he hands them over to his bosses to be interrogated and presumably tortured. But if he comes face to face with the same people in a combat scenario, he won't kill them, because he views their desire to see themselves free as an honorable trait. Then he turns around and attacks hordes of people who defected Shinra. He uses the blunt side of his sword, not to spare lives, but because he doesn't want to damage the sharp edge.

Wutai forces and Genesis clones have a different categorization to him, something he can mentally label as "other". But after Nibelhiem, your primary enemy type becomes other Shinra soldiers. Just after Zack has had his realizations that the monsters he was wiping out share a haunting amount of basic building blocks with his coworkers. And with himself.

Actually, let's pause. Zack is the only character we see have any sort of acceptance of being Jenova-ed. Every other character is unwilling and usually not even a conscious being yet, but Zack A) knows what is being done to him, and B) openly states he wants those monstrous traits for himself. "Those wings / I want them too." Up to this point, every other character has equated being Jenova-ed to being baser, to being subhuman, but Zack at the very beginning tried to convince Angeal that it meant freedom. Power to do what you want.

Zack Fair willingly and with open arms embraced being made less than human because he thought it would give him the strength to break out of captivity.

So he busts out, and the first thing he's greeted with it a horde of enemies that he knows are human, has worked and talked with, and are in fact the same shape and type of person as Cloud. Just a couple cutscenes ago, these were his coworkers.

The easiest way to get through them is to set them on fire and blow up the munitions they're carrying on their person.

(It's such a beautiful demystifying of the elemental system. I love it.)

Oh also, you're on a time limit, so you gotta kill all these guys fast, because they're trying to go for the weak spot, Cloud, who can't fight and is getting dragged away.

After that, the next thing Zack does is find a gun and start taking long ranged killshots.

There's a tangible feeling of a lesson being learned.

Zack is (I think?) the only SOLDIER we ever see use a gun. It's worth noting that even the most fallen of SOLDIERs stick to their flashy blades and their weird swordfights. Other characters even comment how bizarre it is, but ffvii also runs on that fantasy world logic where if you just Get Good enough, swords are just as good as guns if not better. Guns are the lower, more primitive weapon, fit for grunts and hitmen but not elite fighters.

(I could also go into detail on how some of the SOLDIERS weapon are sold as bespoke merch in world, and basically another tool in the toolbox of how to sell these flesh and blood men as mythologized products. But we don't have time to unpack all of that.)

For Zack, we know that his sword is even a symbol of honorable combat and a legacy of trying to do the right thing. Zack picking up a gun is basically debasing himself to being just another man in the field. And it's a sniper rifle. The weapon guaranteed to get him as little contact with his opponent as possible and does not even give them a chance to fight back. But it's whatever gets the job done.

Zack starts the game as someone who kills people, but it's hand-waved aside the same way it is for most everyone else, only for him to bite that awareness apple like five minutes before it becomes absolutely vital he survive at all costs. Zack becomes aware that he's on a slippery slope and due to circumstances has to start sprinting. Over the course of the game, we watch as Zack Fair goes from being someone who kills people to a killer.