#reclamation comic

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Reclamation, Page 37

Anjali and Rachna have the ability to communicate mentally with each other via a spell called Faithful Ally, which either can activate by touching a tattoo that they both have. It comes in handy sometimes.

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[poli-ant]

Reclamation: Episode 1-5 --------------

This is a long-term comic I've been meaning to make from ideas swimming around in my head for a WHILE about a robot traversing a giant machine crumbling down after the long trek of time finally wears it away.

I hope whoever finds this likes it!! This is technically my first actual comic, so i hope its alright lol

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Reclamation, Page 6

Can YOU sleep through someone going totemic a foot from your head? Neither can Rook, apparently. Anjali, Rachna, and Sayuri look on, glad it's Rook and not them. (One of our house rules for Exalted is that Solars can't be flash-blinded by sunlight or other Solars' anima banners. The others aren't so lucky.)

You may notice the comic has a title now! The loose story line I have for this deals a lot with remnants of the First Age, who the characters used to be (in this life and previous lives), and the things even an Exalt can't get back. I still have no formal update schedule because I'm doing the pages 'whenever', around my other obligations and my whole other weekly comic, but I like this story, so I'll try to keep it going for at least a while.

[radical-reclamation]

Left is my Selina Kyle kin/Catwoman kin flag, left is oops-all-queerios's kleptoqueer flag. My flag was made with the concept of Selina Kyle/Catwoman in mind.

[ridiculand]

Nieuw! Nieuw!

[fantastic-nonsense]

Oracle isn't just a name. It's an identity that is inextricably intertwined with Barbara Gordon reclaiming herself and her sense of agency over her body and life after becoming disabled.

The last 13 years of dedicated activism have gotten us back to a point where Oracle is acknowledged and Babs is portrayed as a competent adult woman, and I'm grateful she finally has her team back. But DC still refuses to acknowledge and uplift her as disabled, undermining the core thesis of Barbara's character in the modern era. And as long as she's not visibly disabled…she's still not Oracle.

Oracle was created because two people (Kim Yale and John Ostrander) saw a horribly misogynistic story and went "no. We can do better. We SHOULD do better." Oracle was a rebirth, a revitalization, a refusal to allow women to be relegated to the sidelines and margins of superhero comics regardless of physical ability.

To refuse to portray her as visibly disabled undermines everything that Babs as Oracle stood for, both in-universe and in real life. It betrays the identity's foundations as a reclamation of agency and heroism. It betrays her creators' intent as an avenue for disability representation and a revitalization of a character summarily discarded because the company saw no further use for her. It betrays the millions of readers who read her stories for nearly 25 years and enjoyed stories brimming with strength, independence, and heroism that depicted a disabled character at their center.

It's doubly frustrating because it's clear that DC is slowly moving Cass back into the "primary Batgirl" role, allowing us to have a semblance of Oracle back, but they seem to think of Oracle as an interchangable identity with Batgirl that Babs would have had even if TKJ had never happened. And outside of Batgirls (which ended last year), they won't even meet people halfway and make Barbara an ambulatory wheelchair user who uses forearm crutches and/or a cane when she's mobile.

Again: I'm grateful that Oracle is being acknowledged again. I'm grateful Babs is back to being a competent adult and team leader who has friends outside of Gotham. But I continue to be frustrated at the company-wide sexism keeping her from fully moving on from Batgirl and the ableism prohibiting her from being shown as visibly disabled.

[luna-rainbow]

The reason people were saying don’t forget fandom history isn’t because anyone thinks Stucky is the oldest MLM ship, or the biggest MLM ship, or the only MLM ship of its time. It’s because it was 2014 and gay marriage was still illegal. It’s because it was 2015 and MAGA was flying everywhere. It’s because it was 2016, people took to Twitter and trended #givecapaboyfriend. Mere weeks later, comics Steve Rogers was written into a Nazi.

It’s because it came at a turning point not just in superhero history but American history. MCU Steve Rogers was a return to a more sincere worldview after two decades of grim dark cynicism. The MCU, previously the domain of (mainly cis white) dudebros — you only have to look at the way Nat and Peggy were written in the early movies to know that women and other minorities, whether as characters or audience, were a distant afterthought — has gained traction with the mainstream audience. The advent of social media and internet accessibility meant a blossoming abundance of fan content that previous generations didn’t have.

This coincided with a time of intense ideological clash between progressive and conservative voices. Unlike what dudebros say, very few people believed the MCU would actually give Cap a boyfriend, but it did squarely place Captain America on the side of the LGBT community. Up until this point, MCU Steve in both canon and fanon has often been portrayed with hazy nostalgia for “the greatest generation” and the white picket fence dream. The hashtag trend was a reclamation of a character who was written by a minority, whose origin was a marginalised group for his time, and whose moral code was always supportive of people sidelined by history.

There will always be older ships, bigger ships, “more canon” ships, but you’ll never get another ship that rode the nexus of social media growth, genre popularity, LGBT recognition and political tug-o-war to breach containment the way Steve-Bucky did.

Don’t forget the history of #GiveCapABoyfriend, the BBC Steve-Bucky fan video, the “of course it’s a love story”, the “we went a little Brokeback” and the “Bucky is his home”. All of these were acknowledgement of the sheer size and international reach of the fandom. With a character many people thought of as the face of conservative America, it brought gay romance into the mainstream consciousness…and yes, without Steve-Bucky and several other concurrent massive MLM ships laying down the ground work, many of the newer canon gay romances would not have been green lit by profit-hungry studios.

[artbyblastweave]

I've never made any connections between Worm and the Captain America mythos before. Spill some ink?

Okay, so from a purely aesthetic perspective, the gimme is Miss Militia. She's the most obvious "Captain Patriotic" in the roster, she has the power of GUN, she's the only one who actively buys into the mythology of America specifically. She's a Kurdish woman occupying an aesthetic niche generally held by a rugged squinty white guy. She's an output of the melting pot narrative. She's sort of a rendering of what a grounded superhero who somehow became very aesthetically into America might look like. Not in the craven marketing-driven way of Homelander or Comedian, not in the jingoistic maniac way of USAgent or Peacemaker. She buys it in the broadly left-liberal (USamerican connotation of that term) safe, friendly, reclamative way. Why, what a great rehabilitation of the archetype!

She's also deeply, deeply afraid of rocking the boat. She's got a deepseated childhood trauma related to the bad things that happen when she puts herself in a leadership role. She goes along to get along. When she's proactive, it's usually to point a gun at Tattletale to stop her from upsetting the status quo. She sits through a lot of situations where Steve Rogers, as commonly modeled, would probably plant himself like a tree by the river of truth and go, "Hey, this is fucked up." She more or less capitulates to Undersider domination of the city, in a way that predisposes us to think of her as a voice of reason after all these total nuts that Skitter's been up against- but would Taylor "to relinquish control is a form of ego death" Hebert really be willing to leave someone in charge of the local Protectorate branch who she thought couldn't be corralled? She looks like a beacon, but doesn't- indeed, probably can't- ever truly behave like one. I mean, you can debate the on-the-spot morality of any given one of her judgement calls, that's actually one of the less exhausting Worm Morality Debates to have- but in aggregate, a person in American flag garb who actually meaningfully criticizes the paramilitary organization they're part of is not gonna survive long in that role!

So again, she's the gimme from an aesthetic standpoint. But what I don't really see a lot of discussion of is how Cauldron plays into the riff.

Captain America is institutional, but in a comically morally uncomplicated way. The serum was originally mana from heaven, granted to a living saint, conveniently divorced from any nitty-gritty sausage-making process and even-more conveniently divorced from the horrible consequences of giving the, uh, the U.S government a replicable super soldier process. And in fairness to Captain America, this is 100 percent something the overall mythos eventually patched to my satisfaction; the sausage-making process eventually revealed as prototypical government fuckery driven by human experimentation on black servicemen, the overall Marvel Setting littered with failed attempts by the U.S. Government to recreate that golden goose so they can have their fun new jackboots. (In Ultimate Marvel, this is how almost all contemporary superhumans were created, and this is a state of affairs with a body count in the millions or billions.)

Cauldron draws you in with the same noble rhetoric about greater goods, the same one-off proprietary irreplicable formula- but you don't get the luxury afterwards of representing nothing but the dream. You aren't partnering up with a plucky crank scientist with a heart of gold. You're selling your soul to an organization with an agenda. The narrative makes no bones about the fact that everything you do is fundamentally tainted by the fact you opted into an end product created through torture, kidnapping and human experimentation. You don't get to pull a Kamen Rider by going rogue or opting out or making good use of the fruit of the poisoned tree; you are owned, and everything you do has this Damocles sword hanging over your head- when are the people who bankrolled this going to come to collect?

So that's the question of "who would willingly dress like that" covered, and the question of who creates a serum like that. What about the question of who takes a serum like that? I'd argue that Eidolon is the examination of that. Pre-Cauldron David reads to me like pre-serum Steve Rogers viewed through a significantly bleaker lens. They're both sickly kids desperate to serve, rocketed to the pinnacle of human capability by an experimental procedure. But for Steve Rogers, the crisis was that he had a specific vision of the world and was frustrated by his inability to carry it out. Before the serum he picked fights over what was right and wrong and got his ass handed to him; afterwards he picked those same fights and just started winning instead. The serum neatly solved a problem he had, and to the extent that his mindset is influenced by his pre-serum experiences, it's generally constructive; a desire to protect the weak, help the helpless, an appreciation for people who stand up for what's right even when they're clearly gonna get pancaked for their trouble. So ultimately there's no dark side, downside, or underlying neurosis ascribed to his initial impulse to take that serum.

But with David, it's not a tragic case of the spirit being willing but the flesh being weak. He isn't a preternaturally-noble soul, out to represent the best elements of the American ideal- he kind of represents the inverse, a guy who's been failed at every level while utterly convinced that he's the problem. He's actively suicidal because he's a wheelchair-bound epileptic in an economically-depressed socially-backwards rural town in the 1980s, and he's spent his 18 years of life internalizing the idea that he's worse than useless unless he can somehow find a way provide value to something larger than himself. Doctor Mother finds him in the aftermath of a suicide attempt spurred by his rejection from the army- and he didn't even want to join the army specifically, necessarily, he just needed his situation to be literally anything else, and he took what he thought he could get. And then he finds himself in a position to become a superhero, so he does that, molds himself into that, subordinates himself to that, builds his entire sense of self and values around the value he can provide in that role. No grand design or sacred principles carried over through the metamorphosis. Just relief at finally, finally having something that looks like an answer to the question of what he's supposed to do.

And you know, you know that if Steve Rogers was facing down the barrel of being depowered, he'd smile and nod, he'd Cincinnatus that shit. It's happened before. But for David, the emotional trauma and self-worth issues that caused him to roll the dice on a Steve-Rogers treatment never really went away. When would it? He's been Providing Value as a ten-ton Hammer Against Evil for thirty years. No family, no social life. Certainly, no incentive on his handler's part to lance his Atlas complex. So he barrels towards atrocity in the name of remaining useful. Admittedly, this is where the comparison breaks down in a significant way; Captain America is much more of a symbol than he is an irreplicable powerhouse, so it's not catastrophic if he's taken off the board. Eidolon is so unbelievably powerful that his myopia and self-centeredness actually do align with a real problem everyone else is gonna have if he loses his powers. But in terms of the starting points- I think that Steve Rogers embodies the myth about why you'd want to join the army that badly. Eidolon is, I think, much more closely modelling why you'd actually want to join the army that badly.

[theopolis]

Adaptations/alternate comicverses/certain 616 comics that try to empower Harry Osborn and showcase how he's broken free from Norman's influence by making him appear more in control are, imo, kind of missing the point of his original empowering act of self-reclamation in Spectacular #200. Because the entire arc that had led up to it was about him clawing for total control of who he is, what he can do and how he is perceived. That climactic moment where he rescues Peter from the bomb is not born out of a newfound confidence and bravado - to the contrary. It's prefaced by the same panicky indecision that had continously sabotaged Harry's quest to truly become the Green Goblin; someone worthy, someone deserving of his father's approval, someone who would never be hurt again

Depictions of Harry where he doesn't possess, or rises above, his frailty, while often well intentioned and certainly helpful to some people who get different takeaways from them, do nothing for me. Rather, they feel inspired by that same notion of having to "grow a thick skin" and embody an ideal of someone who's assertive and has it together, even if that ideal is much less extreme and overtly toxic than the Goblin. Is it really about self love, or is it about becoming more "admirable", more "respectable", less of a "burden", less "weak"? Someone who is no longer affected by past abuse in ways they perceive as shameful?

I believe Harry's kindness and intense love for Peter can not be neatly separated from the less noble traits rooted in his sensitive nature. He loves and gives easily, just as he gets scared and nervous and self conscious easily. All of it was punished and scrutinized first by his father and then by himself. Harry's ultimate choice to save Peter's life in #200 is him finally giving up on that struggle for invulnerability and surrendering to the command his soft heart has over him. It's the opposite of control and he says it himself when Peter asks why he came back for him: "What else could I do?"

I think this is an immensely important message. Certainly one I needed to hear when I read that comic. Must we try to attain that mythical self who repels harm? Isn't it much kinder towards ourselves to accept that keeping an open heart means that we have wounds, some of which may never fully heal and will need tending to by more hands than our own?

[queenrizzardnthelizardscissored]

VEILGUARD SPOILERS DO NOT READ IF YOU DONT WANT TO BE SPOILED

holy shit this ending is COMICALLY BAD. WHAT THE FUCK DID THEY DO. this is worse than 'it was all a dream'.

turns out there is a race from across the sea called the 'executors' who are behind LITERALLY EVERYTHING from loghains betrayal to meredith going crazy to bartrand digging up the red lyrium to anders blowing up the chantry to the events of inquisition because they are able to influence people without being there or seeing it. everything about the previous 3 games has been planned by them. NONE of the characters had any agency at all.

every. single. plot decision.

was just mind control the WHOLE FUCKING TIME.

oh also mythal is andraste and turns out the whole religion was bullshit from the get-go. not like. yknow. the mystery of that and the role that religion played in society was more important than the gods stuff. like holy shit. the good part of dragon age worldbuilding was cultural beliefs and the way they influence society, and ultimately magic is just an element of the society that is hotly debated, gods are things that some people believe in, others do not, with statues and churches and multiple religions. and now its just like "every religion was horseshit, and the gods did exist but they were evil, and the actual cultural context of this religion didn't matter." like the valasslin as slave-markings stuff was really interesting to me because of the cultural connotations, how they changed from slave-markings to symbols of a people over time through reclamation and simple loss of rembrance, how they evolved, and then how Solas can only see their initial meaning without understnading that their cultural meanings and connotations have shifted. but no. no. we can't have subtlety in our storytelling. that's too hard.

how the fuck did they screw this up.

some ppl are saying this was the plan all along? can you imagine them writing loghain in DAO, anders and merrill in DA2 while just knowing 'oh yeah btw they actually didnt want to do any of this they were all mind controlled the whole time'? despite giving them actual motivations?

holy shit they fucked this up big time.

[relaxxattack]

I humbly request your dave nonbinary thoughts, we may not be ready but I want to know, I want to be enlightened

okay so here’s the thing.

dave strider is a closeted and repressed queer boy in 2009.

in the culture at the time (especially on the internet where he basically grew up) "gay" is used as a catch-all for basically all things evil, stupid, and wrong. as kids grow up they learn that— because patriarchal privilege is something you can lose the second you’re not performing your masculinity to an insane degree— being gay makes you not a real man. being gay means you’re an effeminate little freak, a subversion, a pervert. something to be scorned and taught a lesson. which is terrifying to these kids.

on top of all this, dave is being abused daily in the name of becoming a hero (a real man). his ultimate example of heroism is a hypermasculine freak who physically, mentally, and sexually abuses him. of course dave doesn’t want to do introspection into the idea of liking men. being a man is a burdenous ideal, and the sexuality of men is something that has been consistently used to harm him.

that’s where we come to the meteor trip. after three years of humanity being dead, dave obviously goes through a lot of introspection about stuff he’d previously been repressing. dave seems to be of the opinion that because earth is gone, a lot of those restrictive social conventions should be gone as well— especially things like toxic masculinity and gayness as a complete “other” that you have to “turn” to; he claims (correctly) that a lot of these restrictive social ideas are imaginary lines built by prejudice.

so, dave does not subscribe to the idea of hard labels.

it’s important for him to reclaim the idea of gayness, of course. dave has been agonizing over that for the entirety of the comic. his own sexuality is something that terrifies him, to the point where he cannot even manage to date women he actually likes. even if he really is truthfully interested in women, he cannot really handle that until he’s finally come to terms with himself as “gay”. (which is why i don’t think dave would use the term bisexual. even if he does know what that means, that’s not the word he’s been terrified of embracing for the past 16 years. dave strider is gay. his entire arc revolves around accepting this.)

but i think if dave was thinking about gender as much as he was contemplating sexuality on that trip, he would come to a similar conclusion about labels. and besides, masculinity isn’t exactly something that he’s had a positive relationship with.

this is why i think he’d be some form of nonbinary or agender. dave calls himself gay because of his hard-earned reclamation of that word, not specifically because he is never interested in women. i think if he were to call himself a guy, it would be along those same lines.

(i could also go on a tangent about dave’s existence as a hussie self insert and his arc and dialogue with these concepts as a reflection of someone who eventually came out as agender, but this post is long enough as it is)

basically, gay nonbinary dave strider. he’s real.

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Reclamation, Page 36

Anjali will never have enough books to satisfy her. Never. The library of congress is not enough.

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[punkeropercyjackson]

Infodump of my duology wip:Charlie The Tomboy/Charlie's The Man

Picrew is 'Motherfucker Maker' and Charlie sketch by @nocturnal-notes !!

Charlie The Tomboy is a middle school ages targeted book starring Charlotte 'Charlie' Love and it's about his egg as a genderfluid and bigender transmasc cracking thanks to entering puberty at the age of 13.Ctt is a love letter to classic 2000s tropes of the children's media at the time and is set in 2000 to really sell it-Charlie is a tomboy because her mom died when she was little so she was raised by a single dad and has tons of brothers,two older ones and three younger ones with youngest being named Charles or 'Chuck' as everybody calls him.Charlie has three childhood best friends that all grew up in the same culdesac as her and they are Jamal 'Jake' Manson,a baby bat with tourettes and deadbeat parents,Olivia Batista,Charlie's foil in the sense she's a girly girl because she has a longsince dead dad and a bunch of sisters,and Ronald 'Ron' Robinson,the class clown with a fixation on comic strips.Charlie is a white dad black mom kid and a natural (dirty) blonde,Jake is afro-cuban monoracial,Olivia is afro-indonesian and Ron is half white,half ethiopian jewish.Jake is also Charlie's love interest,their ship name is 'Chake Mix' as in Charlie + Jake + Chex Mix and their friend group is called 'The Pro-Losers' as they created as reclamation against their bullies

The biggest bully in particular is Holly Fowler,a pick me in the original meaning of the word as she targets Charlie for being a black girl yet has a crush on Jake and tries to impress him with Olivia flying under her radar compared to Charlie due to her expressed lack of attraction to boys,although that dosen't stop her from taunting her over no boy ever having a crush on her to no offense or anger.Charlie The Tomboy is 100 chapters as it spans an entire year and has a downer ending as Mr Love dies so Charlie has to move from The Bronx,New York to Paris,France with his conservative uncle that abuses him due to his black generational trauma.The blow comes from how brightly Charlie's journey and not just in gender had been going up until then only to hear his dad die over the phone of a heart attack caused by the combo of old age and eating too much roasted food before going on a car ride.His uncle cut off all contact he could make with the other Pro-Losers so from then on for a long time,all he had was his brothers

Charlie's The Man takes place in Charlie's freshmen year of college and the tagline is 'Can four years really change us that much?' in a double meaning to The Pro-Losers individually and their relathionships to eachother.The awnser to both is no <33 They reconnect perfectly as Charlie tricks his uncle into letting him enroll in the same college as them without a word of the specific people he's hanging out with and even though they missed out on high school as the four amigos,nothin' stopped their love for eachother and the boundless fun they had together now that they were truly whole again.By this point,Jake's own egg we'd gotten hints to and implied confirmation in the last baby Chake Mix moment had cracked too so she's a genderfluid and bigender afrogothpunk transfem who'd been on estrogen for two years at the time to the eternal utter apathy of her parents and Olivia had fully embraced her lesbianism and girly geeky tendecies and presentation openly and proudly to excentuate her femmehood and not water herself down to basic straight girl femininity to 'not be a stereotype'.Ron actually realizes he's aroace in the story itself and unsurprisingly angst about it out of his insecurity over his 'lack of romantic appeal' but his friends and family get him to realize there's nothing wrong with him and so he embraces the label with pride and humor and joy.Meanwhile Charlie had been doing quiet rebellion the whole time he was in Paris to the point he participated in punk culture regularly behind his uncle's back and starts his physical transition as Jake gives him his first testosterone dosage less than 10 chapters in.Ctm is 100 chapters and another year long story so the duology feels complete

I created Charlie The Tomboy way back in elementary school when i was obsessed with being a tomboy myself in every way i could!!I wouldn't call Charlie a self-insert but he's definitely a piece of me when i was a kid and i've never forgotten them even if it's only this year i got around to patching everything together to do a while story!I hope you'll join me for the ride and love The Pro-Losers as much as i do♡

[davestriderpostscratch]

i always thought it was funny that caliborn only used the r word like once in the comic considering that, if you were going to make this argument, he’s one of like four characters that could have a genuine slur reclamation case built for him

[sunshine-zenith]

Ambrosius but he’s allowed to dye his hair a color he likes instead of being basically forced to dye it to look like his long dead white ancestor

Aight so. The real world reason for why Ambrosius dyes his hair blond is because his original comic version had iconic long blond hair — it was one of his identifying features — and nixing that entirely would make him an unrecognizable adaptation. The in-universe reason though? Peak untapped angst and fridge horror — that one poster we see with nine year old Ambrosius already has his hair bleached and it tells you without telling you this guy probably had his autonomy stripped from a very young age, just so he could look closer to someone he’s so separated from by time they probably only have >2% DNA in common. The thought of him dying it a different color because it’s his choice? A nice bit of reclamation, don’t ya think? Nimona and Ballister would absolutely hype him up, too, and I can see this being something that turns the tides in Nimona and Ambrosius’s relationship — going from awkward tolerance for Bal’s sake to empathy and shared celebration to realizing how much they have in common overall

I like the idea of him specifically going lavender/light purple, because

It’s a nice little callback/subversion of something in the comic (iykyk)

Todd specifically says Ambrosius smells like lavender, so if he likes the smell enough to use it in his hair, why not take it a step farther and use the color in his hair too

His VA, Eugene Lee Yang, has used purple as an identifying color

[rjalker]

Pro tip: if you don't want trans people reclaiming the slurs you literally made up, or stole from fucking 4channers to misgender and oppress them, simply do not fucking call people brand new slurs invented specifically to denigrate them! It's literally not difficult! You don't get to fucking call people slurs invented just for them and then get mad when they reclaim them!

When will truscum and TIRFs learn to stop being bigots.

[ID: A Three panel MS Paint comic, titled, "Reclaiming slurs: 'theyfab'", dated "September 9th 2023". Panel 1 shows a group of three grey figures grinning with evil eyebrows, labled, "bigoted trans people and their transmisic cis friends". They are all shouting together: "Hahaha!! Theyfab!!! You're a pathetic theyfab!!! Just a pathetic woman pretending to be trans for attention!! Theyfab!!! Theyfab!! You think you're oppressed for having a p***y!!! Theyfab!!!" The person they are pointing and laughing at has sad eyebrows and a small frown, and is labeled, "a trans man or nonbinary person who wants equal rights, probably doesn't even use they/them pronouns". The second panel shows the victim throwing their hands into the air, shouting back, "Okay, yeah, I'm a theyfab, and I'm proud to be trans! You got a fucking problem with that?" while the crows of bigots stares in silence. The third panel shows the bigots now colored red, throwing their arms into the air and screaming in all caps: "You disgusting transmisogynist special snowflake!! You can't reclaim the slur we made up to call you!!!!! We're the only ones allowed to call you slurs!!! Stop reclaiming the slurs we call you you fucking faker!!!! You're supposed to cry about it not reclam the slur we literally invented for you!!!! Special snowflake!!! Transmisogynist!! Why aren't you crying?!? Stop being proud of being trans!!!!! You make the real trans people look bad!!!!" The victim mutters, with one hand on their hip and eyebrow raised, "Oh, you're not even being subtle anymore, are you?" Large text at the bottom of the comic reads: "Pro tip if you want to have morals: If you don't want trans people reclaiming slurs used against them, simply do not invent brand new fucking transmisic, exorsexist slurs. It's literally not difficult." End ID.]

Another pro tip: if the people who call you the slur get enraged by you reclaiming it, that means reclaiming it is working. Keep up the good fucking work.