I’ve been pondering for a whiiile if I should make a Feelingshipping side account on here too…
I have one on the ‘used to be bird app website’ and it feels really nice and fun to have a space to just post and maybe ramble about them
I would still post stuff about them on here too, but I could go even wilder on one just for them :>
I always think about posting random thoughts about them on twitt but I never seem to fully commit to it (maybe I will soon who knows gah). Then I have thoughts on how I would be much more comfortable doing it on Tumblr and the idea of a side blog becomes even more appealing as I think more and more about it lol . o .
even though this IS my blog, my head’s like ‘omg you want to post sooo much Guriie here calm down’ even though I can technically do whatever I want haha overthinkerrrr
aaaand… the fact that I can post my thoughts here a little more just proves my point on how much more comfortable I am about sharing them lmao
I eventually… EVENTUALLY will make art for other things, but Green and Yellow are just such a comfort 💛💚 and I think they deserve all the love ahahaaaa
so…
perhaps I’ll make one?
Just a little space to gush about them… hehe
And post as many sketches as I want >:)
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something. about. the horror of being sent on an impossible (death) quest and obligations and hospitality politics. the trauma of not having a home, and then the trauma of being in a house that becomes actively hostile to you, one that would swallow you whole and spit out your bones if you step out of line. all of this is conditional, your existence continues to be something men want gone.
it's about going back as far as I can with the perseus narrative because there's always a version of a myth that exists behind the one that survives. the missing pieces are clearly defined, but the oldest recorded version of it isn't there! and there's probably something older before that!! but it's doomed to forever be an unfilled space, clearly defined by an outline of something that was there and continues to be there in it's absence.
and love. it's also about love. even when you had nothing, you had love.
on the opposite side of the spectrum, this is Not About Ovid Or Roman-Renaissance Reception, Depictions And Discourses On The Perseus Narrative.
edit: to add to the above, while it's not about Ovid, because I'm specifically trying to peel things back to the oldest version of this story, Ovid is fine. alterations on the Perseus myth that give more attention Medusa predate Ovid by several centuries. this comic is also not about those, either! there are many versions of this story from the ancient world. there is not one singular True or Better version, they're all saying something.
Perseus, Daniel Ogden
Anthology of Classical Myth: Primary Sources in Translation, edited & translated by Stephen M Trzaskoma, R. Scott Smith, Stephen Brunet
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I'm thinking about the drastic differences between how Bruce reveals his identity and how Dick reveals his identity in World's Finest. Dick simply takes off his mask and presents himself to the Titans, but Bruce? Bruce, he calls the Daily Planet, asking them to send Clark Kent to his manor immediately. Clark is now in the house of a stranger he only knows as a rich extravagant man, and said man starts explaining how he knows Clark is Superman. Clark tries to deny it and Bruce explains how he filed the room with a gas that humans cannot breathe, and Clark can breathe, so he is not human. At this point, for Clark, Bruce Wayne is a dangerous man who knows his secret identity, and he has him in his house full of gadgets. Bruce asks him to follow him, and he takes him to the Batcave, which is how Clark makes the connection. Like, the dramatics of it all? The theatrics? Making your colleague fear for their safety? Showing how they need to be better at hiding their identity? Slightly playing bad guy? This is so good.
Anyway, now I cannot accept Bruce not doing something like this everytime he reveals his identity to another Justice League's member. But his kids, they are simply taking their masks off, like normal people. And now, you have other vigilantes' families discussing how they learn their bats' identity and being baffled.
Barry: They just... Took their masks off? And told you their names? That's it? No supervilain's monologue?
Wally: BATMAN PRANKED YOU???!!! I'm calling Dick.
Bart: *Blue screened from learning that Batman pranks the JL*
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pathologic but it's a lost 1920s german expressionist film [id under cut]
[id:
image 1: a digital drawing of a fake poster, using bright colours and rough, painterly brushstrokes. the title, 'pest' (german for 'plague'), is written at the top in spiky black text. in the foreground a man dressed as a tragedian is staring intently at the viewer, his hands raised and splayed as if in horror. in the background, the town is framed against a red sky, with the polyhedron in yellow behind.
images 2 and 3: fake casting sheets for the film, with the names of the actors and the characters they are playing above a black-and-white portrait photograph of them. all the text is in german. in english it reads:
'Pest', a film by Robert Wiene
Alfred Abel as Victor Kain
Ernst Busch as Grief
Lil Dagover as Katerina Saburova
Ernst Deutsch as the Bachelor
Carl de Vogt as Vlad the Younger
Marlene Dietrich as the Inquisitor
Willy Fritsch as Mark Immortell
Alexander Granach as Andrey and Peter Stamatin
Bernhard Goetzke as General Block
Dolly Haas as the Changeling
Ludwig Hartau as the Haruspex
Brigitte Helm as Anna Angel
Brigitte Horney as Maria Kaina
Emil Jannings as Big Vlad
Gerda Maurus as Yulia Lyuricheva
Lothar Menhert as Georgiy Kain
Asta Nielsen as Lara Ravel
Ossi Oswalda as Eva Yan
Fritz Rasp as Stanislas Rubin
Conrad Veidt as Alexander Saburov and Tragedian
Paul Wegener as Oyun
Gertrud Welcker as Aspity
image 4: four digital sketches of set designs for various locations. all are strongly influenced by expressionist imagery, using extreme angles, warped perspective, and dramatic shapes. they are labelled 'street 1' (a street lined with houses), 'street 2' (a square with a lamppost and a set of steps), 'polyhedron exterior' (the polyhedron walkway), and 'cathedral interior' (the dais at the far end of the cathedral).
image 5: four digital drawings in a black-and-white watercolour style, showing fake stills from the film. all are similarly distorted and lit by dramatic lighting. the first shows katerina's bedroom, with katerina standing in the centre of the floor. the second shows the interior of an infected house. the third shows daniil staring out of the frame in horror, one hand on his head and the other raised as if to ward something off. the fourth shows an intertitle with jagged white text reading 'the first day' against a dark background.
end id.]
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