fav part of gideon the ninth is for the first pre-canaan house chunk of the book, she's all "ugh I'm so normal surrounded by all these weirdo goth freaks when I blow this popsicle stand everyone will see how cool and normal and charming I am" and then she gets to canaan house and realizes that while she might have been a normie jock in the ninth house she is not exempt from being a goth weirdo who hides important doors behind tapestries and sneaks around in the dark so she doesn't have to talk to people. like we talk about her being a jock forced to be goth but nature v nurture babey she's not shedding that bone freak skin anytime soon
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There's a little duck pond outside our house now & one of the guys I saw yesterday looked like this ^ very cool
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What I think is so important to learning how to truly appreciate life is learning how to appreciate the creatures and things we've categorized as "disgusting" or "gross."
When I learned to appreciate wasps, I realized how much they just... don't really care about anything, and they're not trying to be an asshole because they're uniquely cruel. If they have any wants, it is to live. Why would I punish that when I also want to live?
This isn't to say you need to fall in love with the creepy crawlies that stalk this world or to love what you cannot, but to recognize that in their arrangement of atoms, they are trying to persevere, and in the end... aren't we all?
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also yall we need to step back from the harryvision and understand that kim, at his core, is a loser (affectionate) like everyone else. so much out there wants to portray him as limitless patience, great cook, super organized, good handwriting, nice tasteful living quarters etc and that's fun to contrast him to harry but well i am here to RUIN that we need to take off the du bois glasses and appreciate kim for the weirdguy that he is. he has horrific fits of road rage and harry genuinely fears for his life riding along with him and witnessing the generational curses this man is capable of unleashing upon the stupid little fucks that cut him off on the 8/81. he has never had the time or space or budget to learn to cook so he lives off deli sandwiches and butter noodles and the occasional grab-and-go fruit. he writes so much so frequently with such awful handwriting that he has invented a new form of shorthand and the moralintern is contacting him to create a cipher system for them. he has no resources to furnish and maintain a nice flat so it's like a slightly gentrified r/malelivingspace but with a table for his sewing machine and there's scrap fabric and thread and half-pinned half-hemmed pants strewn about the place. there are absolutely a bunch of shitty mockups of his old wirral character in the backs of his notebooks and he hasn't played it in years but if he ever picks it back up then his minmax high int high dex definitely-not-a-self-insert sidhe artificer is READY. everyone add your weirdguy kim thoughts NOW 👇
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me: oh cool we're in the path of totality for the solar eclipse this year :] this is a rly cool experience, i wonder why ive never seen this happen before
me: google searches "when is the next total solar eclipse"
google: yeah that shit wont happen again for another 300 years <3
me:
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as yr favorite local jason todd fan sometimes i get so fed up with the apparent inability of most dc comic writers to write a class conscious narrative about him.
and yes, i know that comics are a very ephemeral and constantly evolving and self-conflicting medium.
and yes, i know they’re a profit-driven art medium created in a capitalistic society, so there are very few times where comics are going to be created solely out of the desire to authentically and carefully and deliberately represent a character and take them from one emotional narrative place to another, because dc cares about profit and sometimes playing it safe is what sells.
and yes, i know comics and other forms of art reflect and recreate the society within which they were conceived as ideas, and so the dominant societal ideas about gender and race and class and so on are going to be recreated within comics (and/or will be responded to, if the writer is particularly societally conscious).
but jesus christ. you (the writer/writers) have a working class character who has been homeless, who has lost multiple parents, who has been in close proximity to someone struggling with addiction, who has had to steal to survive, who may have (depending on your reading of several different moments across different comics created by different people) been a victim of csa, who has clearly (subtextually) struggled with his mental health, who was a victim of a violent murder, and who has an entirely distinct and unique perspective on justice that has evolved based on his lived experiences.
and instead of delving into any of that, or examining the myriad of ways that classism in the writers’ room and the editors’ room and the readers’ heads affected jason’s character to make sure you’re writing him responsibly, or giving him a plotline where his views on what justice looks like are challenged by another working class character, or allowing him to demonstrate actual autonomy and agency in deciding what relationships he wants to have with people who he loves but sees as having failed him in different ways, or thinking carefully about what his having chosen an alias that once belonged to his murderer says about his decision-making and motivations, you keep him stuck in a loop of going by the red hood, addressing crime by occupying a position of relative power that perpetuates crime & harm rather than ever getting at the root causes, and seesawing between a) agreeing with his adoptive family entirely about fighting nonlethally in ways that are often inconsistent with his apparent motivations or b) disagreeing and experiencing unnecessarily brutal and violent reactions from his adoptive father as if that kind of violence isn’t the kind of thing he experienced as a child and something bruce himself is trying to prevent jason from perpetuating. because a comic with red hood, quips, high stakes, and familial drama sells.
it doesn’t matter if it keeps jason trapped, torn between an unanswered moral and philosophical question, a collection of identities that no longer fit him, and a family that accepts him circumstantially. it doesn’t matter if jason’s characterization is so utterly inconsistent that the only way to mesh it together is to piece different aspects of different titles and plotlines together like a jigsaw. it doesn’t matter if you do a disservice to his character, because in the end you don’t want to transform him or even understand him deeply enough to identify what makes him compelling and focus on that.
and i love jason!!!!! i love him. and i think about the stories we could have, if quality and art and doing justice to the character were prioritized as much as selling a title and having a dark and brooding batfam member besides bruce just to be the black sheep character are prioritized. and i just get a little sad.
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