considering what you have spoken about regarding selina do you also get frustrated with like…i cant quite explain it but sometimes especially in more recent years shes been posed or positioned like some sort of damsel that needs a big strong man to save her and like im not saying she should be portrayed with the “hollywood level feminism” for lack of a better term im just think about how old versions of selina would have hated that. like im just thinking of anytime in the reeves movie where bruce grabs her or forces her mouth shut or even when he didnt allow her to kill falcone and im just thinking she should claw the fuck out of him for that. i just miss a version of selina who wouldnt allow anyone to walk all over her personal autonomy like that
oh absolutely! in fact this is specifically why i can't stand loeb's take on her character lol (and as we both know that was a significant point of reference for the reeves film). it's really jarring to transition from her volume one and two canon to the long halloween / dark victory / when in rome. i think a lot of people tend to latch onto these books because tim sale's art is to die for and it's obv hard not to enjoy a good murder mystery. in that aspect they're still books i can enjoy in isolation. but i find it very difficult to enjoy them as a selina fan specifically because in every single one it's like she's looking for solace and security in a man and i'm not sure why. like what was so bad about her original backstory of having a deadbeat dad (whether you ascribe to the volume one or volume two version of him) and why did she need to go looking for her "real" father in carmine falcone. why did she need to seek out temporary boytoy relief in italy. why did she dream about being saved by bruce. none of it really has a reason other than to create a "lack" in her for the sake of it being there, because she'd never needed a man like that before in her post-crisis narrative. as you mentioned it was quite to the contrary and she was fiercely independent and protective of her own peace, esp from men. when she felt empty or without a connection or lifeline to someone real, it was mostly about people like maggie or holly or arizona. her people
what i think it ultimately comes down to are two things: the first thing is the diminishment of her post-crisis origins. after all, it's convenient to ignore how distrustful selina is of people, and of men with power at their leisure to abuse specifically, when her post-crisis origins are no longer relevant to her personal characterization. although selina's status as a sex worker is more prominent now, it was more or less completely swept under the rug for the bulk of volume two. loeb also refused to engage with it in any capacity. it only really resurfaced with the conclusion to volume two because it drew direct parallels to how we initially found her in volume one, and then brubaker expanded on it once again in his take on the character, which was notably juxtaposed against a pre-existing romance with bruce and brings me to the second thing. i've already waxed about this at length so this may very well be recap but i really don't think selina's lack of control over her personal autonomy can be divorced of the modern portrayal of the romance. when selina looking for security and understanding and comfort in bruce is what drives the romance forward there's not much room to maintain her original values and guarded demeanor, if not her outright defensiveness and hostility. a lot of people look at the extensive trauma selina has experienced and argue that she deserves to be in a relationship with someone who allows her to let those walls down. this isn't incorrect in theory. but it does repeatedly ignore who she is. it's kind of like the point i was making about bruce yesterday. exploring the inherently abusive nature of robin or of bruce's right to his children in light of that fact is interesting to do, but the actual execution has rarely managed to take into account who bruce actually is
for however nice it might be for selina to let her walls down romantically and look for solace in bruce—and i say this mostly for the sake of argument, personally i would argue against its necessity—it's realistically not something she's actually going to do. at least not as willfully as she's been portrayed to. realistically she's going to make it extremely hard, which if anything is precisely the appeal. i love it when selina gives bruce a hard time. i love that it's not supposed to be easy or maybe even a possibility for him to win her over bc there's so much about his own ideological stances that's flawed and in opposition to her own. she doesn't have to be any less unrelenting in her principles and worldview for that romance between them to be compelling bc at the end of the day the entire crux of it is that against all odds bruce cares. for however wrong he thinks she might be in a given moment or in her stance against the government, he knows who she is and how hard she's fought and what she's survived and it makes him sympathetic to her because she's real. she's a wonderful character through which to explore the logical limits of bruce's self-righteousness and categorization of crime, as well as a wonderful mirror to hold up to his face as he starts to ask himself whether what he's doing is really the only means of keeping the city safe. and the novelty of it all is that you don't have to sacrifice her character for any of that to be true. writers have simply deluded themselves into believing that they have to and that's why we are where we are today
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idk been doing some concepts for a spiderman oc, aka spider-woman aka bronze spider aka spider-claw aka veronica "nickel" jackson. this is the most effort ive put into designing any oc ever tbh
uhhh additional stuff under the read-more
[id: some images of colorless digital sketches. the first one is a few concepts for her outfit design, based off victorian-era clothing, mainly in the shape of a tunic, baggy trousers, and boots. her eye-lenses are goggles, which can widen and squint spider-verse style. there are also several concepts of her spider symbol, most of which are in a mechanical style. a list of text tucked between the designs reads, "stockings, beanie hat? coats, belts, chains? handkerchief, tophat." there's also "Bronze Spider" written in the corner of the image.
the second image is some earlier concepts. the main one is just a plain fullbody without any detail. there are some shots of just her torso to figure out the spider symbol placement and design. there are also a few spider symbol designs, though they're not mechanical.
the last image is of nickel in one of the victorian-style designs, seeming to be in midair, her legs hooked back and her arms bent outward, as though she's in the middle of a big jump. end id]
she's gonna have two versions, this is the one before The Incident, and she's gonna have one for After.
she lives in this like, modern fantastical steampunk society (there's technology like phones n computers; there's dragons and unicorns n other creatures; and steampunk. her nyc is called the Tiered City because it is. in tiers. for general inspiration, i imagine it as classic steampunk stuff (cause i dont wanna do worldbuilding, except that they have modern technology too, just steampunk-ified) mixed with some arcane with a hint of lady trent's memoirs (in terms of the fantasy wildlife). but im still figuring things out though
nickel's whole thing is that she is actually one of two spiderpeople in her universe. they're known together as the spider-twins, even though the other spidey is actually her cousin (whose name is victoria jackson) but it's not that important. nickel also has a gf, her name is elsa but im still not sure of a surname
anyway The Incident happens and victoria dies and that rlly screws up nickel, and at some point (before, during, or after idk), nickel gets some drake dna and now whenever she's stressed or angry or anything, she turns into a drake. (it's a process that depends on how awful she feels though so she can just have like, dragon horns only for example). and because she's rather self-destructive at this point she starts calling herself spider-claw.
there's a whole metaphor thing going on w her and dragons are awesome so im using that. also this is all subject to change because im still figuring her out x_x but im having fun with it so it's fine
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I've been watching a lot of Omega Strikers guide videos lately and the one thing all of them have in common is that every single one of them highlights the importance of "just have fun".
That's something people say all the time, about any game. But there was one guide I watched yesterday, and in addition to giving that tip, also mentioned the importance of not being toxic and blaming your losses on your teammates.
This is genuinely the most helpful tip of all time. Like this guide really grilled into me just how horrible having that toxic mentality is. The full first minute of the video was dedicated to that. He also talked about how being toxic and playing w that mentality actively makes you worse at the game, period. Full stop. And he explained the reasoning for that as well.
I've heard this said and yeah I believe it as well, but this was the first time I'd ever had it thoroughly explained to me. It really put things into perspective for me.
Hoping I can improve at both Omega Strikers and Splatoon by keeping this in mind 👍
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Laena Velaryon
Here it goes a short story about this, I made this Laena on November of 2021 for targaryen November but since I didn't know how saddles worked I decided not to make it my first post. So now I decided to pick it up back again, i didn't change a thing on Laena and just made the saddle (and this part of Vhagar) and colored the whole thing and it's kinda funny, in a non annoying way, how many mistakes I made originally on Laena's design and what i learned in these last horrible 8 months of my life, not much but still a lot of progress.
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