BIG fan of how Dick is standing here. HUGE fan. I love the way swordfighters(?) stand.
I don't know about that, Michael, they seem pretty not-cool too ¯\_(ツ)_/¯
Okay, Dick, but I don't know what. I am perpetually confused about everything and need it explained to me like I'm five. Is this in reference to him becoming Batman? Is this Damian related? Comics are so confusing and I like it like that.
WHAT DID I SAY?? Not. Cool.
Daaaaaaammmmn, I wonder what Bruce would say about this. I mean, he didn't kill him, or anything, so it's probably fiiiiiiine
Listen, I didn't know this guy existed before Battle for the Cowl but I kinda like him. He's a little weird but that just makes him better
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A Knight and a Witch (and his cat)
Once a beat cop in the GCPD before being handed over to Dr. Simon Hurt for experimentation and transformed into the Bat-Devil, Michael Lane eventually broke free of his programming and sought to repent for what he’d done under the influence of Hurt’s manipulations. He found it in unlikely way: by taking up the Sword of Azrael.
While Klarion’s capacity to move through time and artificially maintain his youth makes his exact age at any given point unclear, an adult Klarion and his ever loyal familiar, Teekl, were known to be active in and around Gotham during the Lonely City era.
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Find A Song
that explores the emotional journey of navigating a world veiled in shadows and monotony
Michael Lane - Blind
The song delves into the search for vibrancy within a colorless existence, capturing the longing for connection and meaning amidst broken moments. It reflects on the unseen beauty within life's symphony, inviting the listener to find solace in the midst of the dimming light.
Added to FAS Spotify playlist indie folk/country/americana.
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Author & Mensch: Reflections on the impact of @neil-gaiman on my life, in essay and doodle
As a woman of a certain age, I am a well-practiced overthinker. Nerd, geek, know-it-all, intellectual, the names have been biting or praise depending on who wielded them. They’re all true, and I embrace them.
In the early days of adulthood, when I was a wee 20-something overthinking nerd, geek, know-it-all, intellectual (20+ years ago), I became deeply interested in image and text and text-as-image. While friends were watching and arguing over Survivor, I was obsessing over Peter Greenaway’s The Pillowbook and Prospero's Books and Neil Gaiman’s Sandman. (To this day my copies of the Sandman graphic novels and the English translation of The Pillowbook of Sei Shonagon are proudly displayed on the good bookshelves—you know, the ones I want people to peruse.)
Sandman isn't merely good storytelling and good art, it teases at some of the fundamental questions to which my religion-major heart was consistently and reliably drawn. It modeled a way of rendering the questions—and suggested answers—I would never have imagined on my own.
In those days, I created an artist's book: an altered gift edition of Hamlet. I explored Ophelia’s femininity and the inevitability of her break with her mental health, caught as she is between Hamlet and her father. I imagined her story if she’d had true agency. I investigated the way art (fan art?!) had shaped my understanding of the play and my relationship to it. I layered in my story—my resonance and dissonance with hers—and my art, along with images of famous and not-so-famous paintings of Ophelia. I proudly named Greenaway and Gaiman as influences.
I imagined myself an artist. And, truthfully, I suppose I was one.
I read Good Omens back then, too, delighting over the religious tropes and subversions, the humor, and the fundamental faith in humanity that shone through.
In the two decades since then, below the din of “responsible” choices (that have mostly moved me away from imagining myself an artist) there has been a melody quietly bringing me comfort, shifting my perspective, and reminding me who I want to be. When I stop to listen for and name the music, I realize much of it generates from Neil Gaiman.
The Graveyard Book gave me comfort and hope as a new parent.
Ocean at the End of the Lane reminded me of the layers and the depths⏤the archetypes and metaphors⏤present in everything around me, if I am willing to seek them.
Neil’s anecdote about meeting Neil Armstrong has been a talisman against imposter syndrome. Or, more precisely, it has been a permission slip for forgiving myself when the imposter syndrome inevitably surfaces.
The episode of Dr Who he wrote (“the Doctor’s Wife”) changed the way I understand the entire Dr Who experience before and since.
Lucifer (tv), which his work inspired, gave me joy, comfort and distraction through a tough time in my life.
When, a few years ago, I realized he is Jewish, I had that swelling of pride and resonance that I always get when someone I admire shares that identity with me.
And now there’s the Good Omens tv series. It has opened something in me I didn’t realize was closed. Crowley and Aziraphale are helping me better understand myself, and love, and gender, and storytelling, and, believe it or not, Torah. I am writing again for the first time in ages. I'm drawing more often and with more joy than I’ve known maybe since childhood.
I’ve been getting back into my gratidoodle practice, drawing and writing what I’m grateful for. And when I decided to add Neil Gaiman’s face and some words about my appreciation for his work to my sketchbook, I realized he’s brought me full circle.
Text and image and text-as-image + Neil Gaiman + story is an old constellation for me. And once again, I find my thoughts dancing, shifting, blossoming to the quiet melody of (one of?) the greatest storyteller(s) of this generation.
And now that I am actively engaging with other Gaiman fans, I see how responsive and kind and encouraging he is to those of us who love his work, and his name is permanently etched on my heart: a benefactor, a teacher, a role model.
How satisfying and fitting that such a powerful and resonant voice, miraculously, thankfully, beautifully, also seems to be a genuine mensch.
B”H (thanks to God) that I am alive at the same time as such a one.
#I didn't realize I was going to write AND draw when I started this #but I felt I needed both #I wish I had a flatbed scanner #this photo doesn't do it justice #there's greater nuance in the color in person #Stories matter #Art matters #like, really matters #Neil Gaiman is a gift to this world #Good Omens #Crowley and Aziraphale #Ocean at the End of the Lane #The Graveyard Book #Neil Armstrong and imposter syndrome #The Doctor's Wife #So grateful for tumblr
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I've got to say, even though the art in this series isn't to my usual taste, I really like how moody the colors are. The cool blues, the warm yellows, it's very thematic. Plus, the framing on this page looks really awesome
Oh, that's very clever, ten points for Talia
Michael must have a spine made of steel to be brave enough to call Talia a "diabolical seductress" to her face. Not that I disagree with the diabolical part, because giving your son a suit that drives people insane so he can become Batman and assuming he won't go insane because he's her special little boy seems slightly unhinged. And also stupid. I definitely disagree with the seductress part. Michael got away with calling her a babe, and yet she's the seductress? She didn't even do anything! The sexiest thing she did was try to stab him, and that's not a metaphor.
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It kind of irritates me that there is a broad expectation in Star Trek spaces that everyone should automatically agree that Discovery is a messy show that wasn’t made very well. Even a lot of people who like the show will preface their statements with “I know it has a lot of problems” or something similar. Personally, I think Discovery is great and one of the least messy Trek shows writing-wise. I have no problem with people who disagree with that sentiment and don’t like Discovery (as long as it’s for non-bigoted reasons), I just wish there wasn’t this base assumption that no one actually completely likes Discovery or thinks it’s genuinely good.
Well, I like Discovery, and I think it’s genuinely good.
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