Thursday, August 28, 2014


Not a lot of people are falling over themselves to be friends with Thor. They want to meet him, sure, get a picture of him, but anything beyond that seems beyond the reach of most people. Maybe it’s that he simply comes off as so out of place in the normal world, with his booming voice and muscles the size of small children. Putting a hoodie on an Asgardian doesn’t stop them from being, well, Asgardian. Or maybe it’s his tendency to get lost in cultural references, to misinterpret and be misinterpreted. Whatever it is, Thor doesn’t get invited to a lot of parties, no matter how friendly he is. And he is extraordinarily friendly. 

There are, however, a few exceptions to this rule. The first, of course, is Jane Foster and the odd little family of scientists she’s managed to gather. The second is Sam Wilson. 

Thor meets Sam a few days after Tony opens the new Avengers Tower. Jane’s been interviewed for a documentary on interstellar travel that’s going to air on PBS, and Thor is desperately trying to get the flatscreen TV Tony installed in the main rec room to work before it starts. The technology is antiquated and different than he’s used to, and he keeps mixing up the different remotes. He’s trying to order the television to reveal Jane’s film when someone else ambles into the room, talking on a cellular phone. 

"Mom, they’re the Avengers, I don’t think they want cookies," the stranger says, "No - don’t come ov - aw man." He holds the phone in his hand and shakes his head at it, not entirely angrily. Thor recognizes him as the Man With Wings who helped Steve Rogers during the disaster with SHIELD, except now he is without his wings. He sees Thor sitting on the floor surrounded by a pile of cords and remote controls, with the television flashing NO SIGNAL in front of him. Instead of laughing, he just smiles and puts his phone in his pocket. 

"Hey," he says, "Need a hand? I’m Sam." Thor smiles widely back and shakes Sam’s hand. 

"I would be grateful for any assistance," he replies. He hands Sam the scrap of paper Jane gave him with the title and time of the documentary written on it. Sam patiently shows him which remote he’s supposed to use, which button to press to get the correct input so the picture comes up. When the documentary comes on, he produces a bag of chips from his pocket and stays to watch, the two of them passing the snacks back and forth. Sam chatters to Thor about having wanted to be an astronaut when he was a kid, and how he might want to use "this whole Avenger thing" as a way to start an engineering camp for underserved kids. 

"You should speak to Jane," Thor tells him, "She runs a campaign for young Midgardian women who wish to study science." 

That gets them talking about Jane, and when she finally comes on screen to explain the Bifrost, both Sam and Thor applaud. 

"Woohoo! Go Doc Foster!" Sam cheers. 

Sam asks Thor questions (“So…do you guys have music in Asgard? What does it sound like?” “Have you ever been on a roller coaster?”), and after a while Thor starts to feel okay about asking Sam questions, too (“What does the Lady Darcy mean when she says ‘swag’?”). 

Thor decides that he likes this Son of Wil, the Man With Wings. He never gets impatient, or seems to think Thor is stupid, and when he laughs at something Thor says, Thor doesn’t feel left out of the joke. 

By the time the documentary is over, Sam gets a text from his mother telling him she’s arrived with cookies. 

Thor eats at least half of them. 

(Source: capnromanoff)




This is true art right here.

Humans are great


(Source: best-of-memes)



ok so i was watching this gif carefully 


and when i first saw it i was like “aww Nat jumping into steve’s lap that’s so cute she’s like AHH STEVE SAVE ME” and then i was thinking ‘well she probably realized he’s way stronger than she is and could help shield her if they crashed’

but then i kept watching it and i noticed how she immediately pulls him forward 


and first i thought it was the momentum of her jump but you can clearly see in the gif how she gets settled (quickly) THEN pulls him close to her

and then i realized


that is a bullet hole. 

Nat somehow knew EXACTLY where Steve was gonna get shot at, jumped up into his seat, and saved him


Natasha Fucking Romanoff 


she didn’t just jump in the front to save steve, tws shot at her first 

she also pushed sam away from the bullet bc she knew he’s next


all of this in the span of 3 seconds how fast do u think her brain works i mean DAMN







Easily the most horrifying line of dialogue I’ve ever heard in an animated movie.


also can we point out that none of the characters were white? like damn accurate depictions of Biblical characters

whispers this is one of my all time favourite movies

I adore this movie.  ADORE IT.  And the above scene is a perfect example of one of the main distinctions this movie has amongst all movies, but particularly amongst animated movies: the bad guys are not mustachio-twirling villains who do evil shit because they love being evil or generically want power.  They actually bothered to develop each of the major characters and explore their motivations and how their actions evolved out of their personalities and their experiences.  It would have been super easy to take the narrative from Exodus and make the pharoah Generic Evil Dude, but they went beyond that and explored the relationship between the father and his sons, Ramses and Moses, and how those intersecting family relationships impacted both men’s actions as adults.  Pharaoh’s dialogue there is terrifying not just because he did a bad thing; but because it’s clear from his words and his face that he genuinely believes that he was acting out of what he thought was the best interest of his family and his kingdom.  That’s how you build a human villain- they have motivations that are complicated but sympathetic, and then they take it to a place where you’re like, “Wow, that is super not okay.” 

Plus this scene resonates because it recognizes that it’s not even the infanticide which is the ultimate source of the evil here (although infanticide is pretty bad), but rather the dehumanization of an entire race of people that allowed Pharoah and his soldiers to justify the infanticide to themselves so they could perform it.  Like, congratulations Dreamworks, you totally boiled down genocide for the under-twelves.

Then you have Ramses, who is just a hot mess of daddy issues, and they do a great job of showing the way he and Moses are torn up about how they’re being forced into these opposing roles.  It’s not that they don’t have agency, because they do, but you get the sense of how circumstances are shaping them into men who are representative of two diametrically opposed cultures and agendas.  Ramses is a villain, but more because he feels he is standing in his father’s sandals and has to take up the villainy that his father worked his way into than because he has any particularly villainous motivations. 

Then, in addition to the character development and general craft, the animation and music are absolutely stunning.  The plagues are given impressive weight not by 5-star special effects (as would have been tried if this was a live action film) but by the way they are set up and reacted to by the characters.  The slaying of the firstborn is not graphic at all but it is legitimately terrifying. 

Bottom line, everything about this film is amazing and if you haven’t seen it sometime over the past 15 years, you are missing out.

ITA about this movie, its ethnically accurate character design, and its music.


There is a difference between being a White Feminist and being a part of ~*White Feminism*~.

The former:

You’re a Feminist. You are White.

The latter:

Your Feminism is White-centric and ignores the specialized issues of Women of Color.

Wednesday, August 27, 2014



Bruce: The kid’s losing it. He dived into those thugs like someone looking to die.

Alfred: I’ve been noticing some disquieting things about Master Jason, myself. The lad avoids talking about his parents lately. I’ve come upon him, several times, looking at that battered old photograph of his mother and father, crying. When he’s seen me, he’s hidden the picture and left the room, refusing to talk.

Bruce: In other words, I may have started Jason as Robin before he had a chance to come to grips with his parents’ deaths.

Alfred: Being your partner is not exactly the best situation for a teenager adjusting to such a loss.

—  Batman #426 / A Death In The Family: Part One (1988)

If you’ve been around the Batfamily fandom long enough, you’ve probably heard some of the complaints surrounding modern interpretations of Jason’s “brutal” behaviour as Robin. I can’t help but wonder if this might partly be due to modern writers taking panels like the first eleven here out of context.

In the first eleven panels, you have Jason rushing head first into a violent confrontation regardless of prior planning and Bruce’s orders. It’s very easy to point to these and say, See! Look! He was a violent and reckless Robin and it’s obviously no surprise that he died and became a murderer.

You also have the line, “All life’s a game,” which I believe is what inspired this little aside from Batman: Hush:


What writers then forget, of course, is the information presented on the page that comes immediately after.

  • Bruce and Alfred are clearly treating this behaviour as unusual. Don’t forget, Jason has been Robin for a while now — and here Bruce is saying that Jason is “losing it" (indicating he had "it" before) and Alfred is saying that "the lad avoids talking about his parents lately" (emphasis upon "lately”). Obviously, this reckless, violent behaviour is a recent occurrence and is not typical of the rest of his Robin tenure.
  • It’s made clear that this is about Jason having emotional issues — not about treating being Robin as a game. He is upset over his parents’ deaths. Note the words, “He dived into those thugs like someone looking to die." It’s more than Jason being unnecessarily brutal; he is depressed enough by his grief that his behaviour is starting to creep into the realm of suicidal.
  • BRUCE ACKNOWLEDGES THAT THIS BEHAVIOUR IS HIS FAULT. I cannot stress this enough. Not only is this behaviour unusual and recent, Bruce realises that he failed to realise his adopted son’s emotional needs. He failed to realise that Jason would not come to terms with his grief through fighting criminals (perhaps he thought that it would work for Jason as he believed it to have worked for himself, or he’d expected Jason to adjust the same way that Dick did, or he didn’t consider it at all).

(That last point is why, though most of the blame for Jason’s death is on Joker and Sheila’s shoulders, I think it’s bullshit for people to completely dismiss Bruce’s part in Jason’s death. He loved Jason sincerely, but he was not the best father he could have been. He made mistakes when it came to Jason’s emotional well-being. His lack of support regarding Jason’s emotional problems is partly what caused Jason to die.)

I got the above points from a single page. That’s all you need to read to realise that Jason wasn’t typically reckless and violent — and even if it isn’t, you only have to read the rest of the first two issues of A Death In The Family.

Compare the above fight scene from Batman #426 to the fight scene from Batman #427, the next issue (wherein they systematically take down an entire camp full of trainee Arab Muslim terrorists and yes, you could talk about some disturbing racist / anti-Islam implications in ADITF and certain previous issues written by Jim Starlin, but that’s an essay for another day), and you get a drastically different picture.

In the latter fight scene (unlike the one presented above, where Jason disregards Bruce’s orders), they work together like a well-oiled machine. They take down the terrorists with ease. Jason heeds Bruce’s orders. Again, I emphasise that this comes after the above fight scene — Jason is reckless leading up to his death, but he is not reckless immediately before it. When there is hope that Jason is able to reunite with his parent and give himself closure, Jason is himself again and aside from disobeying Batman’s orders in his desperation to rescue his mother Sheila from a homicidal psychopath, he is very much rational.

Which leads me to the point I’ve repeated multiple times before but will never get tired of hammering home, though other people probably are at this point:

Jason being reckless and violent didn’t kill him.

Jason being willing to trust his mother and wanting to save Sheila’s life, and Sheila being selfish enough to betray his trust, and Joker being a murderer with no qualms about killing a teenager, and Bruce failing to recognise Jason’s emotional needs earlier, killed him.

And this isn’t even touching the rest of his Robin run, the majority of which Jason spent being rational, punny and bright — unless he had a legitimate cause for being angry, such as being faced with a serial rapist or a man who murdered his dad. Go ahead and read Batman #424 a.k.a. the Felipe Garzonas issue; try to tell me that Jason Todd is treating this “like a game.

I could also write an essay on the classist implications of modern interpretations of Jason’s behaviour as Robin — specifically, treating his brutal behaviour and death as Jason’s fault without addressing the circumstances leading to it (such as being trapped in a shitty socioeconomic situation as a kid through no fault of his own, losing his mother to the drug trade, losing his father because said socioeconomic situation meant that Willis resorted to crime to put bread on the table and it bit him in the ass, and not getting proper therapy to deal with his grief), whereas his rich mentor Bruce Wayne always has someone at hand whenever he’s wallowing in self blame to reassure him that he did his best and there was nothing more he could have done to help the kid, he was just problematic from the get-go.

TL;DR — context is fucking important, kids. Taking panels of Jason being violent during his Robin tenure out of context and using them as evidence of him being brutal and reckless all the time is a bad thing to do.

Classism is such a huge part of why Jason gets treated the way he does by fans, writers, and critics alike — that, and DC’s retroactive attempts to portray their decision to kill off Jason in a positive light.

DC has created an entire fabrication around how Jason’s tenure as Robin went down, how he was a “snot nosed kid”, how he was exceptionally angry, how he was bad at being Robin, how the majority comics fans hated him — none of which actually seems to be grounded in the reality of Jason’s comic appearances and fan reactions. Watching people talk about Jason on official DC documentaries is just jaw dropping in how incorrect and warped their recollection of their own company’s history is.

I know there are people out there who are like so what, Jason’s death served a literary purpose, get over it. But Jason wasn’t just a character. He was a legacy, showing that anyone from any background could become Robin. He was a symbol of the working class, people who rarely get portrayed positively in comic books. The fact that a working class orphan could be heroic and an innately good person inside — even one whose parents were involved in crime and drugs — meant a lot to people, especially children. I suspect that even back then there were women, sex workers, and survivors of child abuse and rape who identified with Jason just as they do today due to his protectiveness and righteous anger. The fact that they replaced Jason with Tim, an upper-class, highly educated white male who walked around in some of his first few issues commenting on art and displaying his refinement wasn’t an accident.

To see a character with that background not only killed off, but then retroactively blamed for his death using classist language? It’s twice as insulting.


This was so much fun to draw :D I love this screencap (from sailormoonscreencaps) and have been meaning to re-draw it for a while!


-✖ List of Favorite Video Games Characters:

24. Ratonhnhaké:ton (adopted name Connor) - Assassin’s Creed 3

- Even those men you sought to save have turned their backs on you. Yet you fight, you resist. Why?
- Because no one else will!

(Source: bheur)

(Source: gai1peck)

Tuesday, August 26, 2014

Opening Lines: or, let’s play consequences!










Reblog this with the first sentence of whatever project you’re working on at the moment. The very first sentence of the work- no cheating, friends. 

They both came to think of it as the Election Night Row, though disliking scenes as they did, neither raised his voice, and it didn’t happen on the night of the General Election, on which they were apart.

Richard fights bravely, in the end.

Richard drums his fingers on the windowsill. Every now and then Bushy sees a sparkle where the morning sun touches his gilded nails.

The first person Mycroft told was Mrs. Berry.

The sounds of cheering barely reached the newly formed clearing.

This was most definitely Jessica’s fault. Oh, and whoever invented cryocutting - they were probably to blame too. 

He doesn’t see stuff much anymore, and when he does it’s usually—abstract.

Jaeger wandered out to where Aurie was directing the apples to be organized into baskets.

A man walked into the Green Dragon Inn; coloured, well dressed and heavily armed.


Wait but hear me out

  • ravenclaws that hate studying and procrastinate every assignment
  • hufflepuffs that curse like sailors and that look like they could definitely fuck you up if they wanted to
  • slytherin that are really nice and sweet who constantly ask how your days going and if you need help with something
  • gryffindor that are scared to kill the spider in the corner of their rooms because who knows if that shit can fly or if it’ll attack you