Chris: Really? I suppose you won’t mind then if you won’t have any Chris P. Bacon tonight.”
Sasha: “…Okay, I’m out.”
Regina: “Speaking of bacon, I’m starving.”

And old lady appeared behind Sumiko and instantly greeted her with a smile. She looked like she was some way related to the three, but she wasn’t sure how. For a moment Nesta remembered her grandmother, and had to fight back the tears that gathered into her eyes. No one seemed to notice her struggle, no one but maybe Sumiko, who was watching her warely like she still didn’t quite believe her not being a spy, or something else.

Mamiko: “Did someone say they’re hungry? Who’s this delightful girl?”
Nesta: *Clears throat* Watashi…no…namae wa Nesta.“ (my name is)
Mamiko: *Delighted* That was very good.”
Nesta: "Arigato.” (thank you)
Mamiko: “I hope you like noodles.”

I love Chris Sims’ X-Men ’92 but his opinions on other comic stuff or fiction in general tend to be really trashy. It’s like he equates bombastic or goofiness with good and anything being serious, thoughtful, introspective (unless it’s X-Men or Batman because those are his favs) as being bad.

He represents the toxic counter extreme in fandom to the grimdarkness of the 90s and 2000s. Back then anything goofy or light or fin was frowned upon as immature or childish and anything dark and violent and serious was good. Now the pendulum has practically swung to the opposite extreme where serious stuff (unless it’s by Bendis who just pretends he is deep most of the time) is frowned upon as being intrinsically pretentious.

You know there is a middle ground.

We reached 300 followers!!! 300!!!!!! Thank you guys so much, this is absolutely incredible!!!! I’ve said it many times, but I will say it again; I LOVE YOU ( ´ ∀ `)ノ~ ♡ I have many ideas for what I want to do with this account (hint: it involves more YOI sims) so look forward to those. And don’t forget that your suggestions and questions are always welcome!

theazureesper  asked:

What are your opinions on design and aesthetic in regard to superheroes? We all know that Superman has one "correct" costume, but what about the rest of The JLA? Particularly, Batman. He's a real fashionista.

For the most part I think Chris Sims hit the nail on the head with his old article on the subject, but obviously I have some thoughts of my own. I don’t think simplicity is itself the key; Spider-Man’s pretty overdetailed, and Spider-Man’s costume is Spider-Man’s costume. If I had to set down a rule in that regard, it’d be more along the lines of try and keep it sleek, unless you have a good reason not to.

This would be a reason suits tend to work pretty well as superhero uniforms, while other ‘normal’ clothes don’t tend to as much. Same with tights. With someone like Doctor Strange on the other hand, you’ve got the elaborate design and cape, but that’s because he’s supposed to be weird and arcane.

For Superman and Batman, since you mentioned them specifically, I think that - aside from Batman getting the ‘60s New Look revamp shortly before his first huge mass-media exposure, building in the idea that he could change his look on occasion - it’s that the color balance isn’t quite as delicate with him. Superman struck a really nice balance between the red yellow and blue, whereas with Batman he’s always a sea of gray and either blue or black; a little more or less yellow in one or two spots doesn’t alter it nearly as much. And both come down to simple shapes without too many extraneous details, with just a handful of major defining elements - cape (straight or scalopped), logo, trunks/belt, boots, and for Batman the mask and gloves.

And of course there’s the cardinal rule of superhero costumes, that they’re supposed to say something about the character. For Superman, he has circus and strongman iconography, but it also looks sturdy and with the cape slightly regal; he looks like a bizarre, larger-than-life protector with nothing to hide. With Moon Knight above, the suit denotes class and a certain degree of authority, as well as his nature as a detective, but the creepy featureless mask makes him a ghoul, with whatever law he enforces not being something mortal men would quite understand. Spider-Man’s flashy and gaudy as a guy who draws attention to himself, but while the expressive eyes let a lot of emotion show through, they’re also distinctly inhuman as a reminder that he has the power of something that creeps people out. And then there’s the gold standard:

Flash has the best superhero outfit flat-out, and it isn’t even a contest. Not only is it sleek and simple while remaining distinctive, everything about it communicates that this is a guy who moves fast; the treads on the boots, the lightning bolts, the Hermes wing ears, and the yellow of the lightning mixed with the red-hot bodysuit that screams heat and velocity. He’s where all the principles come together in the best possible way, and for over 50 years the rest of the genre has had to settle for no more than second best.

A Really Long List of Recommended Music

I have been asked in the past to recommend Video Game OSTs, Movie OSTs, et cetera so I decided to make a huge masterpost of the songs I listen to when trying to study/relax/et cetera.

About This List:

It contains exactly 193 songs of varying background/styles. The vast majority of them are from video games and are thusly classical/orchestral. A few of them contain lyrics, some are 8-bit, some are a bit more techno. My goal was to provide a wide variety of songs that many may not know about.

I have included the composers, but not where the song is featured, simply because:
a) the video linked will include it’s source 
b) I didn’t want to make the list any more ridiculously long than it is. 

Please let me know if any of the links are broken!!!

The YouTube Playlist

Dedicated to: @pathfindersara <3 <3

Adagio for Strings, Op. 11 - Samuel Barber
The Adventure Begins - Christopher Héral
Alas, The Dragon Shall Break - Brad Derrick
Alexius - Trevor Morris
All of My Birds - Jessica Curry
Almost Home - Thomas Newman
“American” Suite in A Major, Op. 98b, B 190: II. Allegro - Antonín Dvorák
“American” Suite in A Major, Op. 98b, B 190: Moderato
-  Antonín Dvorák
“American” Suite in A Major, Op. 98b, B 190: V. Allegro -  Antonín Dvorák
Apotheosis - Austin Wintory
Aragami - Two Feathers
The Arc - Dynamedion
Atonement - Austin Wintory
Aurora - Jeremy Soule
Aurora - Jessica Curry
Aztec Theme - Roland Rizzo

Baba Yetu - Christopher Tin
Balaenoptera Musculus - Austin Wintory
Ballad of the Goddess -  Hajime Wakai & Takeshi Hama
Balmorra - Multiple Composers
Barrow Hills - Tilman Sillescu
Betus Blues - Danny Baranowsky
Bicameral Mind - Ramin Djawadi
Bóg Się Rodzi - Geoff Knorr
Bohemian Street Jam - Jerry Martin
Born Unto Trouble - Bill Elm & Woody Jackson
Bowerstone - Russel Shaw
Brazil Medieval Theme - Geoff Knorr
The British Empire - Brian Tyler
Bundle of Joy - Michael Giacchino
A Bunny Can Go Savage - Michael Giacchino
Business Office - Jarred-Emerson Johnson

Can O’ Salt - Danny Baranowsky
Caranx Ignobilis - Austin Wintory
Carnival of the Animals, Finale -  Camille Saint-Saëns
Carnival Overture -
Antonín Dvorák
Carry Me Back to Her Arms - Jessica Curry
Chapter 6 Menus - Danny Baranowsky
Time’s Scar -  Yasunori Mitsuda
The Citadel -
Richard Jacques & Jack Wall
City of Jerusalem - Jesper Kyd
City of Rome - Jesper Kyd
Civil (Explore) - Ben Prunty
Colette Shows Him Le Ropes - Michael Giacchino
Comrades in Arms - Brad Derrick
Corprate Ruins - Inon Zur
Czech Suite, Op. 39- V Finale -  Antonín Dvorák

The Dalish - Inon Zur
The Dalish Encampment - Inon Zur
Dancers on a String - Garry Schyman
The Dark World - Arata Iiyoshi
Darla Filth Offramp - Thomas Newman <- one of my favorite songs ever
Dead End Alley - Bill Elm & Woody Jackson
Delphinus Delphis - Austin Wintory
Detroit City Ambient - Michael McCann
Devil N’ Bass - Danny Baranowsky
Dragon Age Inquisition Theme - Trevor Morris

An Early Harvest - Jessica Curry
Edge & Flight - Solar Fields
Elizabeth - Garry Schyman
Elves at the Mercy of Men - Inon Zur
Enchanted Forest Pursuit - Christopher Héral
Everybody Wants to Rule the World - Tears and Fears, arranged by Scott Bradlee  
Evil Reawakened - Russel Brower & Glen Stafford
Exit Music (For a Film) - Ramin Djawadi
Ezio’s Family - Jesper Kyd

Keep reading

hellyeahtitans67  asked:

Regarding Darkseid then, for me as a Catholic I've always placed emphasis on the Satan archetype being the ultimate evil in any fictional universe hence why I somewhat tend to go next to Trigon and from what I get, the Apokoliptans are basically the closest we'll get to a Satanic archetype from Norse Mythology. Is there some elements of Satan in Darkseid (like is his immortal and tempts sentient life to misdeeds for his benefits)? Just curious

Certainly there’s a bit of Satan in there; he’s a god of evil and unrelenting power who tempts sinners and schemes against the light of the highest of fathers. But for him, that’s only on a surface level. For Trigon, that surface is all there is; he was a mean bad demon baby (as opposed to the thoroughly charming Darkseid baby) with devil iconography who killed a whole bunch of people and became god-king of what amounted to hell until a bunch of teenagers in leotards beat him up. He’s hardly unique in that regard; from C.W. Saturn to Satanus to Neron to Doctor Hurt to the First of the Fallen to Vyndktvx, DC’s absolutely lousy with devil figures, with the actual Lucifer of the bunch mostly just hanging out and running a piano bar in L.A. these days. Some of them are better than others, but the fulfillment of that archetype - however uniquely or subversively - is what they’re all about.

Darkseid has his own thing going on.

What it really amounts to above all else - as I understand it, allowing that I didn’t go to Sunday school as a kid - is that Satan is a rebel, at least as far as Milton popularly defined him. He wants to be free, he wants to define himself on his own terms, and whether that’s borne of a genuine ideological divide, sheer ego, or both, that’s the starting point of everything he does. He will endure Hell if it means God can’t tell him what to do anymore, or at the very least he can spit in the lord’s eye. If anything, Lex Luthor’s the most traditional Satan that DC has to offer, in terms of stature and motivation.

Darkseid on the other hand? He wants order, not rebellion - absolute, irrefutable, cosmic order. He’ll push and prod and manipulate and intimidate and even dispense rewards as appropriate to edge towards that order, tempting us to listen to the “other side” as it brings us closer to himself, but freedom plays no role in his desires, because his endgame leaves him with nothing to be free of. Even “conquest” or “domination” are ultimately too weak as concepts to encompass the scope of what he craves; want he wants isn’t to rule men and gods, but for them to stop being in any way that matters, along with everything else in creation except for Darkseid. To him this is perhaps almost something like a moral right, insomuch as that idea is capable of forming in his head, because to him any other outcome is clearly, utterly unacceptable, permitting as it would anything to exist that isn’t Darkseid.

A couple people have put it well; @andrewhickeywriter had a great piece on Darkseid, and Chris Sims had a solid look at the basics of it (even if it positioned his relationship to Superman as far more central than I see it; I’m very much in the camp of his villainous status to the DCU as a whole being completely secondary to his status as the villain of the Fourth World story). And as usual, Grant Morrison put it pretty well, in this case in the script for the first issue of Final Crisis

His is a hatred without emotion, a cold, utterly inhuman and destructive thing. Nothing is real in his world but Darkseid. He would feel perfect if it wasn’t for the whole universe hating him, so he obviously has to bring the universe into line with his viewpoint or he’ll never feel comfortable. Darkseid has no experience of love, tenderness, sorrow. He is monstrously, sociopathically at odds with all free, living things. Everything that is not Darkseid is a thorn in his side and must be converted. Only when the whole universe is an expression of Darkseid’s will can it ever feel comfortable to him. He does terrible things because…he MUST.

So no, I don’t quite see them as equivalents. DC’s Lucifer for instance would likely find Darkseid’s goals banal and pointless in the extreme, while Darkseid would consider the Morningstar a childish, weak-willed wandering fool without the ambition to match his power. They are, after all, products of different moral orders: Satan is classically born of a moral axis of Order vs. Chaos, while Darkseid exists in the context of Control vs. Freedom, with which side you take having vastly different implications in those different frameworks. The Devil wants to do his own thing, whatever the consequences for the rest of us. Darkseid wants us all to do his, to the point where “us” becomes an anachronism, because when that day comes, only Darkseid Is.