so it's not much like the comics and her origin is totally made up and you know what

Adding to canon is not the same thing as destroying canon

At San Diego Comic Con, we learned that Sonequa Martin-Green’s character, Michael Burnham, is Sarek’s adoptive daughter. The second I heard the news, all I could think was, “Let the hate begin.” And boy, did it ever.

I understand the disappointment, particularly with fan fic writers who invested a lot of time and effort into crafting stories that fit neatly into canon. Amazing how one sound bite can bulldoze right through decades of widely accepted fanon, huh?

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Things I really loved about Spiderman: Homecoming in earnest!

Spoilers!!

1. That it felt new)
Look, it needs to be said first off that Homecoming had the added pressure of not just being a good movie, but being a new and different take on the THIRD reboot of a character in 15 years. That’s a really hard thing to do, and they nailed it. Holland’s Spiderman is distinct and his own while also feeling like the character, and the world he inhabits and the story the movie tells feels Spidery without feeling like we’ve seen it in the last two reboots.

2. World building)
The Marvel universe - when it’s not featuring in its massive collab films - always needs to find a way to feel connected, and not only did Homecoming succeed at this, it also found a great way to build on the Marvel world. The Captain America PSA’s were funny, but they also really helped shaped the idea that this is a world that has had superheroes for more than half of these kids lives. Same with Keaton’s daughter’s picture at the beginning, or the game of Fuck, Marry, Kill that the girls play with The Avengers; this is a world with superheroes that feels lived in and that was great.

3. Vulture)
Speaking of world building, I loved everything about Keaton’s Vulture. Marvel villains - beyond Loki - have always been just a little bit meh, but Vulture was perfect for the story they were telling. His whole story was a fantastic “view from the bottom” look at the Marvel Universe. A regular guy (in a tough economy) who is just trying to provide for the best life for his family, and is doing so by profiting off the “scraps” of what the Avengers leave behind. I LOVED that Vulture didn’t try to take over the world, or that it wasn’t really personal for him. Yeah, he loses a job because of Tony and didn’t like him, but he was just stealing from him because he had the stuff he could steal, and not say, building a villainous and overly complicated revenge scheme because he got stood up at a party once (side eyes Iron Man 3 just a little bit).

4. Vulture and Spidey’s dynamic)
Damn, that was a reveal done right. I’ve never jumped once at a Marvel movie, and Homecoming had me do it when Liz’s mother comes into the frame behind Peter. It’s a totally innocent moment, not even really a jump scare, and that is a true testament to the tension in that scene. Also, the fact that Vulture clearly respected Peter was great; he thanks Peter for saving his daughter, doesn’t sell Peter out in jail. I kind of felt like part of the reason Peter doesn’t take Tony’s offer was because some part of Vulture’s “little guys” speech had sunk into him, and that’s a really great dynamic between hero and villain.

5. Continuity Easter eggs)
The comic heavy hints are great (like say, Donald Glover’s character as Miles Morales uncle), but I’m a sucker for in universe Easter eggs, and Homecoming delivered. Things like principle Morita having a picture of the Howling Commando he played in Captain America; The First Avenger were fantastic little nods that you didn’t have to have any comic book knowledge about but still were really rewarding.

6. Ned)
I love Ned. I loved that he was quirky and uncool and totally cool with that. I even love that he was out of shape; it’s always great to see positive portrayals of people not just of different races but of different body types, and I love that he was never bullied or made fun of for his weight. Also, I just really loved that Peter had a friend (that wasn’t Harry Osborn). I genuinely can’t remember if the past 2 Peter Parker’s actually had a friend that wasn’t Harry (and thus weighted by the knowledge he was going to end up a villain) and it was so nice to just have Peter seem like a real kid who has friends and hobbies.

7. That Peter felt like a kid)
Homecoming nailed this in a way that the last two series never really did. Admittedly, the fact that Holland is much closer to the age of the character he’s playing than the two previous helped, but the movie did a great job of it in other ways. That he’s never driven, that he’s susceptible to peer pressure and just wants to be well liked; Peter felt like a real teen who had this situation thrust upon him and that was fantastic.

8. In media res)
You cannot know how thrilled I am that Homecoming skipped the whole death of Uncle Ben and spider bite thing. The death of Uncle Ben especially; yes, it’s important to shaping the hero and the man Peter becomes, but it’s also been done twice in recent memory, and leaving it out took guts (and not even a dream sequence like say, the recent reboot of some other dead superhero parents). Instead Homecoming treats the audience like they’re smart and just alludes to it, and the spider bite, and I’m so for it. Homecoming feels like we still get to see an origin arc without all the trappings of the origin we already know, and it works 100%.

9. MJ’s new character)
Look, there’s a bit of a pin in this one, which I’ll explain at the end, but I really liked this new adaption of MJ; the little we got to see of her at least. No, she wasn’t the same character as in the comics or the Rami films, but again, I really admire the fact that they were risky enough to try new things. Also, her little arc; “I have no friends,” to “my friends are up there,” to “my friends call me MJ” was this neat transition from loner girl to decathlon captain with friends and I found it really sweet.

10. The web in the suburbs)
HAHAHA OMG this was my biggest laugh in the movie. I’ve literally joked with my sister that Spider-Man is a hero who really only works in New York (one of the most vertical cities in the world) and having that scene play out was just perfection.

11. WHAT THE FU-)
Second biggest laugh by far, but I am SO down with Aunt May knowing about Spider-Man. The “hiding my secret identity from my loved ones” is a cliche that’s worn pretty thin, and I am here for the next movie where May knows.

12. Pepper)
I don’t care what you think of Paltrow; I love Pepper Potts, and I love her relationship with Tony. I don’t even mean that on a shipper level; Tony and Pepper really have always felt to me like the best balanced, healthiest and most real MCU couple, and the fact that they were on the outs in Civil War (because of what was likely the cost of having the actress be there) sucks. Homecoming fixed that, and it did it in such a characteristic way; Tony asking for the ring as a media diversion, Happy having it for 9 years, Pepper just rolling her eyes at their antics and Tony catching the ring anyways (hinting at it being semi serious) was just this perfect 2 minute look at their dynamic.

13. Tony and Peter)
I loved that that mentoring relationship felt very true to both their characters. That at the start Tony wanted to be a mentor but didn’t really know how to and that Peter just wanted his approval and how, by the end Peter had grown into someone that deserved Tony’s respect, and that Tony had become a better mentor by being able to let him walk away and acknowledge that not joining the team was best for him. Also; “I wanted you to be better than me,” and “if you’re nothing without the suit than you shouldn’t have it,” are just great lines. A+.

14. “Come on Spiderman” and the building on top of him)
Like, that whole scene, just, perfection. Tom Holland owned that scene, and it was both agonizing to watch his pain and his desperation, and utterly uplifting to see him triumph. A+++

Thing I wasn’t so crazy about:

1 . The MJ reveal)
Look, I said there would be a pin in that and here it is. If the Vulture reveal was the perfect example of how to do a twist reveal right, this was a pretty textbook example of “a twist just for the sake of a twist.” A good twist or reveal should change the mood, the dynamics and the stakes. Finding out that the villain was the father of the girl Peter had spent the whole movie evolving his relationship did all of those things. Finding out that Zendaya’s character- who is literally called Michelle once, right before she announces herself as MJ - does none of that. Her being MJ rather than Michelle doesn’t change her arc or her impact on the movie at all, especially given how little of her we see in the movie. I honestly think it would have been much better if she’d been MJ from the beginning. Having this new iteration of MJ - who is really different from previous ones - would have given the audience time to acclimatize to her take on the character. Instead, it’s played as a reveal with utterly no stakes, and I think that’s an unfortunate sign that perhaps they didn’t believe enough in their version of the character to stand up on her own merit, which is pretty disappointing.

Korotan D: English Translation of Chapter 7 (Last Chapter) 

Finally, we have reached chapter 7! It’s been a fun ride, but all good things must come to an end :’D

In this chapter, Karma confronts Nagisa about Kayano, so Nagisa’s thoughts are revealed to the reader a bit more. Only a bit, though, as it seems that Nagisa might be better at reading Karma than Karma is at reading Nagisa. Also, a good portion of this chapter is Kayano being amazing and the class’s well-read folks (Hazama, Fuwa, and Mimura) appreciating her amazingness. Well, I guess everyone in 3-E found her amazing, but those three’s conversation about movie adaptations was fun to read ^^

Chapter 7: Performance Time

“We’ll start filming in 10 minutes! Hurry it up with your preparations!”

Nathonni raised his voice through a megaphone. The art group was busy working to reproduce an authentic-looking street of food stalls. Sugaya, too, worked as a member of the art group, painting one of the stalls so that a feeling of livelihood could be felt.

Kimura, Isogai, Kataoka, Okano, and Maehara, the members of Class E who were particularly confident in their physical abilities, hurried to put on their costumes in the waiting room. After hearing about Class E’s efforts to recover the golden Buddha statue from Jerome, the director suddenly decided to add another scene. It was a scene where ninjas who pursued Rin from Japan have a showdown with Jerome, a scene that was once rejected because they didn’t have enough stuntmen. He offered to have Class E play the part of the ninja group.

Knowing that he was about to take part in an action scene, Kimura was itching with excitement as he checked out the ninja costumes, which Hara helped make. Karma peeped in on the five ninja figures as they waited in the waiting room.

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“Spider-Man: Homecoming’s” Seven Best Jokes and Why they Matter

Spider-Man has had a rocky ride when it comes to Hollywood. Sam Raimi’s first two films were instantly beloved mega-hits that proved the superhero formula could be a cash cow, but the next three titles that bore the wall-crawler’s name ranged from just alright to downright abysmal. In case you didn’t already know, Spider-Man: Homecoming is a MUCH needed course correction, and in my opinion the best Spider-Man movie, ever, by a pretty huge margin.

What makes it so special? Its sense of humor. Jon Watt’s attempt reminds me a lot of my favorite Spider-Man stories: the first few years of the “Ultimate Spider-man” comics penned by Brian Michael Bendis (who unsurprisingly gets a special thanks in the credits). What he does better than any iteration prior (or since) is fully convince the reader that Peter Parker is a goofy kid caught up in a world of larger than life choices, risks, and consequences. That premise is simultaneously kinda heart-breaking and, more importantly rife for comedy. Here are, in no particular order, the 7 best laugh out loud moments in Spider-Man: Homecoming and how they help give this movie its secret sauce.

Minor spoilers ahead, but I will write these in a way that the punchline isn’t ruined prematurely.

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anonymous asked:

What Christmas gifts would the companions like to recieve?

Ada – Complete overhaul of her entire frame simply because she hasn’t a taste for material items and only thing she ever really seems thankful for is Sole’s friendship. So aside from promising to forever be her pal and living for as long as they can, Sole is really only left with making her the most badass-est automatron to grace the Commonwealth which, in a way is an even better gift than they intended because to her, it allows her to better protect her friends like she’s always wanted.

Cait – Big black biker boots fit for curb stomping along with a matching black leather jacket fit with shoulder spikes and numerous pockets for guns and knives alike. Oh and of course a brand new fully automatic combat shotgun and a few bottles of drink because why not spoil the woman who deserves it most??

Curie – Somehow – whether by actually knowing where to go or by some streak of impossible luck – Sole had managed to gift to the ever curious little synth many rare chemicals whose canisters had somehow survived the Great War and subsequent post-apocalyptic damage. Curie explained why she needed them at one point in her travels with Sole, but all that science jargon went right over their head without so much as a “How do you do?” and so they were left simply saying: “Happy experimenting!”

Codsworth – The faithful Mr Handy would finally receive what he’s always wanted throughout all his long years: a pristine gentleman’s top hat, lacking the common wasteland crinkles, tears and faded fabric that sits perfectly atop his metal hull. He’d cherish it until the day he shuts down forever.

Danse – Considering when Danse had to the leave the Brotherhood he consequently had to leave behind his beloved power armour, leaving him with a sticky X-01 frame which may have had extra protection but was so obviously lacking in more ways than one, Sole knew just what to get him. Or rather, what to give him back anyway with a few extras of course. Cue the kinetic dynamo, jet pack equipped hydraulically improved T-60 power armour sporting the blackest of the black paints and almost dangerously lubed up limb actuators for better mobility while out in the field. Sole is expecting a happy tear or two.

Deacon – Finally, he’d get that Deathclaw he’s always wanted, fit with a leather spiked collar and a tag with “Fluffy” imprinted in the metal. If he wasn’t wearing sunglasses, everyone would have seen him tear up just a little bit as he grinned up at his brand new guard dog.

Desdemona – A brand new Fat Man, painted mostly black with a small white lantern imprinted on the side with the words “From the Railroad, with love” printed underneath. It may have been Deacon’s idea originally, but dammed if it didn’t make her smile like an idiot.

Dogmeat – Being the goodest boy in the whole entire Commonwealth, Dogmeat deserved nothing less than a nice cosy doghouse fit with comfy pillows, a non-leaking roof and an almost brand spanking new teddy bear to strut around with proudly in his mouth.

Gage – What do you get the man who has everything he could possibly want? A penthouse loft of course! Or something close enough anyway. Considering Fizztop Grille is Sole’s alone, they can do whatever the hell they want with it, so why not construct a secondary level just like their own for their right hand man ready to be unveiled to him on Christmas day.

Hancock – Chems is all he’d ever asked for and chems he sure did get…but with the added sweetener of Sole’s handiwork.  The best he ever really could come across was raider or novice made chems, their potency were lacking substantially which had him powering through his reserves quicker than he could get them in. That meant that with having to need to consume more for the desired high, the cost of buying more damn near sends him broke. With Sole’s Christmas gift of a load of pure, undiluted chems, he’ll be flying higher than ever for a good long while.

MacCready – The best gift Sole could ever give him was curing his son Duncan from whatever horrible disease it was that he caught and considering Sole had already done that by the time Christmas rolled around, he really didn’t want anything more from them. He’s already in debt, but of course Sole won’t listen and would instead find him a stash of Grognak comics that he says he hates but secretly power reads when he thinks no one is looking.

Maxson – A man such as him in charge of an army such as the Brotherhood of Steel would neither want much nor have time for a thing such as Christmas aside from of course enjoying the traditional turkey-based meal. So if Sole really wanted to give him something special that he’ll enjoy, then they better saddle up, stretch those limbs and flick on a stealth boy, because they sure don’t wanna get caught sneaking into the Elder’s quarters at night for a little ‘under the blankets’ awakening.

Nick Valentine – Considering both he and Sole were obviously old souls in a world full of fresh-faced youngin’s, Sole figured that maybe the old synth would like a healthy blast of nostalgia by way of intact, still legible pre-war books. Specifically, crime thrillers and sci-fi fiction that would sure give him a good laugh and be easy reading when he has those days where its best to just zone out for a little while.

Old Longfellow – What can you get an old hunter who makes everything he needs by hand and lives almost entirely off the land? A whole caravan load of whiskey that’s what. Ranging from Teeling, Redbreast, Jack Daniels and of course Tullamore Dew (my one true love)

Piper Wright – A brand new, state of the art Platen printing press whose rotating wheel doesn’t stick and whose ink reserves doesn’t spurt up into the user’s face each time a copy is successfully printed. Oh and loads of non-crinkled paper from God knows where and an entire cache of sugar bombs just for her – no sharing required.

Preston Garvey – Sole had already given him the best gifts he could ever have hoped for – the full restoration of his beloved Minutemen and also another reason for him to live – so to ask for more would seem greedy in Preston’s eyes. But of course, Sole won’t let it go that easily because under the Christmas tree for Preston would await something small but something undeniably packed with so much meaning and thought that it very well might bring the noble Minuteman to tears. It was a genuine Freedom Trail Boston Minuteman CNCL medallion. Now, wherever Preston goes with that little gem hanging from his lapel, everyone will know the hero that Preston Garvey most surely is.

Strong – Much like Ada, the big guy hasn’t really got a taste for material items so that leaves little to actually gift him with considering his frame can’t be as easily upgraded as Ada. What he does have a literal taste for however, is fresh juicy meat. So, without selling their morals and feeding him raider, Sole will get together with the caravans and organise for the biggest delivery of fresh meat, whether it’s Brahmin, Deathclaw or Mirelurk they’re not picky as long as it’s not human flesh.

X6-88 – Yet another companion with low affinity for material possessions – aside from his sunnies of course – X6 will only really appreciate a gift if it’s something particularly special, and by special its generally something that makes killing Institute enemies a sport. Taking this into consideration, Sole’s best bet is the fully upgraded Gatling Laser with more power than necessary which – by its own nature – totally makes it necessary for the Courser to use.

korrasforevergirl  asked:

Would it be okay to ask how comics are actually made? Like are the panels drawn out first and the story put in them or does the story have to be planned and drawn before the panels go down? I would use bing but I don't know how to word the question right to where I don't get everything but I was looking for so I can make panels the right way. There was something that lets you make it on tablet, but I have no tablet

Sure! This might get long, so hold onto yer butts.

Creator-Owned IPs vs Licensed IPs
We’re gonna start off with a broader understanding of the different directions comic creation start from. Creator-owned books (we call them ‘books,’ though we mean comics, and this umbrella includes both single issue series and GNs) are exactly what they sound like: IPs that are owned by the creator(s), series like Saga and most Image titles; original graphic novels; and designated creator-owned series from publishers who handle both licensed and creator-owned works. Contracts differ for exactly how much a creator-owned IP is owned by either publisher or creator, and this is why people like the Image comics model, because creators own all of it. This sounds like the best case scenario, of course, but it’s a tough road, because you need to have a pitch ready, your pay is almost always back-end (meaning you get the profits after you sell; advances are either small or rare), and it helps to have notoriety to get the right eyes and ears on your work. Licensed IPs on the other hand are works that already exist, and then are licensed out into comic form. Think of video game comics, or comics series like Adventure Time and Legend of Korra. Licensed work also tends to have lots of chefs in the kitchen, which is its own kind of hell, since things need to stay on-brand or follow age conventions for narrative/visuals.

DC and Marvel also fall under this label. More generally, we call it ‘work-for-hire,’ and it means you own none of the art, property, etc. But it also usually means you’re paid for the work before sales, and, depending on the publisher, it can mean more money upfront. In general, comics pays absolute shit unless you’re working for the Big Two (Marvel/DC) or have a successful creator-owned title at Image or elsewhere. 

Writer/Artist/Editor Relationships
Creator-owned work processes vary greatly, since their circumstances are all different (story & concepts could’ve been done together, or a writer may have found an artist to work on her idea, etc). I’m going to mostly talk about the work-for-hire process, since it’s a little more consistent across the board. The publisher will hire a writer, who will in turn write a script, and the script will be sent to the artist to draw. For Mike, Bryan, Nickelodeon, and me, we communicate through our editor Dave, and his assistant Rachel (a saint, truly). If I’m being honest, it was a little overwhelming for me in the beginning to receive so much feedback from many many people, which I was not used to from previous comics experience. But we’re all growing to understand each other, we all respect each other deeply, and our editor does an amazing job making sure communications between all of us remain clear and effective. I’m leveling up like crazy from the constructive commentary I receive on every page!! I can’t wait to come out of this project a total badass, haha.

I also can’t forget to mention the colorist, who is a very crucial part of the process. As it is, the industry severely undervalues colorists, and moreso, the flatters that sometimes help them (they basically do simple color fills so the colorist can get right to rendering, etc). After I’ve uploaded my linework, the pages go to Jane for colors. After another round of edits and approvals, they will go to the letterer, which I also find to be an underappreciated craft.

Process
1/ Mike writes the script
2/ Editor reviews. After edits & approval, it is sent to me
3/ I send back thumbnails of what all the pages in the GN will look like
4/ Edit/approval review, edits are made, and then I start on pages
5/ I don’t have a pencils step; I blow up my sketches onto my pages at low opacity and ink right over them
6/ Uploaded for review. If it requires edits, I fix and send it back
7/ Colorist receives pages and does her thang,
8/ and after reviews/edits, it is sent to the letterer.

And that is all the process I am closely tied into, but beyond that (the publishing and marketing deets, etc), I am not.

Artistry, Paneling, Tools
As for the actual technical part of comic making, it’s harder to get into the specifics only because it’s super different for each artist, and our education comes from different sources. Growing up in Japan, I read a lot of manga and Franco-Belgian comics, so my layouts and style will more closely resemble that stuff. Many people still work on special comics paper or just 11x17 bristol board, but I work exclusively in Photoshop on my Cintiq, on special Dark Horse formatted comic page files. If you want to read more about how comics are made and the concepts behind good composition, paneling, etc, I’d pick up Scott McCloud’s UNDERSTANDING COMICS. It’s a good primer, and fun to read, since it’s just one giant comic!

Industry Thoughts
I think I need to add this here, because understanding the general atmosphere of the industry informs why creators are/act/work a certain way, or have a specific kind of online presence, etc. The industry is still very much a white boy’s club, and it is a constant battle for the marginalized to work in an industry that seems to hate us with every microaggression (and just outright bigotry) at every corner. Additionally, as mentioned above, comics pay is super garbage; some of us are full-time freelance and some of us still have day jobs; we get no benefits, etc; and, as in most entertainment industries, it’s just as much about who you know versus how good you are. Networking is key, and you’re much more likely to get hired for being a polite person who gets their work in on time over being an amazing talent who is always behind and a jerk. Unless you are certain dudes are certain big publishing companies. *side-eye*

Being a comics creator is grueling, and you definitely put in more than you get back. We also feel a need to maintain some amount of online presence, and I take the effort to curate my social media feeds, both what I consume and what I put out. Me being me, I wear my heart on my sleeve, my loud mouth says whatever the fuck it wants, and sometimes I’m super crude; but I am trying to not be so curt with the over familiar or well-meaning folks who appreciate my work, and maybe just overstep some bounds. (The creepers can fuck right off, though.)

ANYWAY. Hope that’s all helpful to know and gives y’all some perspective! :)

MTVS Epic Rewatch #157

BTVS 6x08 Tabula Rasa

obligatory soundtrack to accompany your reading

Stray thoughts

1) Writing the follow-up act for OMWF couldn’t have been an easy feat, and yet the writers came up with one of the most memorable and quintessential Buffy episodes. OMWF was damn perfect, but we can hardly say it’s an episode that betokens the classic feel of the show. It was a Very Special Episode, and while at its core it had all the ingredients that make the show what it is (witty dialogue and one-liners, funny moments, character development, emotional resonance) I would hardly recommend it as the episode a new viewer should watch to get hooked on the show, you know? Tabula Rasa, on the other hand, is an A+ prototypical Buffy episode. There’s conflict between the characters, a memorable monster of the week (although he is only a plot device more than a key player in the narrative), an original gimmick, comic relief,  meta-jokes, plot advancement, good music, and a lot of tears. Like, A LOT. I love this episode!

2) The episode starts with Spike following Buffy around, as per usual, and asking her to have The Talk about The Kiss. It’s not every day that you make out with your former-number-one-enemy-turned-ally-turned-kind-of-friend-turned-confidant. Buffy chooses a very non-Buffy way to deal with the Spike-kissage: she dismisses the whole thing and downplays it. 

SPIKE: We kissed, Buffy.

BUFFY: So?

SPIKE: We… we kissed, you and me. All Gone With The Wind, with the rising music, and the rising … music, and what was that, Buffy?

BUFFY: A spell?

SPIKE: Oh, don’t get all prim and proper with me.I know what kind of girl you really are. Don’t I.

BUFFY: What we did is done. But I will never kiss you, Spike. Never touch you ever, *ever* again.

I get that Buffy wasn’t really Buffy yet, but this is a really mild reaction compared to the last time she had kissed Spike…

If Buffy hadn’t enjoyed their kiss or if she hadn’t been considering giving it another shot, she would’ve had a much more visceral reaction to his questioning. (I can totally imagine her saying something like: “what we did is disgusting” or “I’m disgusted at myself”) Yet she chooses to not make a big deal of it, and only when Spike insists on pushing the issue she states that she will never kiss or touch him again. Which is what she thinks she has to say more than what she actually feels since at this point she’s still fighting her attraction towards Spike. 

3) 

I will never kiss you, Spike. Never touch you ever, ever again.

*literally one second later*

For whatever reason, she just can’t let him die, can she? 

4) BTVS is probably one of the few shows which can get away with having an actual shark play a loan shark. And how awesome is that?

And I absolutely love the fact that Teeth (that’s the shark’s name according to the script, btw) keeps calling Spike “Mr. Spike.” So very gentlemanly of him! 

5) One of favorite lines in the whole show, tbh:

SPIKE: I just need a little more time.
SHARK DEMON: Time, time, time! Is what turns kittens into cats!

6) While Buffy is patrolling, the rest of the Scoobies are gathered at Xander’s discussing Buffy’s revelation that they had torn her out of heaven. This is an odd writing choice. Considering the weight of the revelation, as a viewer I was expecting to witness the actual moment in which the Scoobies and Buffy hash this out. It seemed like a pivotal moment in Buffy’s arc this season, yet it never came? My question is: did the writers purposefully chose not to write that key scene to continue driving a wedge between Buffy and her Scoobies and furthering the season’s plot of isolation, desolation, and self-destruction? or did they choose not to write it because it was too difficult a scene to write purely from a writing perspective? (did they chicken out?) 

7) Anywho, what they did write is the Scoobies trying to come to terms with what they’d done to their friend. And before I dissect the scene in point, let me take you back a few episodes to “Flooded”…

WILLOW: I brought her back! (…)  I did what I had to do. I did what nobody else could do. (…) I brought Buffy back into this world, and maybe the word you should be looking for is “congratulations.” (…) I wasn’t lucky. I was amazing. (…) The magicks I used are very powerful. Im very powerful.

You see it, right? Willow is taking full responsibility for bringing Buffy back. There’s no doubt in her mind that she alone carried this out. 

Now let’s analyse Willow’s discourse after realizing she had actually done something wrong, she had unexpectedly failed. 

TARA: All we know is that… it was a good place and she was happy there.
WILLOW: And we took her away from that. We wrecked it for her.
XANDER: We didn’t wreck. We didn’t know.
WILLOW: We didn’t wanna know. We were so selfish. I was so selfish.

It’s very clear that she does not feel comfortable taking full responsibility for bringing Buffy back now that she knows it made her miserable. When she thought having brought Buffy back made her a hero, she really didn’t feel like sharing the accolades…

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Undertale - So Sorry

Already posted much of this on the Steam forums today since questions have come up and a bunch of rumours have been quashed so I figured I’d say a few tings.

This is gonna be a bit essay-ish but I figured I should respond to some questions, concerns and rumours that are goin around. So, full disclosure on the parts I can actually confirm. If you want more, you’ll have to ask Toby and Tem - I don’t know exactly what they think of me and I’m supremely anxious anyway, haha. They’ve been very supportive and kind to me though and I think they’re great people. Anyway, here’s the way of it.

Firstly, So Sorry is the Fan Troll. I has originally backed to design a monster but I thought long and hard and said “Hey, I think Undertale is literally the best, I want to help out, I know its a joke tier but would you be cool with me backing it”. He said yes and was kind of surprised at the time. We started talking about stuff before the Kickstarter ended. It didn’t take long for him to find out who I was, I have an internet presence like a lot of folks, and we got talking about it. I didn’t want my weird, niche interests to have any effect on the game because I had no desire to tamper with the game or anything. That’d be weird. In any case, I do have interests outside of my more peculiar things and Undertale was real important to me. It made me feel things a game had not done for a very long time, if at all.

So, Toby asked me if I’d be cool obscuring the connection since the character is a pre-existing thing. Part of its so the game feels like a self contained unit and give him control as a creator, which I totally get and I was fine with, and part of it was to avoid the issue of people seeing the name, googling it and giving me stick. Which happened anyway cos someone saw the battle in the discussions on /v/ I think and linked my gallery. Part of it is, obviously, so you can search for content of the game and not find my stuff. It isn’t shame, as far as I’m aware, to not want something unrelated associated wih you. Asking for major alterations to the character felt weird, its kind of a part of my identity, y'know? Like if someone asked me if my face could come with detached lobes or green eyes, I’d feel a little comprimised? When I expressed that kind of thing though, he seemed to understand.

I thought a bunch about what I could make work that would keep it distinct but true to the character. The game was full of mom/dad jokes, so I suggested the joke name So Sorry (Hey Mr Sorry, can I call you So?) and he liked it. He also asked if he could remove the hat and I said sure, like, its just window dressing, y'know? A hat’s a hat, not my whole identity. He added it back in of his own accord and added in half a dozen in total I think - I’m not even sure if I’ve even seen all of em. I think my favourite is the party hat though, it always makes me laugh. Otherwise, Toby seemed fine with the character being as they are and I really like the interpretation he came up with. There’s a rumour going around that not only would I not accept any comprimise, I was rude to Toby for asking and I don’t know where that’s coming from. A lot of them seem to be based on me being a secret and Toby hating me but I’m fine with the secret thing and as far as I’m aware, Toby doesn’t think ill of me. You can probably ask him yourself.

In terms of input, the design and general personality were mine. I think I might have come up with the paper ball attack? I didn’t expect it to take up much of the window though, haha. I might be wrong though, its been a couple of years. I think I suggested an attack where the pen chased you like in the game Snake. I didn’t come up with the ‘3D tush wiggle attack’ - that has orange/blue mechanics which I didn’t know anything about til I played the game. He also ran the whole dialogue of both paths by me before the game - I think the Fight version is actually the funnier of the two and I totally recommend people do it at least once, haha.

I think the array of faces So Sorry pulls in the whole thing are hilarious, too, and they’re part of the anxiety dealy I have. That was, by the way, the only real concession Toby asked of me - I think I suggested a dreary or stammery kind of anxiety, but both of those are covered by Napstablook and the character that would become Alphys. In fact, a lot of friends thought Alphys was my contribution due to how her anxiety manifests. I suggested a more desperate and energetic anxiety instead and we went with that!

I’m really happy with how it turned out, despite the abuse people have been slinging my way. Nobody has to look at my work just because I’m in the game - I know my stuff is not for everyone, hence I keep it to the sites I post on and I’m not offended if people don’t like it. My work has no bearing on any discussion of the game though - my interests don’t touch the game, only my identity, and I’m happy to keep it that way.

A lot of people compare my inclusion to Muffet and I think thats kind of weird. Muffet is tied to the intro by way of the bake sale, I’m tied to it by means of bad jokes. I think the Muffet fight is honestly probably one of my favourites, even if it is a little abrupt, its just paced kind of perfectly in its place in the game and the music sells it perfectly. So Sorry doesn’t have any pacing concerns, meanwhile, because they’re a secret and the music feels a little more out of place because it isn’t echoing earlier music - Spider Dance has elements of Dummy and Ghost Battle, I think. In any case, I think Muffet’s design is excellent and it feels a bit weird to compare the loser dragon I designed as a teenager ten years ago and identify with to something an incredibly talented comic artist drafted and designed more recently. I am what I am and a great artist I ain’t, haha. I just wanted to be a part of something I loved. I wasn’t the only one, considering other people opted in to contribute designs to the game. Woshua’s also great.

I didn’t want to interfere with the game any more than I did in the end - I was super excited to see what Toby was going to make. In the end, the whole thing was worth the wait and I’m very happy to have played a very small part in helping the game be. I still have the original sprite I think Tuyoki did for So Sorry on the overworld but I don’t think its up to me to share it without her say so. I’d ask if its cool and link it, but I’m actually kinda shy, haha.

Also I’d like to say people have been, in general, really supportive - especially on Tumblr and FA. Thanks, guys! =3

I think thats most of it though, if I missed anything, feel free to ask. 

I quit watching TWD after Glenn got killed off because that whole decision to do so was incredibly disrespectful bullshit to his character the overall storytelling integrity of the show, and his fans. He was my favorite character, and, in my opinion, the last one that actually made TWD feel worth staying emotionally invested enough to continue watching as a whole because he still had a profoundly hopeful, inspirational, emotionally complex, optimistic, dynamic, and relatable storyline that also still had so much unexplored potential for fresh things that I actually still looked forward to seeing in terms of backstory and development on this show. That’s something that I feel like most of the other main characters have lost at this point, and Maggie was totally sidelined, anyway.

I like Rick, Carl, and Michonne, too, Richonne is a cute couple, they are necessary for the overall plot of the show, but like I said before, they’ve kind of turned into static characters, who’s full development of character has been achieved to me at this point. Carol is boring, I can’t stand Daryl, and the other characters are too poorly written and/or underdeveloped for me to even care about at all.

Also, Negan is a shitty villain. I don’t mean that in the sense that he’s a terrible person, either. He’s the main villain. Of course, he’s going to be evil. I expect that, that’s the whole point of him being a major antagonist, and that’s not the problem with his character. The problem is that he’s a poorly written one-note villain, who Gimple and the writers clearly didn’t put any effort into creating for the show at all by humanizing, or toning down from his comic counterpart, like they did with the TV Governor.

Negan gets too much screen time as it already is, just about as much as Rick and Team Family, if not more, but what makes that even more unbearable is the fact that he’s not at all interesting in comparison to the Governor in S3 and S4 on the show. Hell, even Gareth and the cannibals were more humanized than Negan on the show, and I thought that was TWD jumping the shark back at the time…Boy, was I ever wrong…

Anyway, the Governor’s episodes never felt like they took away too much time from the overall plot with Team Family, and they always felt relevant because they gradually connected with each other, rather than just being thrust together for shock value all at once in one big mess. While I’m still very pissed off that the writers could give bottle episodes to every other AL5 member, two major antagonists, characters who were introduced much later on the show, and random red-shirt characters that we never saw after one or two episodes, but never to Glenn, who was one of the five core AL5 protagonists on the show from day one, the Governor’s episodes were always a treat for me to watch, and one of the biggest highlights of S3-4A for me that always kept me on the edge of my seat. It was not because Philip (the Governor) was a good or likable person, overall, but because he was an emotionally complex and well-written villain. His actor, David Morrissey, did such a fantastic job of bringing the character to life on screen. It was so fascinating to watch the writers psychically break the Governor down by deconstructing, reconstructing, and ultimately deconstructing his character again in his demise at the end of 4A.

Even though I mostly hated Philip Blake on the show, I also was fascinated by him, and I felt a bit sorry for him because I knew why he was a villain. I got to see him be broken down into someone worse than he started out as on the show, try to get better for a bit, and ultimately fail by reverting back to his old power-hungry, narcissistic, and sociopathic murderous ways that led to his ultimate demise. The Governor was actually a character with a story that had a worthy of being told on the show because he was there as more than just a presence of meaningless shock value that terrorized Rick and Team Family. The Governor contributed to the greater theme of being too far gone.

What is Negan’s greater purpose on the show beyond terrorizing Rick and Team Family and reeling in higher ratings by using him as a tool to create torture porn scenes and shock value death? He’s straight up evil just because he likes to be, as far as we know, and I don’t think he ever will be a complex villain on the show because Gimple and tptb aren’t even putting in minimal effort in terms of writing for characterization and storytelling anymore. I can’t love to hate Negan and appreciate him as a villain, like I did with the Governor. Rather, I hate to hate him because he’s not interesting to watch at all, and I wish that he never came into existence on the show, instead.

It’s all just cheap, cruelly manipulative, and meaningless ‘shock’ value gimmicks that are no longer shocking because the writers always kill off the most obvious characters for “shock” value to try and be dark and edgy. You know, they always kill off the incredibly kindhearted, loving, and selfless souls, who have everything to look forward to in their lives, who overcome every obstacle, who overcome every stereotype, and who, thus, are often POC, LGBTQ, elderly, mentally ill, disabled, etc. characters to try and create more of a tragic emotional impact from the audience, and/or to save Daryl, instead.

I’m almost positive that saving Daryl was at least one of the factors for AMC and Gimple’s decision to kill off Glenn on the show. They wanted to kill off a popular AL5 member, Rick and Carl are the main leads and without them there is no show, Carol was sidelined from Team Family, and so that brought it down to choosing between Daryl and Glenn. AMC would never let them kill off their cash cow, so they chose Glenn. I’m pretty convinced about this because Daryl’s got all the merchandise from AMC and Hot Topic for the show on his side, not Glenn. And while Glenn was still a pretty popular character on TWD with fans, I remember seeing an article that said he still ranked second after Daryl back in S3. Plus, why else would they make Daryl indirectly responsible for Glenn’s death that he should have gotten, instead, and then focus almost entirely on his pain and suffering over Glenn’s death more than anyone else’s, including Maggie’s, Glenn’s wife? That seems like obvious fan pandering and Daryl favoritism to me, at least in part.

I was alright with good characters dying from S1-S4 because Glenn was always the one character there to defy the otherwise predictable and discriminative trope of the “kindhearted, selfless, and loving character from a marginalized group of people just can’t survive in this world,“ and because the deaths of the characters, who did die, besides Andrea, who Mazzarra fucked over in the S3 finale, still felt at least somewhat meaningful. However, after Hershel’s death, it began to feel like an extremely lazy, predictable, and cruelly manipulative trope that had lost its charm because we were losing too many good characters for no good reason. It really started to stick out to me with Beth’s death that happened because *gasps* they must add in a shitty and tragic plot twist that failed to make sense, anyway, because the writers had killed her off in the most OOC way right when she had just had the chance of greater complex development right in her grasp.

Glenn’s death on the show was my last straw, not just because he was my favorite character, but because his death was even worse than Beth’s. He was literally the the last remaining heart and soul of this show that they killed off. It wasn’t just Glenn who got killed off in the S7 premiere, it was the TWD that I originally fell in love with as a show, too.

At least the writers gave Beth a full arc to explore her new character development, and they took the time to focus on her before killing her off. The writers didn’t even give Glenn that much before killing him off on the show. Gimple threw Glenn under the bus right after sidelining him post S3. They used that dumpster gate fake out death bullshit with Glenn (which never happened in the comics that they were so intent on following for the death of this one main character from them) throughout most of the first half of S6, a season before his death, revealed that he was still alive a few episodes before the S7 premiere, made him kill living people for the first time to protect Maggie and his people after coming back, never mentioned anything about it afterwards again, and then killed him off in the S7 premiere, anyway, all because they wanted to shock the audience and give Daryl another man pain storyline by making him cause Glenn’s death.

Gimple is so narcissistic that he is unable to see just how shitty of writing that was, and called us “children” for being pissed off about it. Really? Shut the fuck up, Gimple! Being creative and diverging from the comics when there is potential to do so is your job! You could get away with not giving every other comic character the same death from them, create Daryl Dixon for the show and let him still live on it, kill Sophia, kill Andrea, let Carol still survive, and switch up every other major death, but you couldn’t save Glenn Rhee on the show from his comic death when you already had every perfect reason to not kill him off set up, which made it feel like a total sellout, anyway. I bet you were just too afraid and too lazy to be creative and take advantage of organic opportunities for something better and new, as usual.

Also, giving the audience such sparse false hope by killing Glenn off in the S7 premiere, after faking his death only a few episodes earlier is bad storytelling that has lost you a lot of fans respect and viewership, Gimple, including my own, so don’t tell us that Glenn fans shouldn’t feel pissed off enough to quit watching because you killed him off and blatantly disrespected his character and his fans in doing so.

The writers killed off Glenn, the character who they just made kill ten living people to save Maggie for the first time ever in S6 with no deeper explanation of the effect that it had on him afterwards. The writers killed off Glenn, who they hid under a fucking dumpster to fake his death and cheaply manipulate the audience for most of S6. The writers killed off Glenn, who they had been sidelining since S4, and who never got full backstory, development, or a bottle episode. The writers killed off Glenn, and made Daryl, the overrated white trash fan fav, responsible for it, so that he could survive to get a storyline out of it, instead. The writers killed off Glenn, who was the only death from the comics of a main character that they decided they just had to follow from the comics on the show. The writers killed off Glenn, who also happened to be the only core MOC protagonist on the show from day one that these white, narrow-minded, and racist writers just had to give his comic demise to, even though no other main character who died on show from the comics was ever given the same comic death on the show. The writers killed off Glenn on the show, even though it wasn’t relevant or necessary to the overall storyline, or to the development of Rick because Daryl stole Glenn’s role as Rick’s main righthand man, or the person who mattered to Glenn most in the world, Maggie, (and even that’s a shitty and racist excuse for killing off Glenn, but at the very least his death was a game changer for Rick because Glenn was his righthand man in the comics, while Maggie was a damsel in distress in them before Glenn died and she learned to stick up for herself in the comics) because she was already a badass and independent leader on the show, and they totally sidelined her and made her husband’s death all about Daryl’s pain over causing it to happen, anyway. The writers killed off Glenn, who was the last major source of living hope and optimism on this show that made TWD feel worth watching through all of the bullshit on this show as a whole because he was a constant source of the possibility that a better life could be achieved because the world went to shit. The writers killed off Glenn Rhee, who was a deeply meaningful symbol of hope, growth, and optimism on this show, rather than just boring day to day survival that goes nowhere new, and meaningless action and torture porn scenes that no longer shock me, just disappoint me. RIP Glenn Rhee=RIP TWD.

anonymous asked:

i was talking with a friend about the end of defenders and for her it's the end of matt and elektra. but clearly i think it's the beginning. and i start to believe that they could give them a chance. if matt and karen go back together in dd S3 i would be extremely disappointed. Not bc i ship mattelektra but just bc it wouldn't make sense at all.

Both of these asks tread pretty similar ground so I think it makes sense to tackle them together.

I want to answer this carefully because I know that there’s been a lot of shit flying around the fandom for a while, and the outcome of Defenders has only amplified some of that shit. Like, I made the mistake of scrolling a little further down the mattelektra tag literally just now, which *SIGH* was a bad idea. But if you’ve been following my blog for a decent amount of time or have talked to me about this show / ship at all, then you already know where I stand on Mattelektra and while I may have my private gripes and rants (I’m human after all :)), I try my best to keep blatant negativity off of my blog so I’m going to try to approach this as objectively as possible.

Given the events of Defenders and the rather unprecedented amount of Mattelektra on that show, of course I would love to see more of my OTP in the future seasons of the show. But realistically, I don’t think this is the direction DDS3 will be going, for a few different reasons. This relates to the perspective of your friend, Anon #1, and your question at the end Anon #2, but I think it makes sense to bring a sense of closure to the more heightened aspects of DD’s world – the mythic antagonists (the Hand) and the epic romance storylines (Elektra) – before shifting gears to a Born Again adaptation which will probably bring DDS3 back around to the more grounded, gritty tone of DDS1. 

And quite honestly, if this is ultimately all we were meant to be given as far as Mattelektra goes within the Netflix Marvel universe, it would be tragic, but my god, they will never take the absolute epic-ness of the DDS2 –> TDS1 Mattelektra saga away from us.

But what about Matt and Karen in DDS3? This is an interesting pickle. The realist in me has always assumed the show probably had some kind of Matt/Karen endgame in mind. And on the surface, adapting Born Again, which is a very Karen centric / redemptive storyline, seems like it would continue to push things in that direction. But the following gives me pause: seeing how far removed MCU Karen is from Comics Karen’s origins, I can’t see how MCU Karen could possibly play any of those same character beats from the comics without feeling seriously concerned that they’re going to retcon any of her non-Matt character development to suddenly fulfill this very specific role in this very specific story. I mean, putting a Matt/Karen romance subplot (which has historically, on this show, not been very heavy in substance) into what is likely to be a very dark and traumatic storyline for Matt feels like such a tonal mismatch for the direction. And I’m really not saying this as a Mattelektra shipper, but as a fan of Daredevil. 

Instead, I think a more realistic approach is to focus on the Matt/Karen relationship in a way that eschews the romantic angle but digs deeper into rebuilding the relationship into a true friendship, becoming true family. I’ll admit this line of thinking is 100% inspired by @significantowl​‘s collection of post-Defenders / DDS3-relevant thoughts, particularly her last point about family being a potential theme of S3:

If Father Lantom gave us the theme of Matt’s arc in the first episode (you’re not abandoning Elektra/you don’t have it in you), I think Foggy gave us the theme of s3: family. Found (avocado) family and biological family… I feel sure that’s where it’s at.

I totally love this idea btw, because I feel like so much of the issues that have been festering and eating away at Matt’s relationships over the first two seasons of DD have deep roots in the trauma and unresolved angst of his past. I see a lot of potential here to use the framework of the Born Again storyline, which will for sure knock Matt even lower into the depths of his own personal hell than he thought possible, to be a redemptive storyline for ALL of his close relationships. BUT who the hell knows really. We have zero information on what’s going to happen with Karen on the Punisher storyline. Between the ending of Defenders and what I imagine will be a really meaty arc on Punisher, Karen Page might be a very different person by the time we see her in DDS3. So really…anything goes. 

As a sidenote, my dream scenario would be to replace Nuke’s role with Bullseye – killing two birds with one stone since Kingpin hiring Bullseye to come after Daredevil is even MORE iconic – and then have my girl Elektra show up to help save Matt Murdock’s ass because the trio of DD, Bullseye, and Elektra would be so freaking epic. I don’t even need any ship stuff (though I wouldn’t say no to it) I mean, just having her around would make me happy :). 

So in summary:

  • I don’t think we’ll see Mattelektra addressed in DDS3 unless it’s also addressing the fallout of Defenders, which I don’t think they’ll do if they want to move directly into new stories.
  • I DO think that Mattelektra will continue to have a presence, even if it’s just a backgrounded one, because DDS2 and TDS1 have firmly established that this is an Important Relationship, even if it doesn’t end up being THE relationship. I only hope that the overall story will give Elektra a natural place to pop back in, and on her own terms. 
  • I think a more prominent Matt/Karen storyline will be inevitable, but I don’t think it’s a foregone conclusion that it will be romantic. Granted, that may be my own wishful thinking, but not terribly crazy if you think about the possibilities of the Born Again adaptation. Whether I’d trust the writers not to be obnoxiously heavy handed about the whole thing is another matter. 

Thanks for the asks, Anons! And now that this slightly more serious DD meta-ing is over, I’ll be back to my regularly scheduled mix of Mattelektra trash / Elodie Yung very soon haha, jk, not really. ;)

Wonder Woman: A Marvel fan's perspective

I’ve just made it back from the local premiere of DC’s Wonder Woman and I want to share my impressions with the internet right away! I’ll do my best to keep it spoiler-free, because I really want people to go and see this film.

I don’t want to be one of those fans who starts a review with I’m not a fan of her music, but, but I think my perspective is very much influenced by my taste in comics, and I want to disclose that right away. I’ve read maybe a couple of dozen DC trades in my time, including a healthy dash of Wonder Woman, but I’m nowhere near appreciating the breadth and depth of the canon in the way I do with Marvel. I’m the Marvel fan who sat through the credits getting excited over the special thanks given to Lee, to Rucka, to Wein. I nearly fell out of my goddamned chair when I realised the screenplay was credited to one Allan Heinburg. THAT’S RIGHT, TRUE BELIEVERS, YOUNG AVENGERS ALLAN HEINBURG! (And it shows, so if that’s your jam, hie thee to a cinema, stat!) So maybe I’ve missed some stuff or maybe it’s given me some insight. I don’t know. All I know is it was a fucking great film and I’m usually a judgemental bitch about this stuff, so take from that what you will.

In a sentence: Wonder Woman is an excellent origin movie which doesn’t overly linger on the foundations of its story, and which pays credit to its setting and the history of the character whilst managing to make reasonably meaningful statements about the bigger picture in war, through a decently intersectional feminist lens, and almost devoid of the male gaze.

I don’t know very much about the decisions made in changing the setting of Diana’s origins from WWII to WWI. I wondered if it was something to do with being less on the nose with Gal Gadot’s Israeli heritage, but as it happens, there were some strikingly vivid depictions of the German instruments of biological warfare, perhaps more so than I’ve even seen in WWII films. Perhaps it was merely to differentiate between Diana and Captain America; perhaps it was to show a global war with more immediate physical impact upon civilians and fighting people. I would say this: it worked, it was fine, and the setting it gave to the world outside Themyscira when we got there was rich and deep.

The Themyscira of Wonder Woman was, oh blessed relief, a Paradise Island filled with women of different races and body types, up to a point – they were presented as very much a warrior people, and unfortunately, there were no fat women in the foreground. The geography felt real and lived in, and the island, cut off as it was, seemed to make sense. The costumes were not something I was thrilled about from promo shots, but in motion seemed to work much better: the desaturation of Diana’s costume appeared to be to portray it as colourful leather, and it flexed and moved quite well with her body in motion (and boy, did she get a range of motion!). The Amazons of Themyscira, absent of the male gaze, absolutely did practice the art of fighting in skimpy clothing, and wore makeup – some of them, lots of makeup – but the camerawork rigidly avoided the male gaze. They emoted, they argued, they fought and they loved – the only part which irked was the total absence of body hair. But god, at least some of them weren’t white! And her mother had WRINKLES and THIN SKIN AROUND HER COLLARBONE and SCARS. These are things I’ve never seen in a superhero film before.

The fights were excellent to my untrained eye. The clash between traditional and modern weaponry wasn’t as viciously overwhelming as I’ve seen it in some iterations of the comics, but that was probably to the benefit of the film: the Amazons gained in perceived competence when they were able to use their weapons well even when appearing outgunned. This also allowed for the only obviously gay moment, meta aside – subtle enough to presumably get past censors worldwide, but still very clearly a moment between female lovers to any viewer who regards gay people as human. (Look! This is what happens when you let Heinburg write stuff! He’s going to stick gay heroes in it and everyone’s going to have a good time.)

Steve Trevor – Chris Pine, didn’t know that until today – was pretty decently cast (my main issue being that he looked a bit All American to pass for a German soldier) and genuinely well acted. He swayed between wide-eyed innocence and awkward heroics brilliantly, clearly realising from the outset that he represented all of the wider world to Diana, and as such had a responsibility to her. Unlike the dryer DC films, the cinema where I watched, with a full house, was often shaking with laughter – unlike during the Marvel films I’ve watched, there wasn’t one cheap shot. Instead, the humour came from actual wit, not quips – this was war, there wasn’t any time for quipping. The wit was inferred by the audience. Here, a small sample: Diana sees Steve bathing. He is embarrassed and goes to cover himself, but not quickly enough. She stares for a while and asks him if he is considered to be an average member of his sex. His palpable despair at the nature of the question got perhaps the biggest laugh of the entire film (he bluffed that he was “considered an above-average specimen” initially, but that streak of toxic masculinity was soon knocked out of him).

Diana, meanwhile, was genuinely a good fit. Again, having seem promo shots, I was halfway to despair – she really does have a slight figure, and I don’t think all the hard training in the world would bulk her up all that much. But oh, how she must have trained – she was no stuntwoman like some of the Amazon actors around her, but her muscles were clear and defined, and she carried a weight through the cinematography. A fall from on high would be met with a camera-shaking THUD into the ground. There were loving close-ups showing a lot of bicep when she hefted great weights above her head. Her thighs wobbled! Again, this shouldn’t be news in 2017, but it hasn’t happened yet in Marvel. Her accent was great – I presume it’s her natural accent, and that the other Amazons were supposed to match to her? Unfortunately, some of them slipped into British English from time to time, to my well-trained ear, but it was really pleasing to hear a non-American American icon sounding… non-American. There was possibly a little unintentional humour to be taken from the fact that her key name ‘Steve’ didn’t sound very natural to her tongue, and tended to come out more as 'Stieff,’ but it was kind of sweet, the film didn’t linger on it, and it wasn’t really an issue. Her portrayal of Diana oozed charm and demanded respect. This was a young Diana, certainly – a Diana whose people are still keeping secrets from her, who wants to charge into battle and take the head of the enemy leader – when the battle is World War One – who believes extremely firmly in her gods even when her countrywomen might doubt – but whose groundings as a great leader are being found throughout the film. Gadot was utterly convincing as the ingénue who knows more than every man in the room put together. A balance was found with disarming ease in the script – she knows nearly every language and outfoxes the British government – but she genuinely doesn’t see the point in trousers, and just about screeches with delight the first time she sees a baby.

On sex: my partner, who’s ace-spec, said she felt a little alienated by the obvious inclusion of a sex scene. Me, I’ve read some Wonder Woman, and I think I would have been a bit insulted if there hadn’t been any explicit attraction between Diana and Steve at all. In every iteration of the story, it’s still the story: the first Man to the Island Of Women brings with him War, and the young Diana flees her mother’s rule, falling for him and fighting for justice. I believe that the film could have managed without a sexual attraction between the characters, but I think it’s a worthy nod to the history and a decent element of complexity for both characters, especially given the minor character reveal for Steve which takes place just as they’re getting close to one another. The film isn’t lost to slow gazes into each other’s eyes – it’s more clever than that; it uses small ideas to represent big ones. Sex is here because war is here. Glory is here but so is pain. And there are other joyful nods to her comic continuity: for those who it would really upset, I feel I must make it clear that her traditional origin story is here, but so is her New 52 origin. (I didn’t have to dig to know about the conflict there - the Marvel fans heard DC readers screaming over that one). Despite my misgivings the moment it became clear that the film was going to Go There, it wasn’t made into something which wouldn’t work outside a feminist reading – more that Diana’s people are more emotionally complex than she knows, that even the most loving of mothers can keep secrets. It didn’t rankle, and I’d really thought it would. And Etta Candy was there! And the named villain she kept coming up against was Dr. Poison! Honestly, to my untrained eye they both seemed PERFECT. Etta was a fabulous blend of side-eying quirky realness, who got to throw out nice little jabs about corsetry and getting The Vote which kept us very firmly rooted in the time period. Dr. Poison was wide-eyed genius and vulnerability – the perfect locus for the film’s musing on whether war is inevitable, whether humans are driven to destroy one another by their own ambition and pride. With incredibly few lines she gave a commanding performance. I won’t go further into defining roles played by other actors, because there’s a nice few surprises here and there – I’ll say this: the casting is great, and some Marvel pitfalls of overly screen-perfect costuming and dehumanising armour were deftly avoided.

Where the film truly shone to me was in its intersectionality. I’m SURE they could have done more, they could always do more. But given that this was a Wonder Woman film, and that we were bound to get a pale Diana and Steve, it did so much within that! From the minister played by David Thewlis, who (without comment) walked with a cane, to Etta’s charmingly full-figured portrayal – overlooked and overworked by Steve, a plot thread they didn’t pull hard on, but which added depth to the characters and their social networks, and which felt very believable. Crowd shots were incredible for this: a sea of soldiers with white faces, and amongst them, near the centre of the shot, a black soldier, for this was England during the war, and not America, and our forces weren’t explicitly segregated. His uniqueness in the image made him the focus, not the novelty. There were older women staffing the medical services, there were soldiers in tam o’ shanters, there were even Canary Girls for one very distinct shot, and I had to tell my English girlfriend who they even were. And here’s something I’m annoyed with Marvel for again – the ease with which this film handled everything, when Marvel can’t even get Carol fucking Danvers on the screen after god knows how many box office crushing successes. I don’t know if there’s any version of Diana’s origin story where she and Steve join forces with a ragtag group of international fighters, but my god, if this is how DC are going to handle characters who seem suspiciously like Marvel’s Howling Commandos, they can fucking have them. It was great. It never touted American exceptionalism, and there were some fantastic callouts, like Diana trying to find out who destroyed the way of life of The Chief, played by Eugene Brave Rock, and finding, simply, that he could point to his sleeping ally, Steve, and say “his people.” Yes, yes, yes. Saïd Taghmaoui was outstanding as Sameer – the sort of person who flourishes in historical accounts and novels of the time, but who we never seem to get on screen – a highly educated man who manipulates and fleeces others, because he wanted to be an actor – but he was “the wrong colour.” Ewen Bremner – Spud, from Trainspotting, as Charlie, fell a little flatter for me – there was nothing inherently wrong with his portrayal, but speaking as a Brit, I think the world has enough cowardly drunken Scots characters, even if they’re brimming with sadness and complexity in response to a world gone mad. DC Bombshells has a Steve Trevor who explicitly suffers from PTSD, rather than transferring trauma into a more minor character – probably this wouldn’t have been something they could manage in a two-hour film, but it was a shame, and it was a little dehumanising, as he was the only Scottish character, even if he was totally believable. Steve certainly had his moments of vulnerability, which I very much appreciated, even so.

Cinematography-wise, I think the film fell into some familiar traps. There was an irritating amount of blue and orange, though it wasn’t half so pronounced as other action films of the last decade, and there was a wonderful scene where the colour scheme was used as a fakeout and faded into glorious bright golds. Still, the hyper-colourful ending credits were a tantalising reminder of the richer, more fully-realised world we could have had. The sets, however, were fantastic, and felt grimly realistic throughout the war scenes. The single tiny point I thought seemed historically off to me turns out to be something I was wrong on – pebbledashing for the exterior of buildings, iconically used on 1930s homes in the UK, was actually used in the 1910s for outbuildings. There are probably costuming, accent or set design mistakes somewhere in the film – in a production of this scope, there always are – but I couldn’t find them, not once.

Score was fine – it’s not what I go to the cinema for, but it seemed like it was used well and in all the right places. A couple of bits were good enough that I briefly wondered if it could be Howard Shore – it wasn’t, it seems to have been a bit designed by committee, which I suppose is par for the course with these things and why I liked Shore so much in the first place. The ending theme’s composed by Florence Welch of Florence + The Machine, however, and performed by Sia! I have no idea if it was good – as always happens at my local cinema, they brought up the lights straight away and everyone started talking loudly.

Essentially, whether it’s a perfect film and whether it will stand the test of time is a different question as to whether it’s a good Wonder Woman film, which it absolutely is. Were the themes clever? I would say they were consistent, and not guilty of overreach. Wonder Woman is at its heart a narrative about whether humanity and civilization should be worth the time of a godlike figure from a paradise civilization, and, by association, for ourselves. It wasn’t hammered home, if that’s not your kind of thing, and it’s handled better than your average war film. Was it improved by a screenplay written by a gay writer who usually handles the small screen, and who’s written for comics in the past? My god, yes – and was it improved by its direction by a woman – Patty Jenkins – known for her work with intense female actors? Yes! Should you go and see it? If you like films or comics, it’s definitely worth it.

Promises & Constellations (V, You)

Originally posted by ky-ngsoo

Yes, this is a Laws of Motion & Attractions au, taking place a few months after the story ended. Enjoy! And Happy 2nd anniversary everybody! :))


“Hyung, do I look okay?”

“You asked me that question for the hundredth time, Tae.” Namjoon sighed, eyes focused on the graduated cylinder in front of him as he placed the dropper over its mouth. “You look fine.”

“Are you sure? I think my hair—”

“Taehyung.” Namjoon stood up and looked at the younger with serious eyes through his goggles. “I swear to God, if you don’t stop asking I’m going to dump this solution over your head till your hair turns pink.”

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Gloomverse theory and also AAAAA

Okay. So. I really, really, really, really wanted to submit this to loverofpiggies herself, but the thing is, my college proxy is utterly retarted and has blocked CQ’s website. Because it says it’s adult content. Adult. Content.

I want to strangle someone over at IT.

CQ is one of my main inspirations for drawing my own art, man, what am I supposed to do?? So… if someone could, like, send this to CQ, I would be eternally grateful. Please. Helllp me.

But, anyways, I’m a huge fan of her comic, Gloomverse, and I’m so psyched about the fact that she’s working on it more, so I’ve been thinking a ton about the story. My favorite character is Indigo and I think the whole color thing is fascinating. Color is so important to Gloomversians, just as important as their wants and hats. It seems to be connected to their magic, actually. 

Okay, pause. HUGE spoilers. If you haven’t caught up on the smackjeeves website and are just following along as she posts it on here, do NOT read further. Please, I don’t want people yelling at me for talking about stuff coming up.

Alrighty, unpause. So, we see a good example of color mixed with magic with all the color kids. Purple, Indigo, Blue, Red, and now Green and Orange. All we’re missing in the rainbow is Yellow at this point. And these people aren’t just randomly colored like this; originally I thought they just were born like that the same way people in RWBY have colored hair and eyes and stuff. But, no, it’s not natural. Red is shocked to meet Indigo when the Prez sends him, and tests Indigo by giving him her red glove… which turns indigo as he holds it. So their magic is literally forcing them to be this way; it seems to be based on the main color, white, black, and a lighter or darker shade of that main color. So pure saturation, only variation in value.

We also have Cake Girl. She’s not a color kid, she just likes pink. But, when she gets severed, she turns completely white. Totally white. Her skin, hair, eyes, even her clothes. Her clothes turn white. 

Based on the fact that in this universe, people’s souls interact with the world via magic, and in Gloomverse, this magic incarnates itself as a wand which is pulled out of a hat–an article of clothing–and only one hat matches one soul, clothes and looks and colors are very important. The way people look at you, perspective, is important. Magic changes the way the world looks and the way the world looks at you.

Wallis is said to have a mystery magic. No one knows what it is. He can make things float, force wind out of his hat, and change the Assistant’s hair color. Seems random. But when you take perspective into account–perhaps he is considered the most powerful magician in the local area because he directly alters perspective? He sees people in front, but he wants to see them out of the way, so they float. He sees his competitors getting closer and wants to see them lose, so they get pushed away. He sees Assistant and says her hair doesn’t fit her, so he burns hair dye in, giving her rainbow hair, and says this fits better. 

Maybe I’m right, maybe not, but that’s not the point. Who knows what kind of magic Wallis actually has. I think it’s perspective magic because that’s a more unusual, vague and powerful magic and might have something to do with the mysterious deal Howard made with the Dark Master, and why Howard has black hair and red eyes, and supposedly Wallis’s “real” look does too.

The point is, why does the rainbow hair fit Assistant better?

It is brushed off as random, but so was the colored skin, and it turns out that’s not natural. Lately we also found out that the Dark Master held Assistant’s magic back for a reason, presumably dangerous, because he says “I’m sorry” as he gives her the hat. He doesn’t want her to have the magic. 

Her magic is based on color. She thinks of a color and a power appears. Seems to fit her hair pretty well, but that’s not all. Remember, color is extremely important. If someone is severed and turns white, they are actually “severed” from the world. Their soul loses its magic and can no longer interact with reality. Why does the Assistant have something so powerful as color itself, the very basis of how magic shows itself in the world?

I think it has to do with the color kids. Their souls, for some reason, perceive everything about that person’s world in a single color. That is the color of their magic and the color of their soul, but it wasn’t always that way. Purple was shown to have been a normal color years ago. Why did he turn purple? Why did his soul suddenly change its perception of the world?

Color magic seems extremely unstable. More evidence of this is shown when Assistant has her coma dream, and sees what looks like a monstrous alternate version of herself literally sucking the color and life out of people. Perhaps the reason the Dark Master believe her magic so dangerous is because her magic is COLOR. It is almost literally raw magic, in its very essence. What if the rainbow kids are the catalyst that the Dark Master was trying to stop, and something happens to cause the Assistant’s magic to go haywire and suck the life out of them, going mad with magic and power? She would be taking in raw color magic to go with her own. I really hope I’m wrong on that, because I really, really don’t want Indigo to die, no matter how much of a putz he is.

With that laid out, maybe you can see why Wallis percieved rainbow hair as more fitting. Assistant’s magic is raw color, raw perception. Her very being is a rainbow. And remember how she started to say her name to Purple, and it started with R? Rainbow. Or, to be a little different? Roy G. Biv. I kind of like it. I want to call her Roy from now on. It’s no more unusual than any of the other Gloomverse names.


…I hope this doesn’t spoil too much. I have nooooo idea if I’m right. And I want so bad to just post this on CQ’s wall, but I can’t because stupid college proxy. Still want to strangle IT.

Of ex-boyfriends and voodoo dolls

Hi! @hades-helm-of-darkness! It is I, your backup gifter for the @pjosecretsanta2016 since unfortunately, your original gifter had to back out of the project. So here I am. Ah, I had been thinking of creating a Christmas themed fic at first but then realizing that the celebration is way pass due, so, I opted for something else instead. Still hoping that you’ll like this little something I wrote for you. Sorry, this is a bit late too…

Also, Solangelo cause its the easiest for me to write.

Summary: There’s been a bit of a misunderstanding, really, because as far as Nico knows, he can’t curse people with voodoo dolls. Doesn’t matter now, he got a boyfriend out of it.


Will Solace is a good boyfriend, he was understanding, caring and yes, admittedly jealous on occasions but, all of those within a certain kind of basis. Will Solace is a good boyfriend. An ideal one. Probably far too good that his now ex-boyfriend had ended up getting bored and dumping him for someone else.

‘It’s not you, it’s me’

Cliche breakup line from the movies that Will never would have thought would be delivered to him. And he had started wondering, where had he gone all wrong?

“It’s been a month-

-and three days!”

“Not relevant, Leo” Rachel spoke before focusing her attention back to Will “As I was saying, it’s been far too long, Will. Give yourself a chance to heal and move on from that guy.”

“Not the easiest part, Rachel.”

“Whoever says it is?” Rachel countered “But, you’re not going to get somewhere if you don’t help yourself take that first step. Seriously, you’re way much more than this mopping, pathetic guy we barely recognize.”

“Fine” Will finally contemplate “But what do I do?”

“Why don’t we start by getting some revenge on a certain douche?” Lou Ellen closed the book she was reading, finally deciding in joining the current conversation “So, any of you ever heard of Nico di Angelo?”

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unsaid things (part one)-Little Darling

[A/N so hey lol I’m the one that asked for biadore prompts etc. My final exam went okay and here I am! I’ve used the prompt - 

 Bianca/Adore, jealous Bianca when Adore kisses someone in the audience. Better if there’s other people there.

and will probably work on the double date one aswell as a second smuttier part to this one, unless the prompt gets taken :-)

idk what my tag thing should be lol maybe just my url like ‘little darling’ ?? I honestly don’t mind!

Hope this is the kind of thing that people wanted!

only warning i can think of is that there’s quite a lot of swearing???]

unsaid things (part one)

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In light of the bad decisions made in the new killing joke movie, and the corresponding negativity surrounding the dc animation, I’d like to point out all the positive things that came from the DCAU and other animated projects.

But first:

Batman the animated series is SO IMPORTANT to the history of animation. Its tone and popularity mad way for all of the wonderful cartoons of the current decade. BtAS is one of the shows that gave animation, other than Disney, a fighting chance. It challenged the dynamic of animated television being “just for kids” and gave us wonderful, complex, and thought provoking stories. I will stand by its influence to my dying breath.

Now that that’s out of the way, an actual list.

-Kevin Conroy as Batman and Mark Hamill as the Joker.

You cannot deny that Conroy is a damn good Batman, and Hamill is a FANTASTIC joker. They are iconic in the roles. When I heard that they were reprising their parts in Justice League Action (along with Clancy Brown), I was ecstatic. Both of them are living legends.

-“I am vengeance. I am the night. I am Batman!”

-Small time crime

Something that’s often overlooked in comics in general are the more average criminals. I love a good supervillain as much as the next girl, but BtAS episodes like P.O.V, and Appointment in Crime Alley are fantastic watches. They give us a better look at less glamorous super criminals which is REALLY refreshing.

-Respecting origins

Beware the Grey Ghost. Just Beware the Grey Ghost. It treats a kinda hokey premise with the respect and dignity it needed, to look back on how far the genre has come. Damn if you don’t get a bit teary eyed watching it.

The same principal in the Justice League Episode Legends, which is loving tribute to silver age comics. If you’re a fan of that time period, please go watch this.

-Renee Montoya

I’m in love with her fuck.
But really, she was a fantastic introduction to the universe, and a Hispanic protagonist for once.

-Harley Quinn

Yeah ya’ll knew this one was coming. Look, even if you don’t like Harley, you can’t deny that her creation was damn awesome, especially since she’d stuck around to this day. The episode Mad Love really shows how fucked up their relationship is, and treats it as such. Hell. Yes.

-Mr. Freezes’s backstory/ Nora Fries

That revamped backstory is another one that wriggled its way into the mainstream. Fighting for the life of a loved one is already painful, but having your freedom ripped away, and any chance at your loved one’s survival is even more heartbreaking.

-Baby Doll

Both of her episodes deal with disabilities… Hear me out.
Because of her appearance, altered by an illness that makes her never age physically, she has issues being taken seriously for her work, having relationships, being a member of society, and letting go of the past. She’s lost so much that her physical disability that she has trouble coping and ends up with a mental disability as well (I’m not sure what but you can form your own opinion). Putting this character on the small screen is an example of how a character can mean something to someone, even if there’s no direct correlation.

-Mask of the Phantasm

I don’t care what you’re doing go and watch this move. I swear it’s amazing. The joker is amazing the storytelling is amazing, Andrea is amazing, the Phantasm is amazing, the soundtrack is amazing, EVERYTHING is amazing. We get a good female character, who not only shows the fallibility of Batman, but has her own issues to deal with that hurt her more than they hurt Bruce. Even though the Joker is a villain, he doesn’t totally steal the spotlight. We have a great mystery, especially with the target audience, and a natural set of flashbacks detailing the Bats origin.

-Static Shock

All of it. All of Static Shock. I don’t actually now how to break this down into bullet points but STATIC MUTHAFUCKN SHOCK.
In all seriousness, I have a huge soft spot for this cartoon, because it’s what got me into comics in the first place, but Static/Virgil, and the whole show really, is representation sorely needed. I saw so many black kids dressed up like him that Halloween because they all wanted to be a hero.
This show dealt with some shit too. When we find out Richie’s father is a racist, it really hits home how friendships can be torn apart through bigotry, even if it’s not direct. It handled guns well, especially for younger children. I could quote Static’s lesson at the end verbatim for over 5 years. They deal with drugs, homelessness, and multiple types of racism, with quite a bit of tact, and are a good way to introduce the serious issues to kids.
Not to mention that he would have slipped under the radar without this show. I very much doubt h would have gotten a New 52 relaunch without the success of this show.
Just. Static Shock.

-One of the best Superman origin stories to date

That origin is very highly regarded as the most faithful adaptations of all time. Though it didn’t introduce anything new, it holds up and stands out over the course of time.

-Making Lois Lane a badass

(Confession: I’m 100% convinced that they saw April O’Neill, shrugged, and said take what’s good about her and chuck it into Lois. I’m aware I have no evidence bite me. (Yes I’m aware it’s technically the other way around))
But really, Lois was fukin badass. She was always chasing her story, passionate about everything she did, worked hard to maintain her success, and treated Superman as a person. Even if Lois got herself in perilous situations she had a reason to be there. Whether it be chasing a story, or fighting for an interview Lois always had some form of agency. She was kidnaped because of Superman, sure, but she made the choice to be connected to him with that interview, and eventual relationship.

-Speed Demons

In a nutshell, Flash is a bit of a showoff, but it’s part of his style and throws off his competitors/adversaries. I like that it also shows Superman isn’t above having a little fun for fun’s sake.

-Livewire

You cannot deny that Leslie Willis is just flat out cool. Though she never made it as big as Harley, she did appear in Supergirl, and continues to be a superman villain in mainstream comics today.

-WAIT I TOTALLYFORGOT KYLE RAYNER WAS IN SUPERMAN THE ANIMATED SERIES WTF

I JUST FOUND THIS WHEN I WAS LOOKING STUFF UP FOR THIS LIST I TOTALLY FORGOT I LOVE IT OMG
Sorry

-Terry McGinnis

Batman Beyond was just pure quality, like, I don’t even know how to describe it. I mean, Terry’s lasted this long, and like Static got a comic reboot.

-Diversity

I know it’s not enough, but the DCAU Justice League had 2 women, one of whom was Hispanic, and a black man. It was a step up from superfriends and gave the same needed representation that Static Shock provided.

-Continuity

Honestly, so much of this is just flat out continuity porn. Like the first episode of the second season of Justice League is almost a finale to StAS. It has quite a few callbacks that gave fans something to chew on.

-Reasonable discussion of religion

In the Terror Beyond from Justice League season 2, Wonder Woman and Hawkgirl talk about their religions with actual tact and grace. There’s a whole heck of a lot of tolerance and (minor spoilesrish thing) Hawkgirl does not challenge Grundys beliefs. Despite disagreeing, seeing that his ideas won’t hurt anyone she allows him to slip away thinking his soul is waiting. It’s very mature and really shows what the universe is capable of.

-HEREAFTER

Tears. Nothing but tears. I’m crying just thinking about it. One of the best Funeral scenes. “Justice doesn’t always have to come from the darkness”. TEARS.

-A believable shock reveal

Hawkgirl betraying the team feels completely genuine, fucking sad, but totally possible in the universe. This beats out every SHOCK TWIST I’ve seen in the past 6 years. I feel like this treated its audience like adults, and I’m grateful for it.

-The CADMUS arch.

Amanda Waller, Question, Captain Atom’s “Betrayal”, Lex’s manipulation, Doctor Hamilton’s betrayal, the callback to A Better World, the romances between Huntress/Question, and Ollie/Dinah, The superfriends reference in Ultimen, the Suicide Squad in Task force X, AMANDA WALLER, giving the spotlight to lesser known heroes, the political discussion, and THE EPILOGUE.

-Epilogue

This gets it’s own bullet because it was a masterpiece of storytelling. It NAILED Batman’s compassion, had a reference to MoTP, served as a much needed finale for Batman Beyond, devolved Terry beautifully, AMANDA FUCKIN WALLER, and a nice side message about how family can be forged.

And that’s just stopping at the basics of the DCAU, not including Teen Titans, Young Justice, a slew of animated movies and other TV, and all the comic tie ins.

I have strong opinions on the way people are taking the female characters in the animated universe and reducing them to “Things for Bruce to feel MANLY about”. The only one of FIVE in depth onscreen romances that even comes close to this is Barbra, so I understand why people are mad.

Look, I’m not saying we shouldn’t critique, we should always seek to improve, but ignoring any and all good Bruce Timm has done undermines media as a whole. Should Barbra and Bruce be fucking in TKJ? Probably not. Should they have been fucking in TAS? Nope. But saying that the “DCAU needs to die” is shitting on years of animation and comic book history.