this has been another edition of fun comics that will never happen


Hi!! I have never made a post like this before lol and I’m nervous about doing so now, but it seems the time has finally come. Even if you can’t commission I would appreciate if you could maybe reblog this?? Ty!!

Below is some basic “Why You Should Give Me Money” information, including my actual background as a writer that makes me worthy of commissioning, and under the read more is information about pricing and stuff!

My name is Charlie and I’m a teenager who has been attending community college in my small little town in Central California for the past three years. As of writing this it is November 18, 2017. In May 2018 I will graduate with my AA degree, and I am expected at that point to figure out what to do with my life. My parents are (probably) not going to forcibly kick me out, but they are growing increasingly pushy about me really needing to leave the house once I have my associates degree.

For what it’s worth, since I know people like to know the identities of those they are supporting, I’m a mentally ill, bisexual, Arab, pre-transition transgender male. I cannot transition where I am right now, and one thing that moving out would do is provide me the freedom to begin to medically transition!

Apologies in advance for being a stereotypical edgy artist, but I basically am planning at this point to leave school after I get my AA and begin my career as a writer, and hopefully from there pursue other arts as well, and make a life for myself like that. My parents don’t like this idea very much at all. I already have an extensive background as a writer, including being a paid writing tutor since graduating high school. I have worked privately, in after-school organizations, and with my college in their writing center. I have worked as a volunteer editor for a local after school organization. I have been an officer in my school’s creative writing club and published work with them through their writing magazine. Recreationally, I have completed NaNoWriMo (National Novel Writing Month) three times, have worked on collaborative projects including writing a comic that is illustrated by a close artist friend that will be released in portions next year, and I have been sharing fanfiction publicly for fun since 2011. I am an English major who devoted years of my life to furthering my writing abilities, and I have never received lower than an A in any English/literature class.

I have always loved writing. It’s my passion and my life, and it’s my identity. I am working right now on multiple projects, but my biggest one is a novel that I am currently writing and have been planning for over a year. I really believe in this novel and I want nothing else but to work towards publication. School, rather than being a helpful tool in increasing my abilities and education and motivation and giving me tools to grow, has done nothing but stifle my creative ability, taken time from my art, and forced me down a path where I value financial stability in a hypothetical future over doing what I love and believe in. Maybe none of this will work out and I will have to go back to school and get a degree, but I’m at a point in my life where school is making me miserable and constantly contributing to my depression in horrible ways including getting me forcibly sent to therapy last semester after my health took a turn for the absolute worst. I need to at least try to see what other options there are for me in the world.

I have a lot planned out already. I have a roommate already chosen- one of my best friends who I love dearly and who has similar goals and wants with his future, and I have a trajectory for when I will move out with him which is Spring 2019. Another long-time, wonderful amazing friend will be allowing me to stay with him between Summer 2018 and Spring 2019. Right now I have a part time job as a writing tutor, and I am seeking other work too, including doing paid housework for family and family friends and other physical labor and… anything possible, really. I am saving up between now and 2019 so that I will have a lot of money to my name, but for now, I also am opening up the ability to both donate to me, and commission writing from me!! Literally any and all money helps!!

PayPal email:

Click Read More to learn more about commission prices, what I will and won’t do, and examples of my writing!!

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Here we go…

I got around to analyzing the Cross x Dream comic, and, well, let’s just say I found some stuff I kinda wanted to bring attention to… whoops… sorry in advance? (I’m not trying to hurt anyone, I’m just being overly observant as usual.)

And no, this actually isn’t another rant about how Nightmare is unloved, thank goodness. This is supposed to be half comedy, so only take it half seriously. My strong reactions to things are for comedic effect, I mean. In fact, most of it is simply my reactions to the comic while I was reading it.

I don’t own any of the images used.

Update: Since the Cross x Dream comic was abruptly discontinued, this post doesn’t have much importance anymore, but I’m still going to leave this here for… historical purposes? Yeah, let’s just go with that.

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The Foxhole Court, Chapter 14 – Ohana Means Family (And Family Means No One Gets Left Behind Or Murd– Oh).

In which we are treated to part 2 of Fun Suspicious Club Times, Andreil has Important Moments™, Nicky has thoughts on family, and I have all the feels. Guest starring: Murder!

Sounds good? Then it’s time for Nicki to read – and finish – The Foxhole Court.

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Our latest ‘FOCUS ON’ feature interview is with  Australian actor John Harlan Kim. Kim has journeyed from the familiar sights of Ramsay Street on Neighbours, to become a valued Librarian on the hit TNT show, The Librarians.

Hi John, how’s your visit home been?
Unreal! Always good to get home for the Summer and see all my mates and the family. Mom was stoked to have me back but now I’m pretty sure she’s getting over it and probably ready for me to head back to the States!

We’ve just seen the season 3 finale of The Librarians. Talk about an emotional rollercoaster. Your character Ezekiel has grown over the years, matured, what’s the journey been like over that time?
It’s weird. Here’s a character I never thought would grow. It was apparent that he suffered from some type of Peter Pan syndrome. But over the seasons we’ve seen more and more that it’s just a guard he has set up and I think people can relate to Ezekiel in that way, that having walls up is a normal human thing to do. He has the most to prove yet he acts like he doesn’t care but we’re seeing more and more that he truly does care, especially about his new family.

Can you relate to Ezekiel in any way?
I’ve grown up with the show myself so that’s probably one of the coolest parts, to not only see Ezekiel grow up and mature with each script but also needing to have to do that myself albeit on a less grander scale because obviously I’m not fighting dragons and minotaurs in my personal life. My problems are a little more realistic like trying to score a date or not over-cooking my eggs.

Has there been an episode that stood out as a favourite?
Point of Salvation. Hands down. The cast were so supportive that ep as was Jonathan Frakes and Jeremy Bernstein. They put me in an environment where I felt confident enough to make choices and take creative risks. I think it all came together really well in the end and I couldn’t be prouder.

Tell us about your relationship with the other Librarians.
Lindy [Booth] and Christian [Kane] set great examples for me, they’re always there for me (Lindy & Rebecca have even housed me at one stage) and they’re just good people to be around. And with Noah [Wyle], I couldn’t be more amped to work with. He’s phenomenal at what he does and I have a lot of respect for the way he handles the pressure whether as an actor, producer, director or writer. He’s awesome. I really couldn’t be in a better position with the cast I have.

And the dynamic between the Librarians and their Guardian, as well as Jenkins? It’s a great technique, incorporating different roles to cover a variety of plot lines.
Rebecca Romijn and John Larroquette make it way too easy to play! They’ve both had long and successful careers in the industry and it was easy to see why from the moment I got to Portland. I love working with them. It’s fun because you’re right, when we have such a wide variety of plot lines to cover splitting up the team becomes necessary to keep on top of it all. Every script I get, it’s exciting! One day I’ll be sitting on a magic council with Larroquette, the next I’ll be beating up zombies along with Romijn!

The episodes are always so unique and interesting, when you first read each script how do you feel? I’d imagine much like the audience, fascinated, but excited as your character experiences it.
One of my favorite parts about the whole thing is getting the next episode’s script. The writers on our show are top flight and they do a spectacular job in conveying their vision onto paper and keeping things fresh and interesting! Like I mentioned, you don’t know what you’ll be doing or where your character will get to travel to, all you know for sure is it won’t be boring!

There are some harder themes, for example in season 3 the team deals with the resolution of Cassandra’s tumour. In contrast, what was it like filming those scenes? As a viewer it was tense!
To an extent, it definitely felt like a shock to the system! Showing up that day was such a different type of shooting day for us. I wasn’t used to coming in and filming something so somber but being the incredible talent she is, Lindy absolutely killed it!

Were there any other scenes that presented a challenge in terms of emotional response? Like the finale?
Yeah I mean Flynn’s ultimate sacrifice was rough. And I had already read what was going to happen and I still got anxious watching it! That and Charlene’s goodbye. Jane Curtin’s a star, I loved having her around.

And what about training for the more physical combat roles, what was that like? Did you enjoy it?
Definitely. I got to live out a bit of a youth dream with that vampire ep. And to do it alongside Christian Kane who is well-versed in vampire combat himself. I mean, come on! How lucky am I!? Our stunt guys Tim Eulich and Buster Reeves were a dream to work with and they’re absolute legends as well.

Over the seasons, what’s one of your favourite moments working on the ‘The Librarians’ set?
My first day. Noah Wyle and the jewel theft scene. It still feels like a dream, such a surreal moment. I haven’t lost that feeling yet and I hope I never do. I never want to be jaded.

Do you have an idea as to what The Librarians will go through in the upcoming series? What would you like to see happen next, for all the librarians and specifically Ezekiel?
Zero idea. They’re good at keeping pretty secretive about all of that stuff. I’d love to see Ezekiel continue to evolve into the Librarian he’s going to be someday. He’s far from being fully-realized and has the most growing up to do so to see him take that next step would be awesome.

The Librarians has been renewed for a fourth season, what do you think makes the series so successful?
Our showrunners. John Rogers and now Dean Devlin. They’re the pulse of the show. I don’t really need to say anymore, they’re extraordinary at what they do and they’re two of the best men I’ll ever come across, by every measurement of the word.

Is there any other role you’d like to take on from a book or comic? Or another series you’d also like to be a part of?
Amadeus Cho. I’ve always wanted to be a humungous, green giant.

Did you always want to be an actor?
I decided at 15 I wanted to be an actor so I took a class, auditioned for my first gig and booked it. I then took that pay check from my first acting gig, coupled that with money saved from working at a charcoal chicken store and flew to New York in my school holidays. I knocked on the door to a film school building in Manhattan and told the concierge I wanted to be an actor and he told me to go find my parents. I think he thought I was lost.

On your down time what other things do you enjoy doing?
I love shooting hoops, hitting the water and playing video games. I picked up boxing a few months ago too but my heads so big, it makes it ridiculously hard to dodge punches.

How does working overseas compare to working here at home in Australia?
The biggest difference I’ve found is the pacing. I can’t speak for either industry as a whole but my experience on Neighbours was a much more fast-paced environment than something like The Librarians. It was actually a fantastic way to learn to nail your first few takes and within that, I found preparation was key so I make sure to show up to any set now with my lines absolutely ingrained into my brain so that the real fun can begin once you start shooting.

What advice do you have for actors, especially Australians wanting to make it in the industry and overseas?
Trust your choices. It’s so easy to second guess if you’re on the right path or not but just back yourself and everything else will fall into place.

And finally, what can we expect from you next?
I’m actually in the middle of editing my first project right now so I’m hoping to complete that before we start work on Season 4! Way too excited to see that finished and then to get to go back to work with Dean & the gang is going to be an absolute blast as always!

Thank you so much for your time John. We can’t wait to see you on screen in 2017!

Aggressive PSA About Dick Grayson

I’m going to address the two ton elephant in the fandom: the fan interpretation of Dick Grayson. So yeah, I’m basically going to say out loud what half of you are thinking and what the other half of you are unaware of.

Dick Grayson is not an eternally happy-go-lucky, trusting, or friendly guy. There, I said it. Dick has flaws. Bring on the pitchforks, fandom, I’ll fight you to the death. I’m glad that Dick Grayson is such a popular character, but the fact that so many people characterize him wrong drives me crazy. Yes. You should love Dick Grayson. You should also make sure you’re loving Dick Grayson for the right reasons.

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idek how i ended up thinking about a hp au but have the dgm ot4

my headcanons under the read more (it’s rather long and i’m no writer so… yeah _(:3 7)_ )


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Hello fellow people who like Shay!  A few of us, myself included, have noticed how Shay only ever gets mentioned negatively or not at all.  And that’s a crying shame.

So to combat this we’ve come up with Shay Week.  Seven days worth of prompts for your minfics, full length fics, headcanons, discussions, meta, art, comics, gifs, edits, manips, anything really.  Seriously, if you think your oatmeal looked kinda like Shay, I wanna see pics!!

So from August 27th to September 2nd we’re gonna make content.

Day 1:  Favorite.  What was your favorite thing about Shay?  Inquiring minds wanna know!!

Day 2:  Ships.  Who do you ship her with?  Why?  How?  What would it look like?  What do they do for fun?

Day 3:  Favorite Scene/Episode.  What was your favorite Shay moment that happened on screen?

Day 4: Crossover.  What other show/movie/book would you want to see Shay in?  What would her role be?  What would happen?

Day 5:  Previous Works Appreciation.  What are your favorite fics involving Shay?  Link us!!  Tell us everything you loved about it and make sure to let the author know, even if they’re not on tumblr!!  Did you kind of wish it had continued?  Write a new one inspired by it!!  Talk about where you thought it was going!!  Reblog your favorite pieces of art that have been made in the past and gush about them!!  Make sure you spread the love around!!

Day 6:  BroTP.  Who would be her best friend?  Either in canon or an OC, let us know who her friends are.

Day 7:  Fix-it.  How would you take canon and reintegrate Shay?  Did she never leave?  Does she come back and save the day?

Or anything your heart desires!!  You don’t necessarily have to follow the prompts, but if you’re stuck there are some ideas!!  

It’s not a one-a-day thing either, no way.  You have a thought?  Post it.  I know my blog’s gonna turn into a Shay blog for a week, for sure.


1.  Use the #Shay Davydov main tag!  I will be tagging #shay davydov week as well as the main tag (there’s already been a shay week for a different show. How cool is that?).  Make sure everybody can find it so they can see your hard work!!

2.  This isn’t an opportunity to compare her to other characters in order make them look bad.  We can like, celebrate, and lift up a character without taking another one down.  This is about positivity anyway!!  So back to the exclamation points!!!!!!!!!!!!!

3.  Interact with each other!!  Sometimes posting about Shay feels like you’re screaming into an empty void.  Reblog!  Comment!  Add nice tags!

4.  If you have any questions before, during, or after please do ask! @krystalgoderitch sparked this post/helped put this together and has agreed to help me answer questions, so you can ask her as well me!!

5.  Reblog the snot out of this post!!  I want to make sure that anybody who would be at all remotely interested sees this so they don’t get left out.

I’m looking forward to making posts for this almost as much as I’m looking forward to seeing all of yours!

[gif made by @hellwizards , thanks so much buddy!!]

And here are the people who asked to be notified about this post:  @punk-rock-science  @karinta-agogobell-unified @jewvian @orphanblackismylife @bobkitten  @meatheadinthecraftroom @lifeandlongstretch

anonymous asked:

I feel embarrassed but I'm really new to the Batman fandom and Ive only read a few comics... Pls point me in the right direction? What comics do u recommend I read ?? Also I love ur art I already love the batfam too much

oh don’t be embarrassed! I’m also incredibly new to Batman and I’ve been asking around/searching for good comics to read, so,,, maybe I’m not the very best person to ask? I’ll give it my best go, though. Most of my faves and recommendations will mostly be Dick Grayson centric just fyi. Also, if anyone has a comic they think I should read please please let me know! (I’ve been meaning to read some Damian centric ones but I am a Working Girl and only have so much time on my hands) But anyways, recs under the cut

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Junkrat? More Like Drunkrat!

(THIS WAS SUPPOSED TO BE SHORT i got carried away let’s just pretend all the heroes would put aside their hostilities for halloween okay?)

Halloween has always been your favorite holiday. The costumes, the candy, the parties, the scary movie nights – there’s nothing about this time of the year that you don’t enjoy. Well, maybe you don’t enjoy bobbing for apples. What’s supposed to be so fun about sticking your face in a bucket of cold water? That one you’ll skip.

This year, you’re especially proud of your costume. It’s just your normal clothes, but you have a sign around your neck that says ‘Nudist on Strike’. Even Gabriel thought it was funny. At least you think he did… He was laughing at your costume, right?

You, Winston, Lena, and Angela are enjoying a lively conversation about the latest episode of Dog Detective: Ghost Hunter Edition, when a long, lanky arm materializes out of thin air and throws itself around your shoulders.

Jamison Fawkes, affectionately known as Junkrat. At least, you think it’s Jamison. The owner of the arm is wearing a truly unsettling burlap mask that covers their entire face, with a smiling stitched-up mouth and mismatched goggle eyes that glow. A tail of what looks to be hay peeks out from the top of the mask. You glance down at the rest of the costume. A pair of too-large overalls, painted on stitches crisscrossing their arms, and they’re not wearing any shoes. There’s hay stuffed in every possible crevice of clothing, and you notice a trail of it leading up to where you now stand.

“Can I interest any of you cunts in somethin’ to drink?”

This is definitely Jamison.

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Blame! Vol. 2: Revisiting

The most immediately striking thing about Tsutomu Nihei’s Blame! While reading it is the dungeon crawl dread of it.  The book follows Kyrii(also called Killy in earlier editions) as he crawls up an endless sprawl of technological ruin.  Nihei more than any other comic artist plays with scale. Closed claustrophobic spaces opening into giant caverns.  Small guns, large mile long blasts.  Dramatic pull aways where Kyrii becomes just an ant moving up the spin of a dead cyborg god.  Even though a lot of the mythos of Blame! Forms the foundation for all of Nihei’s work afterwards.  Blame! Is the basic formulas of Nihei’s storytelling at their most primordial and most direct.

Kyrii searches for thousands of years for the net terminal gene which will connect humanity from the base reality that is corrupted by insane machines and cyborgs eliminating humans on sight.  Much of Blame! Works along these basic cycles: Nihei climbing silently around, through, and up mechanical ruins.  Encounters corrupted mutated human populations.  He searches for the net terminal gene.  The safeguards show up.  Kill all of the humans.  Kyrii kills some of them.  Then he keeps up his journey.  The unrelenting repetition of Blame! Is key in building the dread of the book.  As a reader you figure out pretty early that this is a dungeon you can’t escape from.  So it makes the few moments where the book opens up into grand vistas, or dramatic fights between Kyrii and the safeguards all of the more dramatic.  It makes the existence of Kyrii, Cibo, and the fallen humans all the more tragic.  The architecture and the design of the world is along the lines of Giger’s Biomechanics, so some of the appeal as well is just the spectacle of what Nihei draws on one page or the next.  His capacity for continually upping the ante in design and scale is really incredible in Blame!  

What’s interesting to me on this reread though, is the way that the microstructures of the world in Blame! Are suffused with the flaws of the greater cosmos.  To understand Blame! You have to understand that there are kind of three tiers to it.  There is the base reality which is the zone where humanity lived and built these machines, programmed all of these various rules, and where the second tier, the netsphere was created.  The netsphere is where all of the programming for the machines in the base reality reside.  The third tier is the space between the netsphere and the base reality that the safeguards move between.  The safeguards are these terrifying cyberpunk hellraiser looking demons that exist to enforce the rules of the netsphere within the base reality. 

Something you find out in the prequel series Noise is that the netsphere, the reason only those with the net terminal gene can interact with the netsphere was that it was a way for humans to segregate those who had power to connect versus those that did not.  This human class warfare presented an exploit for the safeguards to pervert.  So once the netsphere rules were altered to send the safeguards after the humans, it just became a matter of exterminating all of those with the net terminal gene, so that the humans could never access the netsphere for long enough to save themselves from the safeguards and builders.  The insane builders are why there is this endless technological sprawl.  They can’t be stopped from building, so they just mindlessly continue to maintain this huge superstructure which imprisons humans.  And humans thousands of years removed from this catastrophe exist under the suppression of the safeguards, removed from the netsphere admins who are functionally God of the base reality.  So you can see the genetic structure of humans breaking down because of inbreeding and flawed cloning technology that they’ve lost the knowledge of how to repair or rebuild.  As humans break down they either move toward the safeguards in evolution or seem to devolve into sewage.

This aspect of being both withdrawn from god in the netsphere, god’s absence, human’s fall–while every aspect of their reality is simultaneously controlled and is an avatar of that withdrawn god.   The architecture is literally the design of this netsphere programming.  It’s randomness.  It’s chaos.  Is design.  The safeguards themselves as fallen demons, seem corrupted by their continual interaction with these humans.  They become more human.  Jealous.  They take on personalities. Filling the void of vacated humans.  It is apocalyptic hell on earth.  Techno-apocalypse. 

So in volume 2 of the Master Editions that Vertical have been putting out, there’s this great moment toward the end of the book, where Kyrii and Cibo are trying to defend the last of this group of humans against an unholy assault of safeguards both in number and scale.  We get these micro battles between the humans, kyrii, cibo and smaller safeguards, and this huge kaiju like battle evoking the old ones between a giant safe guard monster and a builder that Cibo has hijacked.  So on one level you have this tribe of humans fighting off these basic safeguards.  On another level Kyrii is fighting this super demon angel safeguard Sanakan–occupying this space of demigods.  And then beyond that is the space in between the netsphere and the base reality that Cibo has hacked into which is like a lesser ring of heaven, where an admin has descended to guide her.  And she’s fighting the safeguards in this almost immaterial space.  That also manifests itself in the base reality battle.  So these three tiers are all moving around at the same time as Nihei zooms in and out at extreme distances while everything around is bathed in fire and metal and leather.  At one point Sanakan actually takes on the aspect of a dragon almost in her fight against Kyrii invoking the earlier heroic cycles of knights and dragons, as well as Ragnarok.  Nihei is interweaving multiple cosmos while showing simultaneously the unimaginable scale of the battle happening across three realities AND how small it still is within the greater whole of Blame!.  This is only the second volume of the omnibus editions!!!  There’s a few battles later in the series that are even larger in scale than this one.  And even this battle everything feels lost, nothing is saved, and there is only more ruin and despair.  Kyrii is knocked back.  And then just starts the climb back up.  There are no comics that are like Blame!.  Even Nihei’s later work which is also excellent.  Particularly Abara and Biomega.  I mean it makes sense that there’s no reason for Nihei to just keep making Blame! And the themes and basic structures of Blame! Are present in all of his work–but this cyclical saga of technopunk despair is a one off.  And there’s nowhere else in comics to go for this fix.  This is comics at its most spectacle.  It’s fun to read Blame! In this kind of Instagram world we live in now.  Because since it is so many moments of “oh shit, look at that” there’s a way that reading it now is like touring it with friends.  These are snapshots from my Giger vacation.  Reading Blame! Is like going to Rome.  We should all aspire to make something so jawdropping and singular.

batmanisagatewaydrug’s fave books of this garbage hellyear

none of you asked! I am aware! but I like talking about books and some A++ reading was one of the few upsides of the clusterfuck tirefire of a year that was 2016. the books aren’t in any particular order; I don’t play favorites.


The Long Way to a Small, Angry Planet (Becky Chambers) - This book is basically everything I’ve ever wanted out of a book: a ragtag bunch of misfits having adventures and becoming a family, IN SPACE. The human cast is extremely diverse and all of the alien species are really interesting and unique. Chambers builds a deep, complex, and incredibly interesting universe that subverts/challenges a lot of conventional sci-fi tropes. (For instance, humans are considered a fairly irrelevant and unimportant species in galactic affairs.) There is an overall plot but each chapter reads like its own short story, making it an almost slice-of-life book. IN SPACE! Would definitely recommend to anyone who likes found families and sci-fi that doesn’t take itself too seriously.

The Fifth Season (N.K. Jemisin) - N.K. Jemisin has said some really great things about the appalling lack of diversity in sci-fi and fantasy; I won’t insult her by trying to paraphrase. The Fifth Season is definitely a book that you should be reading if you care about diversifying the sf/f scene. Without giving away any spoilers, The Fifth Season (and the rest of the Broken Earth series) is about people who have been systematically abused, oppressed, and mistreated because of who they are - orogenes, people who have the ability to control the earth with their mind. Sound like a metaphor? No need to worry about another racism allegory being played out through white people; cast is composed primarily of people of color seeking revolution. Also nice: some casual trans, queer, and poly inclusion! 

Aristotle and Dante Discover the Secrets of the Universe - (Benjamin Alire Sáenz) - You may have noticed that I’m a sucker for sf/f, and I can freely admit that I don’t usually give a lot of attention to fiction that doesn’t have any fantastical elements. UNLESS IT’S GAY. Ari and Dante is a super sweet coming of age story about two best friends falling in love. Both of the boys, Ari and Dante, are thoughtful, introspective, and get to be soft in a way that’s still really rare for teenage boys in medium, especially Latino boys. They don’t actually get together until late in the book (very late), but watching them fall and figure out their feelings will make your heart explode. And there’s a sequel in the works!  


Lumberjanes (Noelle Stevenson) - I’ve often seen Lumberjanes described as “Gravity Falls but with all girls” and that’s not a totally inaccurate description. Lumberjanes is set at an all-girls camp where Weird Stuff happens, and five plucky best friends investigate. I’ve only read the first volume so far, and it’s all pretty lighthearted fun, with hints of a bigger plot coming, and I’m super excited to read more! If something as girl-centric and positive as Lumberjanes had been around when I was younger, I would have gotten into comics way earlier! At least half of the five main girls are some variety of queer (including one trans girl!) and their support for each other is non-stop. Friendship to the max!

Detective Comics: Rebirth (James Tynion IV) - I don’t know if y’all can tell by my URL, but I really love the Batfamily. I haven’t been super in love with any of the Rebirth titles I’ve read (although I’m definitely enjoying Green Arrow, too) but Detective Comics really works for me, since it drops some of my favorite and most underloved superheroes into my beloved ragtag bunch of misfits storyline. I’m thrilled to have Stephanie and Cass back, and it’s great to finally get to know Kate Kane in the main continuity after only knowing her from Bombshells. 10/10, will definitely be buying the collected editions. 


The Art of Asking (Amanda Palmer) - Oh man, you guys. Oh man. I really love reading the biographies of Creative People ™, and this one was just great in ways I don’t really feel like I have the words for yet. This book is offbeat and intimate and written in a way that makes you never want to put it down. It’s half biography and half self-help and all amazing. It makes me want to travel and hug people and write for days, so basically it’s exactly the kind of book you want to read if you want to make art but you’re a bit of a procrastinator. Also, reading the bits where Amanda talks about falling in love with Neil Gaiman and their subsequent relationship and marriage made me cry in public places multiple times. They’re adorable, y’all.

tell me some of your favorite reads of 2016!

Misery Loves Company

Fandom: VLD

Words: 1128

Pairing: Mateith (Matt x Keith)

G. Sickfic.


The sneeze is brutal, even if he’s been expecting it for some time. The annoying, tingly sensation on the back of his throat had been a dead giveaway, as well as the itching inside his nose. Matt felt the bastard coming long before it happens.

But even prepared for it, it takes him by surprise.

And God, he hates it.

His temples throb, his throat hurts, and his nose is dripping. Disgusted, he promptly dabs at it with his too abused tissue, thinking that he needs to change it soon. It’s so wet, it’s almost useless.

The sniffing noise he makes then is rather pathetic, if he’s being honest with himself.

“Bless you,” Keith says at his side, voice nasal.

“Thanks,” Matt grumbles, sniffing again. “I hate being sick,” he moans, discarding the sodden tissue and extracting a new one from the box they’ve been sharing.

He blows his nose and relishes the brief moment in which he’s able to feel fresh air entering through his nostrils. It’s over before he can actually enjoy it, though, and he scowls to show the world his misery.

“I know,” Keith says drily, but the tone lacks his usual grumpiness.

In fact, he’s smiling, and Matt thinks he looks beautiful even with a red nose and sunken gray-blue eyes.

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Brainwashing Wonder Woman

If you haven’t read @daja-the-hypnokitten’s scene log yet, go do that first.  I’ll wait.

This was a fun scene from my side, too, and I thought you might enjoy knowing a few things that Daja either didn’t recall or didn’t know to start with.

I approached this with the mindset that the interrogator would not know that Diana Prince actually was Wonder Woman.  I also decided to make him a free agent, someone employed to do a task and no more.  Diana was not my enemy, nor was I hers; I was just a stranger who wanted something from her.

That detachment was important to the scene for me.  The interrogator had to presume that Miss Prince would be expecting brutality, and would be highly trained in how to resist torture.  So instead I remained unfailingly polite and civilized, never threatening her, never even raising my voice … and it threw her.  (It also gave Daja the opportunity to try to break my composure by bratting at me; she didn’t succeed, but I think we both enjoyed the attempts.)

It was also important for me to go into the scene with appropriate expectations.  Wonder Woman has certainly been subjected to brainwashing, hypnosis, and other interrogation techniques a lot, but in the end she always throws it off before serious harm can be done.  So I had to expect that my character would ultimately fail, and be satisfied with any concessions I could get before that happened.

Daja narrated the scene well.  By negotiated agreement, “Diana” woke from a drug-induced sleep to find herself bound to a chair, disoriented and woozy, and facing a total stranger who went straight to business.  And, as I expected, her first response was an assertion that no matter how much I tortured her she would never reveal anything.

I agreed, which took her aback (there was a brief flicker of surprise in her face that she covered quickly).  Torture is barbaric, I told her, and generally not very effective.  “At least we agree on something,” she said, unconsciously (?) nodding.

And so the head games began.  I pointed to the Nova Pro and referred to it as a highly advanced brain manipulation device, capable of many different useful functions.  I gave her a quick, loose description of how the machine works which was actually accurate, insofar as how the Nova Pro induces brain wave states.  (I *may* have exaggerated the effectiveness of it for purposes of the scene, of course.)  And I described the program I was setting it for as “a crowbar – something to pry open your mind and extract the information I need without doing you any harm at all.  And once that’s done, we will each go back to our lives as if nothing had happened.”  The crowbar line was pure priming, seeding her mind with the expectation that it was going to be forcibly pried open; tacking it onto the technical explanations disguised it a bit and gave it more credibility.  (Daja asked me about that line afterwards, so it clearly made an impression.)

I placed the headphones on her, and Daja immediately snapped her head forward, sending them into her lap.  She had this delightful self-satisfied look on her face, which was adorable.  But we couldn’t have that behavior continuing, could we?  So I grabbed some hypnotic duct tape – a deliberate callback to one of our running jokes – and secured her head to keep it still.  Now I could place the headphones on, and the glasses – “You will probably want to keep your eyes closed, Miss Prince.  Staring into the lights won’t harm you, nor will it make them less effective, but you may find it very uncomfortable and that’s really not necessary” – and started the program.

(Side note for Nova Pro owners:  the program I picked for this scene was d10, my personal favorite.  I shortened the run time to half so that it would ramp down quickly from 13Hz to 5Hz, and then I paused it there so that it wouldn’t start ramping up again before we were done.)

While the machine was working, I picked up the microphone that I had connected to the Nova Pro and ad-libbed an induction in which I described (again) how the machine controls the brain, and describing the various effects she could begin to notice as the machine slowly took hold.  She defied me, of course.  At one point she snarked at me that it didn’t seem all that powerful; I told her we’d had this conversation before (yes, gaslighting!), and offered to turn it up to double intensity. I nudged the light brightness a tiny bit higher before continuing.

A few minutes later I was still getting resistance, which would be completely in character for Miss Prince, so I kicked things up several notches by using the same stroking gesture that I’d used earlier to fractionate Daja – a stroke on the arm, from elbow to wrist for down and the opposite for up – except I only stroked down.  Her body’s response to that was priceless; a brief moment of “What the …?” and then surrender.  I ratified that, feeding her concepts like surrender, compliance, obedience, and watched the resistance melt away.  Miss Prince was mine!!!  [Insert malevolent cackle here]

This was where things got really interesting for me.  Daja had explained to me during negotiation that DC Comics has ret-conned the location of Paradise Island several times, so we picked one variant and agreed on that as the true location for scene purposes.  So when she came out fairly quickly with “It’s actually on another plane; you can’t get there without help from the gods” (which is also valid in some DC editions) I knew she was trying to feed me misinformation; I kept stroking and deepening until there was no sign of resistance left.

Still, “Diana” was unable to give me a precise location.  So I tried another approach: I had her tell me about the journey there, having had an intelligence report that she and Trevor had been to the island before.  And Daja made up the trip for me very nicely; they started in Paris, flew back west/southwest for X amount of time, and then the instruments went nuts.  I probed for landmarks, notable land masses, and managed to get enough data about the area around that location to roughly place it somewhere in or very near the Bermuda Triangle (which was our agreed-on location).

That actually gave me a pretty good ending.  If I were really reporting back to a military organization, that would be close enough to launch a search operation (which the Amazons would no doubt foil), but “Diana” hadn’t given up the precise location.  Both of us could reasonably claim victory.

But then, this wasn’t strictly an interrogation scene; what we’d agreed to was brainwashing.  So I deepened her some more … and this is the point where Daja’s account ends with “I must have fallen asleep.”  

She didn’t.  But I did suggest that the irresistible power of my mind machine had made her totally compliant and consequently for the next 72 hours she would follow my instructions completely, even while her conscious mind remained unaware that she was doing so or that we had ever even had this encounter.  My instructions were to return to work, with no memory of having been drugged and brainwashed; to access the files on their trip to Paradise Island and make copies of all charts and data about the location; and to bring that data back to me within 24 hours (ie, well before the brainwashing *should* have worn off).  “Diana” agreed to do this in a delightfully dreamy, submissive voice, and even smiled for me.  This would be the start of a highly productive relationship.

That’s how we ended the scene.  I presume that “Diana” would have shaken off the effects of the diabolical machine in less than the expected 72 hours, and either never returned to the interrogator or returned in full possession of her faculties to turn the tables on him.  It wasn’t really practical to take the narrative any further.  It is interesting, though, that Daja’s subconscious apparently decided to hide the memory of the last part of the scene (maybe until she reads this?).  


Tagging a few people who might enjoy this:  @ellaenchanting @digitalswitchgamine @deeperforme @mrs-prism @dommestic @dommesticpet @meltinggoldanddippingthingsinit @yoshibound @hypno-sandwich @theleeallure @amhypnotic @the-perfect-monster @zanythoughts

Happy belated birthday to stilesparrishs! I hope you like this since I’ve never written anything even remotely similar. I tried? Which is to say that this is an a/b/o high school AU that features an extremely oblivious omega!Stiles, quite a lot of misunderstandings/pining, and is loosely based on the following tweet:

what if the sheriff and claudia were alphas and they never expected this tiny mouthy omega (ofc it changed nothing. they love their omega v much but the town never quite got over the shock)

Stiles knows a pity gift when he sees one. Mostly because that’s all he’s ever gotten from anyone since the moment he hit puberty.

Being an omega is supposed to be an honor. A rare, coveted position in the community. Stiles is supposed to be waited on hand and foot once a month every heat cycle by every alpha for a hundred damn miles, okay?

Instead, he’s the town charity case.

“I know what this is!” he shouts from his doorstep at the latest in a long line of retreating alphas. Stiles holds the cake platter he just got handed high up in the air like a lunatic. “I know this came from a box mix, you tool! And it’s going nowhere near my tastebuds!”

Back inside the house, the sheriff frowns at Stiles from over his casework at the dining table. “I really wish you’d let them down a little easier, son.”

Stiles rolls his eyes and throws the cake in the garbage, because he’s not having this argument with his father again. He knows why people in this town act like he’s the most desirable omega in four counties, and it’s not, as his dad likes to try to tell him, because they’re all (“though god knows why”) charmed and fascinated by him. It’s because they feel sorry for him.

The first ever recorded omega born to two alphas? It’s unheard of. It’s… freakish. Stiles is a freak. And this fucking town has never let him forget that.

The worst of them is Derek Hale.

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Jews in Modern Media: A Discussion - Repost

Aight so this is a really old post I made in like? 2015? on a blog that is now private, and I recently was asked to repost it so a few notes:

A. Don’t take everything here in face value. It’s a bit more complicated than this. It’s still pretty accurate as an overview, but do your own research, if it’s a topic that interests you.

B. A lot of issues that should be explored in this post aren’t, and that includes: Jewish poc, in general the fact that Jewish people don’t fit in to the poc/white people dynamic, and the whole Jewish actors not playing outright Jewish characters and the other way around. Also, Jewish coding isn’t outright mentioned. In general, as I said, it’s a very general overview.

C. There isn’t any mention of Fantastic Beasts or Wonder Woman and I beg of you, please keep it this way.

D. I also edited it, so if you’ve seen this post before, there’s no new content, but hopefully it’s a little more coherent and accessible to gentiles.


This all started when a friend complained to me about the representation of Jews in American media. He linked me to an Idea Channel video and said:

…every minority is getting their time in the spotlight, but Jews are still off to the side. It’s like the world is saying “The world is diverse! But Jews are still all white and assimilated” or only defined by the Holocaust (i.e. Magneto) and/or by Israel. But that’s totally untrue! If Ms. Marvel is awesome for being the first Muslim character to headline a comic (which she is), why not so with an openly Jewish Jew?

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NEIL GAIMAN: “The first radio interview we did in New York, the interviewer was asking us ‘Who is Agnes Nutter? What is her history? Is Armageddon happening?” and so on and so forth. After a while, we twigged he hadn’t realized this was fiction. He thought he’d been given two kooks who’d come across these old prophecies and were predicting that the world was going to be ending.“

TERRY PRATCHETT: "Once we realized, it was great fun. We could take over the interview, since we knew he didn’t know enough to stop us.”

NG: “And at that point, we just did the double act.”

NG: “We’re working on seeing how many smart-alec answers we can come up with when people ask us how we collaborated.”

TP: “I wrote all the words, and Neil assembled them into certain meaningful patterns… What it wasn’t was a case of one guy getting 2/3 of the money and the other guy doing ¾ of the work.”

NG: “It wasn’t, somebody writes a three-page synopsis, and then somebody else writes a whole novel and gets their name small on the bottom.”

TP: “That isn’t how we did it, mainly because our egos were fighting one another the whole time, and we were trying to grab the best bits from one another.”

NG: “We both have egos the size of planetary cores.”

TP: “Probably the most significant change which you must have noticed [between the British and American editions] is the names get the other way 'round. They’re the wrong way 'round on the American edition [where Gaiman is listed first] –”

NG: “They’re the wrong way 'round on the English edition.”

TP: “Both of us are prepared to admit the other guy could tackle our subject. Neil could write a 'Discworld’ book, I could do a 'Sandman’ comic. He wouldn’t do a good 'Discworld’ book and I wouldn’t do a good 'Sandman’ comic, but –”

NG: “– we’re the only people we know who could even attempt it.”

TP: “I have to say there’s a rider there. I don’t think either of us has that particular bit of magic, if that’s what it is, that the other guy puts into the work, but in terms of understanding the mechanisms of how you do it, I think we do.”

NG: “There’s a level on which we seem to share a communal undermind, in terms of what we’ve read, what we bring to it.”

TP: “In fact, people that have read a lot of the 'Discworld’ books and a lot of the 'Sandman’ comics will actually find, for example, Neil put into one of the 'Sandman’ comics a phrase lifted out of a 'Discworld’ book. I spotted it in a shop and said, 'You bastard! You pinched my sentence. Everyone liked that line, and you pinched it.’”

So how did the collaboration on Good Omens begin?

TP: “Neil wrote several thousand words a couple of years ago, which was part of the main plot of Good Omens.”

NG: “I didn’t know what happened next, so I put it aside and I showed it to Terry. One day I got this phone call from Terry, saying 'Remember that plot? I know what happens next. Do you want to collaborate on it, or do you want to sell it to me?’ And I said, 'I’ll collaborate, please.’”

TP: “Best decision he ever made! I didn’t want to see a good idea vanish. It turned out, more and more things kind of accreted 'round it as the book was written. Also, Neil went and lost them anyway, so it all had to be retyped.”

NG: “I’d lost it on disk, so I gave him a hard copy, which meant he had to type it in. He kept changing it.”

TP: “I changed it so I could make the next bit work. The thing kind of jerked forward quite quickly, as both of us raced one another to the next good bit, so we would have an excuse to do it. Both of us cornered certain plot themes which we stuck to like glue.”

NG: “Like the reluctance with which I handed over the Four Horsepersons of the Apocalypse to Terry when they got to the airbase.”

TP: “I seldom let Neil touch any of the bits involving Adam Young himself.”

NG: “When we got to roughly the end, we could actually see which characters we hadn’t written. So we made a point of going in and writing at least one or two scenes with any of the characters that up until then we hadn’t written.”

TP: “Insofar as there’s any pattern at all, we worked out what the themes were and then we each took a theme and wove that particular strand.”

NG: “The other pattern, of course, was that you’d do your writing in the morning and I’d do mine late at night.”

TP: “Which means there was always someone, somewhere, physically writing Good Omens.”

NG: “It took nine weeks.”

TP: “We look upon Good Omens as a summer job. The first draft for nine weeks was sheer, unadulterated fun. Then there were nine months of rehashing, then there was the auction.”

NG: “When you have situations when you’ve got three agents, five publishers, all that kind of stuff….”

TP: “Our friendship survived only because we had other people to shout at. So I could say, 'Take that, you bastard!’ and hit his agent.”

NG: “One thing Terry taught me, when we were writing the book together, was how not to do it. Too many funny books fail because people throw every single joke they can think of in, and have an awful lot of fun, and eventually it just becomes a collection of gags.”

TP: “The big problem you face if you’re working collaboratively on a funny book is that you start with a gag and it’s great, it’s very amusing, but with the two of you discussing it, eventually it’s not good anymore. It’s an old gag from your point of view, so you avoid it and you take it further and further. What you’re putting in is a kind of specialized humor for people who work with humor. There’s an old phrase, 'Good enough for folk music.’ As you work, you have to stand back and say, 'Never mind whether we are bored with this particular gag, is the reader going to be bored with it, coming to it fresh?’”

NG: “One of the great things about humor is, you can slip things past people with humor, you can use it as a sweetener. So you can actually tell them things, give them messages, get terribly, terribly serious and terribly, terribly dark, and because there are jokes in there, they’ll go along with you, and they’ll travel a lot further along with you than they would otherwise.”

TP: “The book has got its gags, and we really enjoyed doing those, but the core of the book is where Adam Young has to decide whether to fulfill his destiny and become the Antichrist over the smoking remains of the Earth, or to decide not to. He’s got a choice, and so have we. So to that extent I suppose he does symbolize humanity.”

TP: “Bear in mind that we wrote Good Omens while the Salman Rushdie affair was really just coming to a boil in the UK. But no one’s going to go around burning copies of Good Omens, no on would think about that.”

NG: “Yet everything is blasphemous. Technically speaking, Good Omens is blasphemous against religious order, as blasphemous as you can get. And Gollancz have just bunged it in for the big religious award in the UK, which we find very strange. They actually asked the archbishop of Canterbury to send vicars 'round to have serious tea with us.”

Future plans?

TP: “There’s always another 'Discworld’ book. The way I look at it, if I don’t have to force them – if I want to do them, if publishers want me to do them, and readers want me to do them, I can go on doing them. The current 'Discworld’ book, Moving Pictures, is about the 'Disworld’ film industry. There are so many cinema industry gags that you can do, the problem was cutting ones out. There’s a natural attraction to the subject for fantasy writers, because movies are not real in any case.

"Then, in Reaper Man [the next 'Discworld’ novel’], you find out how shopping malls breed, and what the purpose of a shopping mall actually is. You’re familiar with the idea of 'metalife,’ the idea that cities are living things. Shopping malls are city predators. They spring up around the outside like starfish on a reef, and they draw the life out, the people, so the city starts to die in the middle. This is actually a minor plot in Reaper Man.

"There is no shortage of ideas for 'Discworld’ books. It’s probably going to slow down a wee bit, because I’ve got some other stuff planned. I’m going to do another children’s book. There’s my big science fiction novel I’ve been trying to do for three years, and I’m going to have to get that one finished now. I’ve finished the first draft for the script for the film of Mort, which may or may not happen. And finally, I’m toying with the idea of a comic, but it’s got nothing to do with 'Discworld’. It’s called 'Stalin’ and it’s what would happen if Superman landed in Russia in 1904. The direct translation of the word 'Stalin’ is 'man of steel.’ I’m not intending it to be a particularly funny comic. It has to be tragic, not because that’s the fashion for superheroes, but because when you consider Russian history, it is tragic.”

NG: “What am I doing next? I’m still writing 'Sandman’. The Rolling Stone plug for 'Sandman’ in their 'hot’ issue last year, combined with the actual graphic novel collection, has done wonders for increasing the readership. The first eight will also be collected by DC, which will mean a problem with how we number that collection, having brought out the second collection first. 'Sandman’ is going to keep going for about another two years. 'Miracle Man’ is great fun. I’m doing it roughly bi-monthly for Eclipse. It’s utopian SF, and it’s getting stranger and stranger, because I don’t even have the commercial constraints that I have in 'Sandman’. The next one is done as if Andy Warhol were doing comics. Then I’m doing a horror comic series which will be appearing in Taboo, about Sweeney Todd. 'Signal to Noise’, a graphic series I did with Dave McKean, which was serialized in English trendy style magazine The Face, has just been bought in a two-book deal by Gollancz. We’ll be expanding it slightly, and that will be coming out early in the launch of their new graphic novel line. And I’ve started work on a fantasy novel, which won’t be funny and may not even be very scary. It’s called Wall.”

TP: “We’ve both got lots of stuff to do. So if you allow time for eating and sleeping, Good Omens 2 doesn’t seem to fit in there very well.”

NG: “It will probably never happen. We actually know how it would go. We know the theme – '668, The Neighbor of the Beast’.”

TP: “We even know some of the main characters in it. But there’s a huge difference between sittin’ there chattin’ away, saying, 'Hey, we could do this, we could do that,’ and actually physically getting down and doing it all again. One problem is, we’ve been saying it fliply, but it’s almost true these days, we’re not on the same continent for nine weeks at a time anymore.”

—  from Locus #392, March 1991 : Pratchett & Gaiman: The Double Act
Some Things You Should Know About MiniLadd

There’s a few things I think you guys should know about Mini. Take this story as things I’ve seen both publicly and privately and know that I’ve personally given him many chances to redeem himself. With recent events, however, I’ve hit a breaking point where I no longer think that keeping quiet about this is the right thing to do. So hear me out from this point onward, and make your own judgements at the end. I’m not trying to force you into doing or thinking a certain way; I just want to lay out all the information I have so that you may do with it what you may.

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Family of Rogues Scene Analysis #5

Okay there is SO MUCH to say about this episode so I’m splitting it into a few posts.

Here’s the (second part of the) post for the family-fun heist scenes. 

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