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right about stephanie brown all the time

@secretlystephaniebrown / secretlystephaniebrown.tumblr.com

Steph / 27 / bi / white / writer / archivist / podcaster / cat mom. (She/her) Mostly comics, mostly Batfam, the rest a multifandom disaster. Prompts are open. Icon by thistleking.

Who are you?

Call me Steph. (I also answer to Hinn, Secret, and Stephanie on occasion, if that’s what floats your boat.)

I’m a 27 year old bi-ace white woman (she/her). I’m an historian, your friendly neighborhood archivist, a baker, a cat mom, a podcast host, and a writer without a cause.

I read too many comics. The blog is mostly Batfam, but honestly I mostly read Wonder Woman these days in terms of current comics. Pull list is here

No, I’m not an RP blog for Stephanie Brown. But I do own the @stephaniebrown​ URL and run it as a Stephanie Brown appreciation blog.

Where can I find your work? 

I’m Hinn_Raven on archiveofourown and twitter, and hinn-raven on fanfiction.net because I suck at brand consistency. I also post all of my fic to my writing tumblr, @hinn-raven​.

To see what I’m working on next, check out my current projects page here.

Hey, will you write xyz?

Maybe! Prompts are open, so send me an ask!

Can I translate, podfic, draw fanart for, or write fics inspired by your work? 

As long as you credit! Umbrella permission is out there, please just link back to me whenever possible. 

What else do you do? 

I’m one half of @dcuninterrupted​ and the Behind the Yellow Boxes podcast, both with my other braincell @renaroo​. DC Uninterrupted is a massive fanfic project where Rena and I continue the DCU as if Flashpoint never happened. BTYB is a comic book history podcast going through both classic stories and the tales behind weird comic events. 

Who’s the cat? 

That’s Stacks the Archives Cat, my delightful kitty and the light of my life.

Tags of Note:

  • Steph Speaks - exactly what it says on the tin
  • Steph Replies - asks and replies are both in here.
  • Steph Writes - tumblr posts of my fics
  • Steph reads comics - me shouting about comics generally
  • writing stuff - writing memes and also snippets and commentary
  • Stacks - Stack’s tag. Obviously, the most important one on the blog.
  • comic recs - posts where I give reading lists for characters, books, teams, etc!

Can I support you? 

Sure! I have a ko-fi for personal stuff and a patreon for my podcast. 

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I love you grandmother who helped me pin a trans flag to my battle vest, I love you leather daddies checking on us, I love you trans dykes driving the forklift loaded with water and ice, I love you queer kids in your renfair outfits, I love you faggot punks sizing up the cops, I love you drag queens laughing in the dressing room, I love you i love you I love you I love y

vimes isnt even really a wife guy he just loves his wife a normal correct amount

like. is this your man 🤨

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I always assumed Cockbill street culture and Vimes specifically were meant to be the disc equivalent of Irish Catholics. You have the intense focus on cleanliness, the intergenerational homes with many children, the shame associated with needing charity coupled with an intense focus on giving to to others, his random and unexplained fluency in the disc equivalent of Latin, the all or nothing approach to morality, his relationship to alcohol, his bashfulness when discussing anything remotely sexual (he does get better at this as time progresses).

You know what I realize that people underestimate with Pride & Prejudice is the strategic importance of Jane.

Because like, I recently saw Charlotte and Elizabeth contrasted as the former being pragmatic and the latter holding out for a love match, because she's younger and prettier and thinks she can afford it, and that is very much not what's happening.

The Charlotte take is correct, but the Elizabeth is all wrong. Lizzie doesn't insist on a love match. That's serendipitous and rather unexpected. She wants, exactly as Mr. Bennet says, someone she can respect. Contempt won't do. Mr. Bennet puts it in weirdly sexist terms like he's trying to avoid acknowledging what he did to himself by marrying a self-absorbed idiot, but it's still true. That's what Elizabeth is shooting for: a marriage that won't make her unhappy.

She's grown up watching how miserable her parents make one another; she's not willing to sign up for a lifetime of being bitter and lonely in her own home.

I think she is very aware, in refusing Mr. Collins, that it's reasonably unlikely that anyone she actually respects is going to want her, with her few accomplishments and her lack of property. That she is turning down security and the chance keep the house she grew up in, and all she gets in return may be spinsterhood.

But, crucially, she has absolute faith in Jane.

The bit about teaching Jane's daughters to embroider badly? That's a joke, but it's also a serious potential life plan. Jane is the best creature in the world, and a beauty; there's no chance at all she won't get married to someone worthwhile.

(Bingley mucks this up by breaking Jane's heart, but her prospects remain reasonable if their mother would lay off!)

And if Elizabeth can't replicate that feat, then there's also no doubt in her mind that Jane will let her live in her house as a dependent as long as she likes, and never let it be made shameful or awful to be that impoverished spinster aunt. It will be okay never to be married at all, because she has her sister, whom she trusts absolutely to succeed and to protect her.

And if something eventually happens to Jane's family and they can't keep her anymore, she can throw herself upon the mercy of the Gardeners, who have money and like her very much, and are likewise good people. She has a support network--not a perfect or impregnable one, but it exists. It gives her realistic options.

Spinsterhood was a very dangerous choice; there are reasons you would go to considerable lengths not to risk it.

But Elizabeth has Jane, and her pride, and an understanding of what marrying someone who will make you miserable costs.

That's part of the thesis of the book, I would say! Recurring Austen thought. How important it is not to marry someone who will make you, specifically, unhappy.

She would rather be a dependent of people she likes and trusts than of someone she doesn't, even if the latter is formally considered more secure; she would rather live in a happy, reasonable household as an extra than be the mistress of her own home, but that home is full of Mr. Collins and her mother.

This is a calculation she's making consciously! She's not counting on a better marriage coming along. She just feels the most likely bad outcome from refusing Mr. Collins is still much better than the certain outcome of accepting him. Which is being stuck with Mr. Collins forever.

Elizabeth is also being pragmatic. Austen also endorses her choice, for the person she is and the concerns she has. She's just picking different trade-offs than Charlotte.

Elizabeth's flaw is not in her own priorities; she doesn't make a reckless choice and get lucky. But in being unable to accept that Charlotte's are different, and it doesn't mean there's anything wrong with Charlotte.

Because realistically, when your marriage is your whole family and career forever, and you only get to pick the ones that offer themselves to you, when you are legally bound to the status of dependent, you're always going to be making some trade-offs.

😂 Even the unrealistically ideal dream scenario of wealthy handsome clever ethical Mr. Darcy still asks you to undergo personal growth, accommodate someone else's communication style, and eat a little crow.

Mulligan conceded that “this fight was not fair,” but the TPK was neither planned nor inevitable. Their main adversary was a gravely injured, near-undead Fairy Godmother with few hit points, accompanied by a pack of uncanny human-object abominations to adjust the action economy for the players. There were paths to victory: Mulligan noted that Axford’s plan to go directly for the Godmother’s shard, possibly with Timothy casting Sleep, could have succeeded had a stealth check by Pinocchio and Gerard not gone disastrously. And bad rolls (nearly every death save rolled a 3 on a 20-sided die) meant the window to victory narrowed fast.

A common critique of shifting the genres in a D&D game is to ask, “Well, why don’t you just play a game or a system that isn’t high fantasy?” Why not explore the 1920s in Call of Cthulhu, or psychological horror in Ten Candles, or perhaps a modern-day tale that takes place within one of the settings in Paradox’s World of Darkness? But this encounter was terrifying precisely because of how frighteningly it deviated from the logic, the known rules of 5th edition D&D.

Mulligan was insistent that he’s playing within the expectations of horror as a genre: “If we were doing high fantasy, I would not have created an encounter this challenging. But we’re in a horror world. I’m looking at the audience, looking at my players, looking at the crew, and going, Here’s how heavy my thumb is. Here it is on the scale, and we’re doing it before the encounter starts, for all to see.” - via polygon