The Church's gravitation towards Evangelical ideology is the worst thing that's ever happened to it. At least in 1800's Missouri we died confident in our faith as my ancestors were hunted for sport; now it's rotting us inside out as the far right deceive the very elect into the kind of wickedness that makes floods happen.
in the low low price job eliot is at the center of the gloat and the walkaway. eliot brings beer when he returns and is denied entry to the home he grew up in. when nate's at his lowest with alcoholism in the snow job eliot gets himself between nate and the rest of the team; pushes back in a way that draws his attention and keeps nate from lashing out at anyone else. we know eliot isn't an only child, thanks to the miracle job; his nephew would love bibletopia.
(low low price: eliot grew up in rural oklahoma. low low price: eliot hasn't been home since he was 18. what about eliot who performs landmarks of typical masculinity so well could result in such complete rejection from his god loving father? it's hardison eliot's able to confide this in. is it a question we really need to ask, after all?)
in the order 23 job it's eliot who knows on sight that the child with a broken arm is being abused. the kid's dad's social tie to the local cops: they drink together. when eliot and hardison impersonate cops in the morning after job, eliot demands they respond to a called in disturbance with a weapon, because there might be kids in the house.
where do you think eliot learned the relational dynamic he engages in with nate, and before that moreau? eliot left home because he "needed to get out of there". eliot has never lived a life free from controlling men. he may have left, but did he succeed in his escape? why or why not?
it takes eliot five seasons to mention his dad. he never mentions his mom. the carnival job does not center eliot in the gloat but as they walk away we get him centered briefly. nate's the one who says she's dead, but it's eliot who asks about the kid's mom. it's eliot who connects with her in a way it seems nobody has since that loss. in the future job eliot rummages in a car to provide facts so tara can pull off the psychic act. his voice wavers, when he mentions the breast cancer ribbon on the mirror. eliot never mentions his mom. eliot never mentions his mom.
would parker have ever mentioned the brother she lost, were it not for the fake psychic's violating reveal? why do you think eliot never mentions his mom?
fuck redemption's revisionist history. the original run said enough to paint a full and heartbreaking picture of eliot's family all on its own.
speaking of the scary ocean, in the Salish Sea we have bioluminescence in the summer. It’s not like in movies where the whole sea glows. The microorganisms which cause it only glow when they’re disturbed. On a warm, still night the sea is black until you stick your hand in and shake it around, then it lights up blue.
anyway my friends and I dive at night and it’s really cool to watch someone from above because they look like a celestial being in the water, glowing blue underwater.
what is deeply UNNERVING is when a Very Large creature passes you at some distance, and you know because you see a blue, glowing mass go by and you think well, that’s just not my business.
I thinks folks expressing incredulity at the quality of the writing and composition in Calvin and Hobbes are often missing the context that Bill Watterson is arguably the most influential sequential artist of his generation. Like, this is a guy who once told the editors of nationally syndicated newspapers to go fuck themselves when they wanted to mess with his panel layouts, and not only did he keep his job, he got his way. He could have had literally any gig he wanted, and he chose to be the Sunday funnies guy because that's what made him happy. He's basically the Weird Al of sequential art.