ON THE PRECARIOUS POWER OF DIVINITIES AND THE PARASITIC POTENTIAL OF BELIEVERS
Fantasy High, Prompocalypse Part 2 // Darshana Suresh, Howling at the Moon // Fantasy High: Junior Year, Infernal Conflict // Christina Im, On Loving Helen // Andy Warhol, Are You Different? (Positive) // Fantasy High: Junior Year, The Name // Dacia Maraini, Dreams of Clytemnestra // Marina Abramović & Uwe Laysiepen, Rest Energy // Fantasy High: Junior Year, Infernal Conflict // Gustave Doré, The Judas Kiss // Fantasy High: Junior Year, Infernal Conflict // Anne Carson, An Oresteia
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One little... Not even nitpick but just sad observation. This plotline they're setting up with Dinah and Cass trying to protect Babs from a future assassin looks very fun but I can't stop thinking about the conflict and drama it could create if DC let Babs be Oracle again, wheelchair most definitely included. It was a common character beat that the real Oracle Babs hated anyone seeing her as weak or powerless (Rightfully and understandably so because you know. Ableist society.) like it's a big driving motivation for her! Oracle gives her power and let's her control the narrative. People seeing her or even hinting that she could be weak and in need of protection, going above her head and treating her as a victim or a damsel in distress? Yeah she does Not react well to that. If she found out that Dinah and Cass, two of the people she loves most, were secretly trying to protect her, no matter how good their intentions are there's no way that doesn't blow up into at least one fight where no one is fully right and no one is fully wrong but it gets nasty and hurts everyone involved.
But with Babs in the Batgirl suit I just... Don't see any of that happening. My guess is they'll just let Babs in on everything right away and have very little conflict between the three of them. Of course I'd love to be proven wrong! I think there's a really good set up here for this plotline to do things with these characters and bonds that hasn't been done in a while. And fhey're slowly getting like 20% of Barbara's actual personality back instead of being The Smurfette. But at the same time, I've yet to see anything that makes me think DC would be willing to let a writer dive substantially into that angry, defensive side of Barbara. Because it's messy and ugly and also because it exists due to the trauma and ableism she suffered, and DC would rather print a million panels of her sitting in front of a computer with her legs crossed than ever let her be truly Oracle again.
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Currently working on a Gravity Falls au rn but life got in the way and it's gonna take some time to finish. But, I couldn't wait on showing it so here's a little sneak peak.
Introducing my Gravity Falls! Celestial Au in which Stan is a sun god and goes by Phoebus (epithet of Apollo in mythology) and Ford is a moon god and goes by Mene (epithet of Selene in mythology).
This is only a small fraction of this au for I have a whole plot and art planned for this that I had been and still working on for quite some time. (Though I am not sure time and my lack of resources would allow it but regardless I'll still go for it.)
Sidenote: I would like to thank @elishevart for listening to my ramblings for this au. Your support helped and encouraged me so much and I am very much grateful to you.
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Speaking as a personal autonomy enjoyer I hate the way the fanon conception of “lazerus pit rage” not only treats Jason’s actions as not his own but also his feelings as not his own. To me personally even if there was no evil green Jacuzzi and no Talia, the question of “why is that clown not a funny ass corpse” would still come up and there’d still be some hard feelings about Tim. Just probably with less killing and maiming
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Wait.... Idk if anyone may or may not notice this but.
I feel like the ST albums are the representation of five stages of grief.. although some songs had those styles, but this I had to ramble em up:
One - Denial
Two - Anger
Sundowning - Bargaining or Depression, it seems look like it.
TPWBYT - Depression(or Bargaining.. idk tho)
TMBTE - Looks like Anger but also Acceptance, but again, idk..
Seems to me that some of the songs had the slow sad theme, yet it had the tone of anger, denial, depression at the same time as its tone of sound.. That's how I think of Euclid.
What I believe that this song, is a song of Acceptance.
Like um- hear this.
At the end of the music, the TNDNBTG tone starts with a calm yet bittersweet sound makes it a sad bittersweet tone. Imagine this text I made:
"i did it, I managed to complete the obstacles.. even though I know the suffer I had is still here, I must keep going and keep living. For everyone. "
Correct me if I feel wrong of my first and ever analysis.
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obsessed with the idea of the doctor and the master standing together in opposition to gallifrey post-end of time. less in it being the reality of the situation, and more in it being what the master perceives it to be in the immediate aftermath of being. well. told he was going to be disposed of. the combination of that rejection with the doctor choosing him, the way that sets them up with a common enemy. but where that enemy for the master becomes gallifrey in the abstract with the council as the face of it, the doctor never sees it that way, never thinks of it as the two of them against their own world. the doctor, crucially, kept count of the children. when he saves gallifrey, it isn’t about the master at all, not to anyone but the master themself. because how are they supposed to take the doctor choosing gallifrey over them as anything other than a betrayal.
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There’s something rotten in Acmetropolis.
Chances are you haven’t seen it, most go their whole lives without noticing or being touched by it. Well, at least not directly.
It’s not your fault, of course. Acmetropolis is big and bright and bustling, its citizens crisscrossing the city and weaving into each others' lives not unlike a tapestry. Their rich lives make up the heart of Acmetropolis, vibrant and flashy and pulsing. The post-meteor cleanup was backbreaking, but the speed at which they rebuilt the city could only be attributed to the testament of their ingenuity, resilience, and most importantly, hope at putting the pieces back together after the catastrophe.
Here’s the problem though: Acmetropolis was rebuilt with that rot festering in the city’s foundation.
The meteor didn’t just wipe out most of the city, you see, it wiped out the governance of it as well. The early rebuilding of government wasn’t so much a democracy and more of who was willing and able and powerful and ruthless enough to come into that vacuum–although they quickly learned to hide the blood on their hands. No one was privy to the marriage of power and money and secrets that were traded behind close doors, the whispers and handshakes that sealed the rebuilding of Acmetropolis. No, most of its citizens were too busy mourning their losses and digging through the wreckage for a semblance of their old lives, for a shred of hope buried deep under the rubble and claimed by the earth.
So for years the rot remained unchecked. Crime families with their illicit activities and armed forces willing to look the other way and politicians in their suits backing them and sitting down to a family dinner with the same people. The rot continued to grow.
No, the Loonatics don’t know about it. Why would they?
Here’s the thing about rot though: even if you don’t notice it, it festers. Until eventually, one day, it all comes crumbling down…
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