"300 tracks"
you know those hand signals tyler does during the line "300 tracks in my Adidas track jacket"?
i, like probably everyone else, assumed that was him signing 3-0-0 with his hands.
but no. he's signing F-0-0.
consider the ASL signs for F vs 3:
yeah, he's definitely signing F there
so what does F-0-0 mean? well, funny thing about that--you know hexcodes? those 6 digit codes that indicate a specific colour? well, there are also three digit codes as well, where you basically double each number to get the full 6 digit code. wanna guess what #F00 is?
yup, that's pure red babey!!
and, better yet, wanna know what its complementary colour is?
why it's pure cyan of course!!! y'know, like the whole __cla_im00FFFF.jpg = CLAIM CYAN = I AM CLANCY thing.
tyler, you sneaky sneaky bastard.
1K notes
·
View notes
okay so you know how it goes: fourteen comes to life in thirteen's clothes. and they're both too short and too loose and entirely too bright for his frame of mind. they worked with a doctor who hid everything behind a too wide smile; not so much with a doctor whose pain and tiredness is written across his face
he needs to change. obviously
and then the star beast starts, and fourteen leaves the tardis, and he's still in thirteen's clothes
he just. he doesn't know. how does he choose new clothes? he feels wrong. how will wearing something else change that?
(donna tells him that it's christmas, mate; it's bloody freezing. maybe wear longer trousers, yeah? also he's both too young and too old to wear braces. just a friendly note)
he doesn't have to explain who he is to the unit scientist, not with those clothes. instead he talks about how he doesn't understand why he looks like this. why he is this. why this face? why isn't he someone new?
actually. maybe he is someone new. was he ever this open before? hm
why do you look like that, sylvia hisses, trying to hide him from the daughter he destroyed ruined left
it's a lottery, he replies, purposely ignorant
he still has his thirteenth self's screwdriver. it's too small in his hands
(the whole time they were her, her hands were too small. she didn't like touching anyway, but whenever someone took her hand, it felt wrong. they were too small. sometimes it felt like if she worked fast enough, tinkered about without stopping, she wouldn't have to look at them)
everything goes wrong. his fault, like always
(blimey. of all the things to carry over from the first time he had this face, it had to be the guilt, didn't it?)
you shouldn't look like that, the doctordonna says, and he runs a hand down his face with a tired laugh
no, the doctordonna says, not the face. a hand reaches out to grasp at the collar of his shirt, at the dangling earring chain. this isn't you. who are you, doctor?
like he knows. like they've ever-
she dies.
she lives. he doesn't deserve it. it isn't about him. he still doesn't deserve it
we're letting it go, donna says, and he looks down at himself, at another him's clothes, another him's screwdriver
well, she never was subtle, his donna
the tardis is gorgeous, though when isn't she. he tries to show off his new console to donna, and she rolls her eyes, and drags him off to the wardrobe
unlike normally, where all the clothes are scattered about, the new tardis wardrobe now also has a line of wardrobes stood against the wall. fifteen of them, to be exact
the last wardrobe is open. and empty
he goes to the second to last, and opens it to reveal a wide array of rainbow patterned shirts. she probably would've hated for her things to be organised like this. always creating mess so she wouldn't have to think about anything important. he laughs. and he takes off the sky coloured coat and the worn boots and the earrings and gently places them inside. tag, he thinks, as he closes the doors
and then he moves down to the eleventh wardrobe, full of brown coats and blue suits and neatly pressed shirts and pairs of converse. and he stands in front of it. and he wonders
after a moment, donna's like wait do you want me to leave?? you never cared about nudity before, did you? and he's like oh actually i do feel more self conscious. huh. weird.
he doesn't have to say, i think i'm a different person. not to donna. she just gives him a smile, and a shoulder nudge, and tells him she'll see him in the console room
the last wardrobe is empty
he takes a breath, and then goes to rummage about in the rest of the clothes
175 notes
·
View notes
There’s something so beautiful yet so chilling about this.
We’re so used to seeing Bruce lash out at Jason. It’s always the same thing between the two:
Bruce goes to stop Jason.
Jason throws a punch saying “he deserved to die”.
Bruce retaliates and beats Jason up saying “you don’t get to decide that. You’re no better than the criminals. Get out of my city.”
Jason says something along the lines of “This isn’t only your city. You had Alfred and money to support you growing up but some people (me) had nothing”
Jason ends up leaving feeling like a worthless piece of shit & continues to hate Batman (& associates), as Bruce continues his mission.
What we never get is them talking to each other. Yes they exchange words, but they never talk. It’s always punch first, talk later. (Rhato #25 my beloathed)
In this panel, Bruce kneels down to be eye to eye with Jason (so much different than when he normally talks down to him). He removes his mask to show Jason that this is Bruce and what he’s doing is focusing on Jason and not on the mission.
He explains what he’s doing and reassures Jason of that: “This isn’t punishment, Jason. I love you”.
Now on the other hand, this is really fucked up. Because Jason is so used to hearing about how he’s screwed up big time and how he’s gone off the rails. What he doesn’t expect is for Bruce to say ‘I love you’ twice, whilst Jason is so vulnerable.
Bruce could beat Jason up and he could send him to Arkham or Blackgate. But he chooses to give Jason a new life in a different city where he won’t have to face the harsh consequences of his actions. What Bruce is showing here is love. At least that’s how Jason should see it. Because his dad isn’t fighting him and isn’t locking him up for murdering people. “I love you Jason but you’re a murderer”.
Now obviously Bruce is not a loving father here since he literally poisoned his son. I just thought it was really interesting to see the juxtaposition between ‘Bruce acting/speaking so kind and endearingly to his clearly struggling son’, with the ‘harshness of his actions towards his son (drugging Jason with fear toxin)’. As well as comparing that to the Bruce we’re so used to seeing face off with Jason.
You see this panel and you feel for both of them. It looks heartwarming to see the way Bruce is talking to Jason. But then when you know what Bruce has done, you feel anger, hate, or simply just knowing this is wrong. There’s so much manipulation from Bruce, that this whole story arc just leaves you feeling conflicted.
I just think that this was quite well done from both the writing and the artwork
242 notes
·
View notes