bluescreenforever

[bluescreenforever]

so uhhh. yeah.

[bluescreenforever]

Hehehe 😊😘

[bluescreenforever]

[bluescreenforever]

they were right btw. you have to dig yourself out of your grave over and over again

[bluescreenforever]

personally, i do think that love was not only just there but it also truly changed everything in jason's story. just not for the better

[bluescreenforever]

when it comes to fridging, what is uniquely horrid is not only that on the meta-level the aim is to expand a narrative of another character; it’s also that for that to happen, in-universe, the grief ought to be even more objectifying than it is naturally. it becomes, in a sense, voyeuristic. inappropriate. the image of the dead character is, by necessity, distorted and flattened down. even in real life, studies of bereavement hallucinations show that the dead come to either guide the mourners to peace or taunt them with guilt. in text their voice is that of fears and hopes of others too, but notably, never with a further reflection on their desires that could be at least an afterthought for grievers in real life. and that’s also why the resurrection stories have so much (psychological horror) potential when it comes to these characters – because they come back to the reality in which their pain no longer belongs to themselves, where the trauma of their death has been exploited and their identity contorted. they’re confronted with an idea of themselves that is either demonised or idealised; a saint and a martyr, and find that there’s little space left for their authentic selves. or perhaps, alternatively, they morph into that faux form, and it becomes questionable if they are still the same person they used to be. the problem of post-mortem survival of identity already poses a challenge because of the nature of crossing the line between the spheres of the dead and the living; but what about the dialogical nature of forming an identity? cemeteries belong to the living; they decide which picture will be engraved into the tombstone. and it might be, that even with no corpse underneath, the image will preserve and haunt even the revenants themselves.

[bluescreenforever]

i love when grief work gets literal. grieving.com/careers

[bluescreenforever]

messy sketch on the phone because it was the only thing I could draw on😞 I haven't drawn on my phone for a long time, so you can see a lot of mistakes here BUT I DON'T CARE guys I enjoyed the process.

[bluescreenforever]

the first two photos were later sold to a local newspaper and the last one was posted on dick grayson’s instagram with the caption “opps want to see me fall 💪🏋️‍♂️”

[bluescreenforever]

dick grayson you will always be famous

[bluescreenforever]

if dc weren't cowards they'd do an issue about jason serving time and bonding with inmates. the breakout of course ends with a new revelation for jason's image of himself, resurrected as a radical revolutionary, unchanged in his violence but perhaps connected to the city's griefs in such a way bruce's upbringing and power conceals. i would love to see an exploration of the prison industrial complex as a system rather than a backdrop for him to be thrown from time to time; or worse, only a vehicle to antagonize others. bruce doesn't kill, and so criminals are sent away to prison, but i'd like for a deeper approach. that is not an endline solution.

[bluescreenforever]

Batman: Under the Red Hood (2010)

[bluescreenforever]

[bluescreenforever]

a little comic for jasons birthday. on being robin & batman and being brave & scared

[bluescreenforever]

alfred gave them the sheets

[bluescreenforever]

jason's first birthday at the manor

[bluescreenforever]

All our times have come, here but now they're gone