#Tim Turbo

[heybabybird]

1! 2! 3! 4!

[mamawasatesttube]

dc comics fandom is like if goncharov (1973) was a real movie but people did all the "making stuff up about it!!" anyways and if you tried to talk about the contents of the actual movie people would call you an elitist snob and gatekeeper

[turbotaxevasion]

if i drew the whole "hip thrust with your partner as the weight" with tim and bernard would you guys want to see it?

[mrsandman42069]

something's wrong here

[twinktor-frankenstein]

I put a bunch of guys who are roughly three feet tall and sometimes get drawn with tails in a room and made them fight

[gallade-x-treme]

because 7 people lived in here & they always needed to shit at the exact same time. duh

[basalting]

Fire for the ask game? <3

oh man... well as a whole im very proud of ALL of the dialogue from my jason funeral fic

from my wips uhhh i dont really write a lot of dialogue i guess? i spend so much time in each characters head (bc i love messing around in there) that i like... forget people have to talk to each other XD

anyway heres some dialogue from platonic dick science

Regrettably somewhere around the third bottle of lube both Bruce and Barry's sanity dies. Bruce stares dead eyed as Barry slams his hands on the desk and leans in. "I have to turbo jack off into a condom. For science." "Never say words to me again." "Bruce." He sighs and pulls the laptop closer, at least all this nonsense is selling the man whore Bruce Wayne story better than any party could.

more from the bruce/lois(/clark) nsfw oneshot

“My record is five,” Lois purrs, overly sexual and playful. Clark scrapes together enough brain cells to feel a warm burst of affection, at Lois for being so utterly Lois no matter the situation. “But just for the record, it wasn’t easy. I’ll really make you work for them if you try.” Bruce leans forward, the sheets whisper against each other and they both freeze to enjoy the way the new angle makes them feel, and when he talks it’s easy to understand why no one has ever left his bed unsatisfied. “Don’t worry Lois, I’ll earn every one of them.”

and an sneak peek at a wip i started literally today with bruce and dick a week after bruce takes him in

"I used to sit there," Bruce said, pointing at the shadowed stairs. "Every time Alfred would leave the house, I'd sit on those stairs and watch the door. I thought if I stopped watching he'd die too. That I'd be alone." "You didn't go with him?" "No. I was scared. I thought, for years, that if I took one step out of this house he'd find me. The man who killed my parents. That he'd be waiting by the door for me." "They didn't find him?!" "No, never." Dick stared up at him with wide, shocked eyes, "Do," he hesitated and then squared his shoulders, "Do you still get scared to go outside?" He sighed softly, "Yes, sometimes."

[writing-relatedactivities]

What's gayer, literally painting gay pride flags on your building, or owning this much La Croix?

(Turbo Tim's on University. I don't have a car so I haven't had the opportunity to use their services, but they seem delightful. There are multiple shop cats that I like to slow blink at through the windows.)

[agiantmonster]

7/15

[meowmeowmeowmeow4x]

Demo’s DPxDC prompt #2

danny has been tims babysitter since forever

tim loves danny hes always there for him

tim finds out danny is a turbo powerful ghost hero

asks danny to train him

dannys like “no and also i dont know how to train someone who doesnt have ghost powers”

tim: *hatches plan to gain ghost powers*

[vintagerpg]

Planet of the Mists (1992) is one of the second wave of Star Wars adventures, new trade dress, perfect bound. I find most of this era’s adventures to be a bit more generic — they’re better at feeling Star Wars-ish than their predecessors, but suffer a bit from the lack of weirdness of say, Otherspace, that made the early adventures so memorable.

This one is a bit of an exception to that rule, because it is penned by the always interesting Nigel Findley. It still adheres to the basic template — investigate the Imperials because the Rebels need A Thing (well, need to take a thing away from the Imps — a mineral used to power turbo lasers), crash (there are a lot of crashes in WEGSW modules) run afoul of enemy forces and eventually square off against their leader. In this case, it’s Managing Director Tyne (anticipating Director Krennic of Rogue One perhaps?) who is both a fascist bureaucrat and a dark side force user. Complicating things further is that Imperial mining operations threaten the native alien civilization, giving the proceedings a slight taste of Trek.

The adventure is surprisingly open. The first chunk is a wilderness sandbox, punctuated by pre-scripted events. This leads to the mining facility, which takes up the bulk the adventure. It’s huge and invites players to cause all sorts of chaos infiltrating it. Successfully dealing with the mine leads to a final land battle, followed by a dog fight in space. It’s all surprisingly open-ended. There is a lot of leeway in the event scripting and the NPCs are well-drawn and can be convinced to make big impacts on the proceedings. Tyne is a pretty good villain, and his henchwomen — twin mercs with conflicting loyalties — are fun. There are also no stormtroopers; instead, Tyne’s force is made up of swamp troopers. They’re Imperial Army, with different armor and cool guns that feature a grappling hook. Everyone of your players is going to want to salvage those for themselves…

Cover art is production work from Lucasfilm. I’d guess McQuarrie, but I am not entirely sure. Inside is Tim Eldred. I’ve seen his work before, maybe in Paranoia? I’m not sure. He’s good here, fits right into the vibe established by Vilardi/Nunis in the second edition era.

[mysterycitrus]

rereading lpod just makes me sadder that so much of tims origin has been muddled through interpretation cause what do u MEAN the character who catalogued bruce’s grief and violence in the wake of jasons death to try and convince dick to return to robin is now a stalker who followed batman around for years. so much of tims character was driven by his own logical necessity. someone had to show dick grayson how bruce was spiralling. someone had to be robin again. someone had to hold things together.

retroactively changing things so tim was a turbo-stalker jason fan with actively abusive parents who hate him misses the point. he knew dick grayson before he knew batman. he only knew batman in the wake of jasons death. he did not view bruce’s actions as aspirational, and he did not know jason as robin, only as a ghost.

like ig him being an actual intense batman fan changes dynamics for storytelling purposes but foundationally tim drake was conceived to be an ordinary person who achieved the extraordinary. that’s the entire point!! im rattling the bars of enclosure again because this kid didn’t even care about photography before he chose to take action like come on

[userautumn]

I think it would have been better if Tim had just said the fake script was from a version of the show that had been dropped even if it was a lie, but to claim no responsibility for it and act like he didn't know where it came from when at least one of his actors leaked/reposted it—that's Gaslighting 3000. That's super, mega, turbo gaslighting, the likes of which I've never really seen from a showrunner. Also Gaslighting 3000: the BT side of this fandom acting like people are being completely irrational for assuming genuine disdain for the fandom on the showrunner's part when literally nothing I mentioned in this text post HAD to happen.

[seat-safety-switch]

You might have subway trains near you. What most people don't know is that a subway train is actually a cross-bred hybrid, between a naval submarine and a train. Getting this breeding to happen is an incredibly difficult task that requires tons of specialists, which is part of why subway trains are so rare. It's also kind of gross, if you ask me, but such candid discussion of this is beyond the scope of this article.

For years, when I had a productive life in the great rat race, I would ride the subway to work every day. After awhile, the childish joy of getting into a magic tube that shoots you across the city fades, to be replaced with annoyance at every little thing. It's five minutes late. Smells kind of weird. That guy is too loud. His kid is a weird aspect ratio. Things keep flickering at the edges of my vision, and voices nobody else can hear keep whispering that I should buy a 1980 Pontiac Trans Am Turbo. That kind of thing.

Taking a vacation helps, sure, but it doesn't get rid of this feeling. The only thing that will help is changing up your routine. A lot of people buy a car at this point, and then the routine is very different every day, because driving is highly variable even when you are just doing the same drive with the same people. Today you get brake-checked merging onto the highway, because the guy in front of you with the 4Runner is having a messy divorce. Tomorrow there will be a full-blown riot outside the city centre because someone tried to add bike lanes, and you get a rock thrown at your windshield. Next week, maybe the Tim Hortons that you're lined up in the drive-thru for catches fire because of a miscreant bagel. You get a cool story for all your coworkers every day, as opposed to "I rode in a shiny metal cylinder for the better part of an hour while doing a sudoku."

For me, I don't subscribe to that kind of thing. There's no reason to involve other people, or commuting, in your daily tale of goin'-to-work woe. Most of my automobiles are perfectly capable of creating a road horror story of their very own, just driving five blocks to the pet food store. I do, however, miss having coworkers to tell it to. My parole officer doesn't seem to care. His parole officer doesn't give any larger of a shit. That's why I've started riding the subway, and giving impromptu stump speeches about how bad things are, up there, on the surface. It gives people a story to tell about the crazy dude on the train, and anyone who actually listens is a little more reassured that they took the magic tube instead of taking their chances on the roads with people like me.

[shadowyone]

My Wreck it Ralph oc, Queen Scarlet She started out as a pixel drawing and evolved from a normal queen to a queen with beaver features to match her environment game. Think Fern Gully. She fell in love with Turbo, but of course, Turbo doesn't give the same feelings back and just uses her. The dragon is the villain of her game who sounds like Tim Curry. But yeah here's my pixel art of her. More art of her rolling out today.

[tawked]

So I know Arkham Knight is going for a whole thing where Batman realizes Arkham Knight is Red Hood is Jason Todd pretty much immediately, but he's in denial, so he can have a bunch of back-and-forths with... um... blood transfusion psychosis Joker (lol, lmao even)

but he really does seem like a fucking stupe in this version.

I think it comes down to interactivity. If we the audience are supposed to be Batman, then theoretically we the audience should be doubtful or anticipating some late game twist where it's not Jason Todd, reflecting Batman's doubt or denial.

Except, he's a detective, and if we as the detective can piece this together first - HOURS before he does - it builds a real animosity between audience and art, imo.

The way this worked in the comics was that he was provided the Clayface-as-Jason explanation, which made the most obvious direct sense, and thus played on his detective impulse (the simplest answer is often the correct one) vs. the gnawing doubt Jason stoked (crowbar in the Batmobile).

In AK, the only possibility Batman ever actually proposes via his hallucinations, rumination, paranoia about Barbara and Tim, blah blah blah, is Jason. There's no red herring or other explanation. It's just "Alfred search batmanwiki for a list of white guys between 20 and 30 who could kick my ass" and Alfred's like "that's a long list" and Batman's like "fuck off." Incidentally, this is the closest thing Alfred gets to a real sarcastic comment in this game - this is the worst Alfred, imo.

So the whole time it's like...

If you don't know who Jason Todd is, this probably doesn't land. They have to backfill so much of his narrative which they do through the flashbacks, sure, but it's all presented in such a distorted way and contradicts other themes. Scarecrow is telling Batman he wants to destroy the hope Batman symbolizes but we've just spent like six hours being told Batman let one of the Robins be tortured by the Joker for six months or whatever.

And as backfill to an existing universe that has not mentioned Jason before, no less. Maybe they did in a codex entry or something but I consider codex storytelling fundamentally unserious because 90% of players do not engage with it.

I don't know how connected a new audience member would feel. I know I, in 2015, did not know who Jason Todd was or care, because I had yet to absolutely lose my mind (literally I started reading comics to pass time after my schizophrenia diagnosis, this is all a labour of severe life-ruining mental illness) and decide to read comics published after 1980, and so the whole time I was like "wait there's like three Robins? What? That's stupid," not knowing there were actually six Robins, seven if you count the robot Robin from that one shit Elseworlds no one likes, probably more lol.

So maybe they avoided a red herring because they assume, as evidenced by the overall design of Asylum and City, that no one actually reads the comics and our primary point of cultural connection is the 90s DCAU (a safe assumption in 2009, three years after Justice League Unlimited finished up).

Worth noting: I didn't finish Knight the first time around because I didn't like the batmobile and didn't know / care about any of the characters; Asylum, City and Origins felt like all I needed to know was the DCAU, Knight feels like I need to know the 90s comics to appreciate.

If you do know who Jason Todd is, as I do this time around, it feels insanely condescending. Like, Bruce, it's Jason. It's Jason. Bruce the Junkstlin is telling you it's Jason because it's Jason. Please stop wasting my fucking time and engage with the OBVIOUS reveal drama that's coming. My GOD just dial him up on the batphone and be like "okay Jason, let's have it out, what's the fucking deal," maybe before he blankets Gotham in turbo deluxe fart gas. Bro we can literally see your subconscious this time and know you know that it knows that you know it's Jason.

This kind of denial narrative only really works, imo, as an Act 1, or in the context of a short comic arc. Stretching it out for between 10 - 20 hours (depending on side content) is a crazy choice and I cannot imagine the guy who was nailbiting throughout this.