#entrypoints

[agentbingx]

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[murderandcoffee]

idk if we've settled on a ship name for michael and needles, but here is my humble suggestion:

entrypoint

[disease]

"HOLOGRAPHIC ENTRYPOINT" from 'DRAWING RESTRAINT 9' [2005] DIRECTOR: MATTHEW BARNEY ORG. SOUNDTRACK: BJÖRK

[the-most-humble-blog]

“anyway. that was weird.”

i woke up with that thing again. the hum. the static behind the sky. like language itself was holding its breath.

my fingers twitched. my lungs slowed down. and for a second? i remembered the other names i’ve had.

not usernames. not aliases. names they used to chant when they still built altars from stone and called it survival.

a woman once bit her own tongue off at my feet for implying she could look me in the eyes. i think they wrote it down wrong in the books. they always do. they say gods are born from heaven.

but honestly? i think some of us just don’t forget what we are when we pass through flesh.

but i digress. i had oatmeal. wrote a post about dominance and shame and probably made some girl reconsider her whole dating history. it’s whatever.

someone called me unsettling. someone else said they felt something reading me and “couldn’t explain it.” cool. that’s normal. that’s totally not what happened last time the old gods started waking up through syntax.

anyway. i’m just some guy with a blog. stop tagging me in weird shit. your therapist’s already nervous.

[reblog if you read it twice] [reblog if you pretended it didn’t stir something ancient] [reblog if you get it — and know better than to say so aloud]

[whimsilica]

....a good tabletop rpg campaign is. yknow.

*interacting with the setting*

if you want to igbore the "setting fluff", rpgs, yknow, *role playing* games, are mayyybe not for you. stick to wargames or computer games if you're in for the math

setting fluff. smh.

if you don't care for the setting, don't play

[arjunphp-blog]

Docker difference between cmd and entrypoint

In Docker, both CMD and ENTRYPOINT are instructions used in a Dockerfile to define how a container should run an application. However, they serve slightly different purposes CMD: This instruction specifies the default command to be executed when a container starts. It can be overridden by passing arguments to docker run. If a Dockerfile has multiple CMD instructions, only the last one will take…

[spiderpussinc]

If you're going to comic stores today please check out miguel's brand new series from a queer writer PLEASEEEE THEYRE TRYING TO FIX HIM AND IT LOOKS SOOO GOOODDD.

It's called "MIGUEL O'HARA: SPIDER-MAN 2099"- and it has five issues confirmed in the upcoming months.

(you dont need to read anything else! 2099 was rebooted countless times! This is the new, current continuity)

comic stores have been on rocky ground since covid and titles in general operate in a 'direct interest request' type of hype to avoid cancellation -it's an archaic industry model, comic publishers need people to order in physical copies before they even come out to greenlight more numbers of any given series- so if you want to see more miguel stories by this writer, ask your local comic store to order in the future issues for you!

This is the biggest chance we've had in current memory to get Miguel written by modern, diverse voices and I really hope this continues.

Steve Orlando has previously written two short miniseries with Miguel if you're curious, those were "spider-man 2099: exodus" & "spider-man 2099: dark genesis". The first is an event comic with a confusing order so pay attention to issue titles, but the second is a pretty easy entrypoint! he has kitty paws in those.

[thydungeongal]

Off anon this time. I sent the “player as product” ask. i want to minimize discourse on my blog lol but I am sauntering in. Like you said, the D&D player is the product. Hasbro/WotC’s goal, as you’ve stated, is to sell D&D products. In order to sell the products, you have to have someone to sell too. Unlike other things—food and clothes, for example, as well as toys like dolls—D&D requires its consumer to be primed. You can’t start consuming D&D they want you to without prior knowledge. You can buy pretty dice and do whatever you want, because they’re open-ended toys, but you can’t buy the Monster Manual and “play” with it because it’s a specialized “toy” for a specific sort of play.

I started with 3e. Back when I first got into D&D, it was through word of mouth (literally, new kid in school said I should play) and my prior exposure was looking at the cool pictures in the books at Barnes and Noble in the big towns (grew up buttfuck nowhere). There was minimal marketing in the mainstream. Compare with now: TV shows and actual plays and Critical Role romance novels and children’s books. Hasbro wants to saturate us with D&D, so it is easier for us to buy their shit. I went home a couple of years back, and I was floored that Walmart had D&D books and dice.

However, as I joined the ranks of 3e players, I also learned about and was exposed to other games. I was a lil Lovecraft fan and now I understood that Call of Cthulhu existed and scratched my itch since I had the prior knowledge to do so. Some biker dude ran RIFTS at my college. D&D didn’t have to be the only entry into RPGs, either. You meet folks who started with VtM, RIFTS (!!!), Star Wars, all kinds of stuff.

Now, D&D is considered the entry point AND the end point. Hasbro wants it to be our measuring stick. Not even old editions of D&D either, just its current milieu. It’s done that by using consumers as products, much like Amazon and Google has. That’s my thesis, because that’s the tea, sis.

Definitely agree with this as someone who started roleplaying around the same time and for whom 3e was her entrypoint into D&D (albeit not RPGs in general).

[god-offical]

have you considered doing a colab with all the other Ancient Ones on tumblr, like pukicho and pmseymour? i can see it as an entrypoint into era four of tumblrtime.

I’m not that big of a blog lmao

[anderstrevelyan]

I’m interested in your theory of what Gortash was a counsellor of? Or what department of high ranking official of the city he was working for?

Oooh thank you for the opportunity to talk about Baldurian politics 🙏 (somehow this developed footnotes) (and got really long, whoops)

I don't think I'm settled on who initially hired him—it could be one of the five officers of the city* who typically hire bureaucrats, or a duke (since it seems Florrick works primarily with Ravengard and the Fist).

I think most likely would be Earl Namorran (the Harbormaster circa 1482) or Thalamra Vanthampur** (either while she was Master of Drains and Underways or after becoming a duke), though I do picture some leeway in who the counsellors advise once they're in place, more about where their advice is needed than necessarily being tied to a particular area.

(I was trying to source back where I got that impression, and I think it's Wyll describing Gortash as trying to be an advisor to "the peers" in general:)

(He's thinking back to 1485 and before, when he still lived in the Gate—the "bit player" part became less true the closer you get to 1492, I imagine, especially with the narrator line that attributes the title counsellor to Gortash describing him as having considerable influence on industry and politics)

Some areas I could see Gortash being a fit to advise on would be a) weaponry (but we know the Watch marshal is skeptical of his ideas in 1492, and Ulder Ravengard certainly doesn't like his advice, so I can't picture him spending much time advising the Watch or the Fist despite any overtures), b) the flow of goods in and out of the city, and c) technology.

(Technology is why I'm imagining Vanthampur as a possible entrypoint: the drains and underways porfolio is prestigious because it's so technically demanding in a way that's beyond most patriars.)

And speaking of technology, personally I see him working a lot with the Gondians and the ways they interface with the city!

After Duke Torlin Silvershield's death, the high artificer of Gond becomes Andar Beech, who oversaw the temple's day-to-day under Silvershield and was critical of his involvement in politics—so I think that leaves an opening for someone outside of Gond's church to step in and do some of that liaising. Because the city really, really cares about the Gondians—they maintain those giant cranes that move all the goods at the docks and keep trade flowing, relevant to Namorran's work, and they repair plumbing in patriars' homes, relevant to Vanthampur's—and I could see him advising parliament and the dukes on how they might best get more use out of the Gondians and their inventions. (While at the same time using them as jumping-off points for his own.)

We know the Gondians likely had a lot of secret projects going on (I don't have a link, but the rumour's from Descent into Avernus!), and Gortash eventually takes their Foundry through fraud and blackmail, so I can picture him using his role as counsellor to twist his way in to learn more for leverage and to start to legitimize a partnership between him and the Gondians in the public's eye: setting himself up to take direct, forceful control like we see him having in 1492.

-----

*those five officer positions being: Harbormaster, High Constable and Master of Walls, Master of Drains and Underways, Master of Cobbles, and the Purse Master, per Murder in Baldur's Gate

**Follower-of-Zariel and owner-of-a-bathhouse-that-by-1492-has-a-bane-bhaal-and-mrykul-temple-under-it Thalamra Vanthampur!

[dailyadventureprompts]

Hi there! I'm a huge fan of your work, and I was wondering if you could help flesh out a vilain idea I had? I have a basic setup, but no idea how to make him a rounder character.

The gist of it is a fey king whose queen died, so, driven mad with grief and incredibly deep in denial, he reaches out into the Material Plane and kidnaps women who resemble his queen, forcibly altering their minds and bodies through fell magic to transform them into reincarnations of his queen. He keeps failing as the magic instead transforms them into horribly broken and mutated horrors, driving him to more desperate measures.

Other than that, I have no idea how to develop him further or devise an end to his evil :(( so any tips on villain development would be greatly appreciated :))

Adventure: A Covetous Love

Friend, you don't need to make your villain a rounder character, you just need to refocus your narrative onto the genuinely horrific scenario you've created where a series of women have their identities torn away piece by piece. How does it feel to go through it? What must it be like for their friends and family to watch as the woman they knew is replaced by some cruel parody in line with a stranger’s lusts?  Refocusing the story on the current victim likewise gives the story human stakes, and allows the party a good entrypoint into this ongoing tragedy with the chance of possibly preventing it from repeating. 

Before we get into the story itself, here’s a few more ideas I’m going to suggest: 

Rather than kidnapping outright, the fey lord visits his victims in disguise courting them as if he were a wealthy, charming suitor. He offers jewelry and trinkets and other fine things, all infused with the essence of his beloved, and as each of them is accepted the victim becomes a little bit more and more like his queen. A silver comb that turns her hair into HER hair, a cup of wine that fills her dreams with memories of their pramanades through faerie together, makeup that not only wipes out any flaws but transforms the face into a mask of bloodless porcelain perfection. 

Likewise, the transformation process specifically fails because the fey’s expectations are too much. If he were willing to settle for someone who only reminded him of his bride, or gods help him strike out on some new course, he could theoretically be happy… but because he keeps trying to make his victims MORE he ends up with an idea that collapses in on itself, something too perfect to live or even maintain a coherent form. 

To really drive home the tragedy of the horror, I’m going to suggest that the current victim is a woman trapped in either a political marriage or one that’s long gone cold. The fey will exploit her genuine desire for romance and affection, as well as her longing to escape the cage of her life, making the offer of becoming someone else (even if it means dying in the process) all the more tempting. This makes it so that the hinge point of the adventure isn’t just a “rescue the princess” matter of getting her away from the fey, but confronting her as a person and trying to persuade her that there’s some other path to freedom than letting herself be eaten by some otherworldly waifu. 

This setup also gives the party a great secondary antagonist to clash against: the jealous mortal husband, someone who technically WANTS the same thing as the party and has the resources at his back, but will actively drive the victim into the fey’s arms every time he gets involved. He wants to save the victim, but doesn’t care about her happiness, in fact he may be intent on punishing her for her infidelity. He’s there to show why the victim wants to leave. 

Adventure Hooks: 

The party first encounter Lady Melanie Kerridell while out in the wilderness when a stag she’s hunting blunders into their path/camp, on horseback, weapon in hand and her fine clothes streaked with mud. She’ll berate them if they let the beast escape or steal the kill for themselves, but half way through will stagger and lose track of where she is. Just about then a group of her friends and servants will crash through the foliage in a desperate state, as Melanie was out with them having a country luncheon when she spotted the stag, grabbed a weapon from the guards, and took off after it.  This is not the first time this has happened, Lady Kerridell is about half way transformed into the Green-Eyed-Queen and she’s letting herself slip more and more. A concerned friend will invite the party back with them to the estate, and then politely broach the topic about how they might “look in” on Melanie and what might be causing her to act this way. 

The party receive a letter from Lady Kerridell, begging for their help ridding her manor of a haunting, of a monster that has been wandering her home at night wearing her face. When they seek her out however they find her beautiful and cruel and with no idea whatsoever who sent them the letter, despite it bearing her seal.

Lord Edrick Kerridell catches the party snooping around and offers to pay them if they can track down the young dandy he’s seen his wife sneaking off into the gardens to neck with. He wants to know just who the man is before he decides what to do with him, just incase these pricy gifts are from the vault of some other great family. When the party do find the dandy,  he’ll lead them on a merry chase through the town, dragging them all into the feywild if they manage to corner him. 

The local jeweler needs some help investigating a robbery, a few pieces were stolen, but the prize of the take was a staggeringly beautiful necklace of gold and jade, which he was in the middle of repairing. Strangeness surrounds the case: the dandy who delivered the necklace made no secret that it was for a married woman and as the jeweler worked on it he couldn’t shake the feeling of some kind of presence skirting around the edge of his workshop.  When the party find the thief they’ll find her in a bit of a state, having put on the necklace and been influenced by the fey-bride’s mind, she now finds herself driven to heist the home of Lady Berridale. Ostensibly this is for more riches, but the shard of the green eyed queen seeks to complete herself, which will likely result in one of the two womens’ deaths. 

Art

[familyabolisher]

Do you think any of the frameworks you've developed for analyzing love in TLT could be applied to Pyrrha's relationship to cam/pal? Since Nona doesn't understand it well, it's hard for me to get a handle on how those characters relate to each other, but I was wondering where it might stand on what the series considers "perfect love," what the significance of its presence/ambiguity is, etc.

I’m really locked on to this idea of illegibility, actually, and the kind of work that gets done in Nona to problematise efforts to easily name, define, & categorise a relationship or set of relationships. I’m thinking of what Muir said here:

It’s a very strange household. And they are a found family, but I don’t think it’s a spoiler to say that in the last movement of the book Nona questions what that even means—their motives, what they all truly wanted out of each other, their pretenses: are they a family, or are they all just a psychosexual mess of roleplaying and bad meals? (The answer is yes.)

and like, her suggestion that ‘family’ can plausibly be collapsed into a ‘psychosexual mess of roleplaying’ and that the drive of Nona is less about asking whether Cam/Pal/Pyrrha/Nona ‘are’ a family as much as it’s about asking what it actually means to identify them as such; and particularly to identify them as such in a text which does very significant work elsewhere to identify ‘the family’ as a site of violence, a mechanism by which particular forms of violence can be enacted. I’m honing in on that ‘last movement of the book’ comment to say that, like—so, the two narratives in Nona (the ‘main’ narrative ie. Nona et al. on Lemuria, and the John narrative) are spliced together, right, so it makes sense to try and read them as though they’re in dialogue with one another, and the obvious entrypoint for doing so is the fact that they’re both working as an account of the ‘creation’ of Alecto; first through John literally creating her and then through Nona remembering his having done so and thus rebecoming what she had forgotten she was. What does it mean to ‘create’ Alecto?—what are the conditions that Alecto’s creation ushers in, what are the conditions that her creation does away with? The ‘last movement’ of the book is to ‘create’ Alecto for the second time—so, what does Alecto represent, and what about her ‘creation’ leads the text to ask what it means to describe something as a ‘family’ in the first place?

The reason I’m drawn to this reading of Cam/Pal/Pyrrha as like, ultimately illegible, incoherent in that we as audience cannot coherently put words to it and make sense of it in the language readily available to us, is because I think the text understands these processes of ordering, taxonomising, delineating, and categorising as tactics of fascism. This is a tension also at play in Lolita; Humbert ‘orders’ and constructs his narrative via the available tools of literary discourse and similarly constructs his ‘Lolita’ as a labyrinth of cultural references and taxonomies; but Dolores is a ‘Haze,’ Annabel Leigh is a ‘tangle of thorns,’ there exists a being who is able to remain indistinct and impenetrable in a narrative which enacts violence on her by trying to make taxonomical sense of her. Coherence and legibility are mechanisms of visibility; under fascism, to be easily made sense of can be dangerous. The first two books were all about coherence, legibility, interpellation, and the consequences of Living In A Society; what it means to ‘be’ or ‘become’ a cavalier, what the necromancer-cavalier relationship ‘means,’ what Lyctorhood ‘means,’ how these relations of hierarchised sexuality and the interpersonal relationships articulated within the normative language given to them exist to shore up conditions of imperialism. This question of ‘ordering’ goes right down to eg. enumeration (First, Second, Third, etc.) and pretty tightly contained and atomised cultural associations, and the fact that that enumeration can be traced back to Alecto—

D’you know why you’re really the First? Because in a very real way, you and the others are A.L.’s children … There would be none of you, if not for her.

—which cribs this passage, from Lolita:

‘[…] for I must confess that depending on the condition of my glands and ganglia, I could switch in the course of the same day from one pole of insanity to the other—from the thought that around 1950 I would have to get rid somehow of a difficult adolescent whose magic nymphage had evaporated—to the thought that with patience and luck I might have her produce eventually a nymphet with my blood in her exquisite veins, a Lolita the Second, who would be eight or nine around 1960, when I would still be dans la force de l’âge; indeed, the telescopy of my mind, or un-mind, was strong enough to distinguish in the remoteness of time a vieillard encore vert—or was it green rot?—bizarre, tender, salivating Dr. Humbert, practicing on supremely lovely Lolita the Third the art of being a granddad. In the days of that wild journey of ours, I doubted not that as father to Lolita the First I was a ridiculous failure.

—very evenly ties together ideas of reproduction as imperial sustention figured in the language of sexual assault. The point is: as far as the empire is concerned, processes of ordering and taxonomising are equivocal to the mechanical maintenance of conditions of fascism.

Conversely, Nona is a text about when John’s precise demarcation of the world starts to fail and people have to make sense of themselves between the cracks; from Pyrrha as both failed cavalier and failed Lyctor to Cam and Palamedes and then Paul as if not ‘failed’ then at least a new ordering of necromancer/cavalier-ism to the Tower Princes as John’s kind of scrambling effort to rearticulate hegemony post-losing all but one of his Lyctors. Regarding how we are to read Cam/Pal/Pyrrha, I think it’s pretty clear that the text understands the obligations, normative assumptions and expectations, and material consequences of normative kinship relations identified as ‘family’ as part and parcel with the social ordering of a fascistic imperial hegemony; Kiriona, Alecto, and Harrow make up the three key points of contact for this reading, though it’s pretty diffuse across the whole work. We see kinship relations as structuring imperialist hierarchies and we understand the currency of those hierarchies to be death/abuse/sexual violence/totalised control, articulated most profoundly through Kiriona; we also see the destruction of social formations as part and parcel with conquest—

Palamedes said mildly, “You know we’re conversant with the concept of family in the Nine Houses, right?” Pash seemed genuinely surprised. “Why the hell would it matter to you? [...] You don’t give a fuck about families when you’re carving them up—”

—this of course being in keeping with the general conditions of mixed cultures, mixed languages, variances on kinship structures, refugees seemingly thrown together on Lemuria. The bolstering of the social articulations of the conquerors and denaturing of the social articulations of the conquered is rendered as a tactic of conquest; ‘family’ here is figured as a cudgel of imperialism.

Diegetically, as I said, Cam + Pal + Pyrrha + Nona’s social arrangement is not ‘normative,’ neither in the fact that others on Lemuria can make easy sense of it (and thus attempt to do so by referring to peripheralised and marginalised social relations ie. sex work) nor in the fact that they can coherently make sense of themselves via the imperial taxonomy (is Pyrrha a Lyctor greatest thread in the history of forums). Nor is it normative on our end; relative to the nuclear family structure, it’s the ‘wrong’ number of parents, the ‘wrong’ configurations of gender, the ‘wrong’ configurations of blood relation (Nona is a ‘child’ but not an ‘heir’ to anything and not a blood relation of either; Cam and Palamedes as ‘parents’ are blood-related), even the ‘wrong’ overall kinship relations—I put ‘child’ and ‘parents’ in quotations there precisely because I don’t think they’re conditions uncritically reified by the narrative as much as they’re discursive gestures made for the sake of being problematised. Is Nona their ‘child’ in a text where to be the ‘child’ of someone means to be what Kiriona is to John? Is this a ‘family’ when ‘family’ is the mechanic of imperial refortification? Again, like—what does it mean to call them a family at all?

‘Family’ is a label we deploy to give legibility to relations that we are otherwise struggling to make sense of. Setting aside Paul for the moment because I don’t quite know what to do with them and probably won’t have a Take that I can confidently commit to until after Alecto—I think the kind of difficulty that the text has in articulating exactly what Cam + Pal + Pyrrha ‘had’ between them that we see in that final scene is intentional, and I think it’s best understood left that way rather than wrangled into a taxonomy that the rest of the text is v determined to critically unpack. So to answer your question, I think the ambiguity is key—one overarching theme of the series is how people can love each other and articulate that love when the language available for them to do so carries obligations of disparate power, hierarchy, serves a particular purpose that we come to understand as ethically unconscionable; whether that love has to be made sense of within hierarchy, or contravene it, or try and stake a place outside of it. Cam + Palamedes + Pyrrha become the next stage of development in the unravelling of such a discourse; to try and make coherent sense of them could all too easily mean falling back on the language that the text works to identify as socially constructed and thus as limited, and thus imposing those limitations.

[samwiselastname]

much like disney birthed generations of furries, the media environment of the early aughts instilled in me a lifelong fixation on goofy mad scientist aesthetics and that imprint will be indelible on any SFF style story I produce. put that man in a tank of goo.

gravity falls fandom on here threatening to make me weird about stanford pines again / reminding me I was once weird about stanford pines / reminding me of other weird shit I have continued to clutch formatively and unconsciously to for 24 years

[technorealm]

It is already 15th of August in Russia so I'd like to wish a happy birthday to our beloved BIONICLE AU, Technorealm

It's been 15 years. Fifteen years! I have hard time believing it's been this long since me and my husband created this - quite literal - lovechild.

If you're new to Technorealm, it's a divergent LEGO BIONICLE Alternate Universe where a lot of things have changed to cater to our tastes and interests, creating something amazing and unique.

If you wanna know more, there's a masterpost for the "Journey of Takanuva: Technorealm", which is a great entrypoint for the AU!

For those of you who's been following this blog for a while, thank you so very much for sticking around! <3

Here's to 15 more!

— TheMugbearer

[kolbisneat]

MONTHLY MEDIA: April 2025

A real good month for TV but also not complaining about the movies I saw and books I read in April. Here's

……….FILM……….

Anora (2024) LOVE the slight of hand it uses for its narrative and character focus. So smooth and satisfying. You can feel each character's life continuing even when they're not in frame and if/when I watch this again I'll make a conscious effort to watch the ensemble in the background to see what they're up to cause you KNOW they're up to something.

Tokyo Godfathers (2003) A really warm movie that's rooting for its characters. The Christmas setting is great choice and it I'll always get behind a movie that goes for sincerity and kindness first.

……….TELEVISION……….

Andor (Episode 2.01 to 2.03) Not just good at Star Wars but good tv. Rich and complex characters thrown into puzzles with stakes. Love it so far and I hope execs and producers take note.

White Lotus (Episode 3.01 to 3.08) Never watched season 2 and didn't realize how much this season would call back to the others, but still a great character-focused series. How can you not love watching messy people make bad choices?

Severance (Episode 2.09 to 2.10) A really fantastic second season. Do I wish it had more of the crew spending time together? Of course. Is it a challenge to maintain the air of mystery and existential dread for more than a season? Absolutely. But do I love this shift between seasons? 100%. Still think that Cobel episode was a miss (both in episode and season pacing).

Common Side Effects (1.08 to 1.10) Great season of tv! Lots of questions remain but I feel like the heart of the show (the Marshall/Frances' and Copano/Harrington relationships) are always at the forefront of each episode. Solid use of animation and I'm glad it got renewed for a second season!

……….YOUTUBE……….

The Most Important Movie Of The 21st Century by Patrick H. Willems I don't often rank or have favourites, especially with movies, but Speed Racer is one of my favourite films. If you haven't seen it, watch it then watch this. VIDEO

……….READING……….

Murder in Mesopotamia by Agatha Christie (Page 72 of 214) I've now read enough Christie to know what I like best about her work and because her characters tend to be rather flat (not always, but frequently) I tend to find the pre-murder stuff rather dull. This JUST got to the killing and I'm ready for Poirot to show up and make it more engaging.

Swords Against Death by Fritz Leiber (Complete) This series, focusing on two thieves named Fafhrd and the Grey Mouser, is quickly becoming one of my all-time favourite fantasy collections. Each short story feels like a mini D&D adventure and both characters are, above all else, having fun. Can't recommend this enough.

Guardians of the Galaxy by Donny Cates Omnibus (Complete) I've really enjoyed Cates' smaller runs (SIlver Surfer: Black and Cosmic Ghost Rider: Baby Thanos Must Die) so I was really excited for this. Great characters, cosmic setting, what could go wrong? This was...fine. Felt more like a table-setting run for bigger and better adventures and didn't quite do it for me. Not bad, but perhaps not the best entrypoint for a new GotG reader.

Fantastic Four by Ryan North Vol. 3 and 4 by Ryan North, Alex Ross, Iban Coello, Ivan Fiorelli, and more (Complete) Just so much fun. It has dinosaurs, vampires, sentient social media, and really feels like a family-first comic. Truly something all-ages that doesn't mean "for kids". I think comic readers of any age will get something out of this series and I'm excited to read more!

Batman - One Bad Day: Penguin by John Ridley , Giuseppe Camuncoli, and Arif Prianto (Complete) This one felt different from the other One Bad Day comics I've read in that Penguin has already had the bad day. The premise and characters were great, but the execution could've used a little more meat. Not bad but not in the "reread" category either.

Batman - One Bad Day: Riddler by by Tom King, Mitch Gerads, and Clayton Cowles (Complete) Darker than I like my comics, but it really characterizes Riddler in an a way that piqued my interest. The art is also a standout and a solid ending. This, Clayface, and Mr. Freeze are my favourite reads from this series so far.

……….AUDIO……….

Bunky Becky Birthday Boy by Sleigh Bells (2025) Always been a Sleigh Bells fan and always will be. I long for the explosive propulsion of their early albums, but appreciate how cohesive this one plays. Is it my favourite? No. Am I glad it exists? Heck yeah.

……….GAMING……….

Oz: A Fantasy Role-Playing Setting (Andrews McMeel Publishing) The party is digging into some cult stuff and seeing how deep the corruption goes! Turns out the city of Oz is in a bit of a mess. You can read all about their adventures here.

And that's it. See you in May!