#online panel advantages

[marketxcel]

Benefits of Using an Online B2B Panel for Surveys

This blog will explore the advantages of using an online B2B panel for surveys and how it can empower companies with valuable data for better decision-making.

[gabrielleragusi]

For Artists: My Experience with Commission Platforms and Illustration Agencies

Hi there! I’ve been wanting to compile a list of commission platforms that I’ve personally used for the longest time, and I finally did it! I’ve highlighted the still-active commission platforms in bold and struck those that don't exist anymore so you can jump to the sections that interest you without needing to read my entire story.

Let me start by briefly introducing myself.

I’m Gabrielle, a fantasy illustrator. Since 2014, I’ve been working on book covers and illustrations for publishers, authors, and book subscription boxes. Early on, work wasn’t as frequent as it is now. I had to search for opportunities myself, and even small private commissions were important for building my portfolio and earning some money, which I’d spend on materials, books, and online courses. Like many other artists, I started out by trying my luck with the biggest art community available at the time.

DeviantArt

2009-2018

Once upon a time, there was a virtual haven called DeviantArt. To my teenage self, it was a magical place. I signed up in 2009 and thought I’d never leave!

At first, I created an account just to share my work and learn. I didn’t even think about commissions for four or five years. But when that first inquiry finally landed in my inbox, things took off! My mum swears she remembers my excitement when I got my first commission, but for some reason, I’ve completely forgotten about it. I can't remember what it was or how much it paid. It might have been a portrait of a fantasy character.

Commissions on DeviantArt were fairly frequent, especially considering my cheap prices at the time. I used to offer discounts and post my rates in my DeviantArt journal, or in Commission groups that featured artists either monthly or weekly. After checking out my profile, a client could simply send me a private message and from there, we’d discuss payment, deadlines, and other details, and the platform didn’t take any fees, much like how ArtStation works today. Everything happened through private messages or email, with direct contact between artist and client.

The downside of this process was that there was no dispute resolution system on the platform. I had to handle all issues myself, and unfortunately, problems did arise sometimes: there were clients changing their minds about commissions, asking for refunds after work was delivered, refusing to pay, or just ghosting me. These issues didn’t happen because clients were evil, but rather because I was inexperienced and allowed some to take advantage of my naivety.

However, all that frustration helped me develop my commission process through trial and error (mostly error). And despite the challenges, I can say with satisfaction that most of the commissions I received through my DeviantArt profile were positive experiences.

DeviantArt eventually introduced a commission feature for Core (Premium) users, which came with a platform fee, but I didn’t use it much, and I’m not sure if it still exists.

The real beauty of dA, though, was the connections I made. I was able to meet people, both artists and clients, that I’m still in contact with today, and some of whom I still collaborate with.

I closed my account in 2018 or 2019, but by that time, I hadn’t really used it for a couple of years. The new user interface was a bit of a turn-off for me. I had always loved the geeky, and dare I say cozy, look of the old green and grey aesthetic, with its customisable panels that you could move around and personalise with HTML code... But I digress.

Artists and Clients

2013-2016

While taking small commissions on DeviantArt, I discovered Artists & Clients. It was a nice platform for clients to get things like their D&D characters or groups illustrated for relatively cheap. I think my highest price was $50 for a single character portrait, with the platform taking a 15% cut. I used it for about two or three years before the platform started to change.

As more artists with hentai art styles flooded in, the homepage shifted, and so did the clientele. There’s nothing wrong with drawing naked anime girls, of course, but you can understand that if a client is looking for a fantasy, semi-realistic painting of their female orc character, or a realistic portrait of their spouse, it's more than likely that they won't bother sifting through a sea of anime girls to find the style they want, imagining it isn't here. Let's just say that, at the time, the website took a definite direction that wasn't in line with my genre, but this direction didn't make the different, more realistic art styles stand out either.

Soon, commissions slowed down for me, so I closed my account, but by then I was already working elsewhere.

That said, this platform could still be a useful tool if you’re looking to take on smaller commissions.

DreamUp

2014-2015

DreamUp wasn’t an AI generator back then. It was actually a subsidiary of DeviantArt, where clients could post projects and artists could apply. It was a competitive platform that offered well-paid work–very well-paid. I remember seeing jobs posted that ranged from $300 to $1,200. DreamUp was a very professional platform for clients with a mid to high budget.

I believe I landed my very first book cover commission through this website when I was in my last year of high school. I remember getting the job and going to school the next morning, excited to share the news with my classmates. Everyone was super thrilled for me (we were a really close-knit class!), and I felt like I was walking on air.

Unfortunately, as far as I know, that book was never released, but it didn’t matter because I was moving forward, and fast.

I’m not sure when DreamUp was shut down, but I do know that DeviantArt held onto the copyrighted name, assigning it to something so anti-old DreamUp that it still boggles my mind.

ArtCorgi

Now Artistree

2014-2019

When I received an invitation to join ArtCorgi from its founder, I already had a somewhat consistent portfolio. I was painting portraits and fantasy illustrations, and the clients on this platform were looking for both–your typical wedding and pet portraits, as well as book covers, which were what really interested me. To get to the latter, I had to do the former. Over the years, I’ve painted so many realistic portraits that now I have a strict rule for my own sanity not to do them any more. I have great respect for portrait artists, but it’s just not me.

When I first submitted my prices to the person I was in contact with, she kindly suggested that I raise them... a lot. That was a major step forward in my professional career. I went from charging $50 to $100/$200 overnight. And to my surprise, people actually wanted to commission me at those prices!

From 2014 to 2019, I took nearly every commission that came my way. I never spoke directly with the clients; all instructions and feedback went through my point of contact, which helped maintain a level of professionalism, although now that I’m used to working directly with clients, I’m not sure I’d want to go back to having an intermediary.

Sadly, as with all good things, this chapter came to an end. My point of contact eventually left communication in the hands of someone else, and shortly after, the commission fee changed to, I believe, 30%.

Simply put, 30% is an unrealistic cut for a website like this. For an agent that gets you all kinds of big work in the publishing industry, sure, but since this was not the case I had to stop taking commissions. Despite that, my overall experience with ArtCorgi was very positive.

Today, ArtCorgi joined another platform, Artistree. As far as I can tell, Artistree doesn’t take any fees from artists, with clients covering a small cost instead.

Sketchmob (?)

2016-2020

This was probably the platform I used the most. I’ve lost count of how many commissions I received through Sketchmob. Many. Enough to generate a steady income at the time. With reasonable fees and a variety of art styles available, clients contacted me almost daily. Communication was direct between artists and clients, and payments could be split. The review system also worked very well… for a while.

Once I raised my prices, requests became fewer and farther apart. But by then, I was already working with my own clients.

Is this platform still active? Who knows. The website is still up and the chat feature works, but I’ve seen users complain that money available for withdrawal never arrived via PayPal (the only payment method the platform accepted, if I remember correctly). Personally, I wouldn’t risk completing a job through Sketchmob right now, at least not until they release an update.

If you’ve used the platform recently and successfully received payment within the last six months, please let me know, and I’d be happy to update this section!

Upwork

2017-2019

In 2017, I was determined to break into the book publishing industry. After trying out Fiverr and Freelancer.com with no success (the competition was too fierce for someone just starting out), I decided to give Upwork a shot. The platform looked very professional, and while the process sounded a bit complicated, I wanted to land the interesting projects I saw featured in my category. I really wanted to work with a big client… but big clients didn’t seem to want me, despite having the Rising Talent badge.

In two years of bidding for jobs and submitting proposals, I only landed two projects: a small commission from a private client who actually reached out to me, and another project that I bid on.

Don’t get me wrong, I was ecstatic at the time and truly appreciated every opportunity that came my way. But looking back, I can see why Upwork didn’t work out for me. The platform just wasn’t the right fit for my style and niche, which is fantasy illustration. Graphic design, however, was (and still is) in much higher demand.

The commission process on Upwork wasn’t as simple as on other platforms. For instance, at the time, costs were calculated hourly, which was a challenge for someone like me who prefers working with flat fees (having already calculated my average hours spent on an illustration). From what I’ve seen, this has since changed.

One positive aspect of Upwork is its current 10% cut on what artists earn. I don’t recall if this has changed over the years, but 10% is quite reasonable in my experience. Of course, 0% would be even better, but for a platform as large as Upwork, 10% is fair.

Illustration Agency

2019-2021

By 2019, I had built a solid, consistent portfolio thanks to my personal work and commissions. I had a simple website in place, my Instagram following was growing… I was steadily working toward my goal of illustrating covers for big publishers (which didn't happen until two years ago).

So, when an illustration agency reached out to me one day, I was over the moon. I had always heard that artists were the ones who had to approach agencies, not the other way around.

Well, that should have been my first red flag.

I won’t name this agency because, unfortunately, I have nothing positive to say about it. In fact, the word “nothing” perfectly describes my involvement with them. Nothing came of this barely there experience.

The agency invited me to sign up, not on an exclusive basis, but they assured me they’d get me work. That work never came. Once in a while, I’d receive messages saying they were trying to pitch my portfolio to a French publisher or another client, but... nothing.

Please understand that meanwhile I was already working directly with shops and authors, so I don’t believe my portfolio was the problem. The real issue was something I didn’t realise at the time: some agencies do this. They feature talented artists in their catalogue without having actual clients lined up, just to appear more professional and credible to potential clients. Did this strategy work for them? Maybe. I’ll never know.

In 2021, I politely asked them to remove my portfolio from their website, and that was the end of it.

After that, I never actively sought out an agent again. By the time my portfolio was strong enough to approach a serious agency, I just didn’t need representation anymore.

Hireillo

2019-2022

My experience with Hire an Illustrator, or Hireillo, is mixed. At the time, Hireillo was a platform that hosted artists' portfolios, featured artist-submitted news, provided useful articles, resources, and directories of artists and agents. I joined the site hoping to catch the eye of publishers, but I was mostly contacted by authors and one fellow artist for a graphic novel.

Unfortunately, most inquiries didn’t go beyond the first couple of messages due to budget constraints. I did, however, have fun sharing news about my painting process and projects I landed on my own, which were often featured by the website. Additionally, if I had questions about 'complicated' things like copyright, or just needed advice, I could ask the website’s owner and that was incredibly helpful.

Despite these benefits, I didn’t see any real results, which was a little disappointing. The subscription fee was also... odd, for lack of a better word. $5 per week. In the end I just couldn’t justify the cost, so I stopped using the website altogether.

Reedsy

2019-2022

Finally, we come to the turning point.

I remember stumbling upon Reedsy randomly. It wasn’t very well known at the time, and I think it still isn’t. I was nervous when I submitted my portfolio because their catalogue features the best of the best: designers who’ve created covers for bestsellers, THE bestsellers, people who’ve worked on Stephen King covers, or George R.R. Martin's. Designers, editors, and marketers who are veterans. I didn’t have high hopes for my application. So, I was in shock when it got accepted.

I had an introductory Skype call with a representative from Reedsy, who explained how everything worked. Before the call ended, I remember asking if there was a good chance I’d get work through the platform. The rep laughed and said, “Yes.”

A few weeks in, I understood that laugh.

Reedsy has an overwhelming demand for book covers and commercial projects. For every designer there are many more clients. In peak seasons, I was getting requests almost every day. I’m not exaggerating.

Reedsy transformed my portfolio and my pricing structure. Thanks to the income I earned through the platform, I was finally able not to take everything that came my way but be selective and choose only the projects that really interested me.

The commission process is simple: artists pretty much decide how to split payments, what to include in agreements, and the best part, the most beautiful and helpful feature of all, they can request and adjust deadlines. For someone like me who's terrible with deadlines, this feature was a lifesaver. The admins are also very kind and responsive, available via email or chat.

Unfortunately (this is my last 'unfortunately', I promise), my time on Reedsy came to an end for personal reasons. I’ll explain since it’s no secret.

All my images on Reedsy were watermarked with my signature (my full name), which apparently violated the platform’s rules. Why? Because if a client saw my last name, they could contact me directly and bypass Reedsy, which meant the platform lost potential fees. I’ll admit this did happen a few times, but I had the good sense to redirect the client back to Reedsy.

After three years, an admin finally noticed and asked me to remove my full name from the watermark and any text on my profile. It was a simple and reasonable request, but here’s where the problem started. Profiles on Reedsy are public, and images appear in search engines like Google Images, meaning anyone could download my work and use it without permission. Sure, watermarks can be removed, but uploading my work without one in the first place felt like a bad idea. Btw, not only do I use watermarks, but I also use Glaze to protect my illustrations before sharing them online.

Anyway, for this reason, and also because I couldn’t get over the fact that full names were public at the time, something I won’t get into because, believe me, I tried over email, and my reasons went into the void (now, last names are just initialised, like Gabrielle R. Okay. Sure.), I had to close my account–they would have done it anyway because it was already 'flagged'.

Overall, if you’re willing to overlook the last name conundrum, I can’t recommend Reedsy enough. If you have a killer, solid portfolio and a love for books and editorial projects, go for it!

--------------------------------------------

I hope you'll find this useful! If you have any questions, please don't hesitate to ask (: Oh, and here's an old article I wrote in 2020, titled:

Tips to freelance illustrators to avoid being screwed over

Who knows, maybe I'll write another 'article' post in four years!

Instagram  - ArtStation - Website - Inprnt - Etsy - TikTok

[genericpuff]

SO I just got my stay-flats in for mailing prints which means I'm one step closer to getting my online shop open <3

But what I WASN'T expecting to also show up inside the box of mailers was my pre-order copy of Covenant!

Apologies in advance because my photos aren't the greatest, but I wanna share some pics of it because I'm really impressed with how these books look and feel.

For starters, the actual cover designs. The front cover features stunning art and has a nice gloss cover, whereas the backside actually has a softer matte feel with gloss golden text which compliments the overall aesthetic of the book very nicely.

As for inside the book...

I was so relieved to see how well the formatting was done. Those who follow me here know I spend a lot of time bitching about webtoons-related stuff and one of my biggest gripes is how the webtoon format overall is very unfriendly to long-term publishing, as many creators don't anticipate eventually formatting for print (and Webtoons certainly hasn't helped as for years they've perpetuated the notion that print books are "dead", at least until it came to them making money 🍵) It's not an easy task to convert a vertical webtoon into a page format comic, but I'm happy to say that Lysandra's team here knocked it out of the park. The panel and text flow is smooth and easy to follow, they always take full advantage of the page space given to them, and the overall structure of every page feels very well thought out to work for the story it's trying to tell (as this is an action comic with fight scenes which can be tricky enough to pull off in page format, let alone converting from vertical format!) They've also gone out of their way to properly format the episode divides, so episodes (or as they're called in the story's stylization, "books") flow seamlessly with very little breakage, unlike what you would find in some webtoon-to-print books that often find the flow interrupted by episode title breaks every few pages. According to the credits page in the front of the book, we owe a lot of the formatting to layout designer Miranda Mundt and book designer Carey Soucy! Well done!

The print quality of the pages is also superb, printed on high-quality glossy paper which makes for stunning colors that have translated well from web to print. The darks are very dark which is necessary for a comic like Covenant which has a very earthy color palette; but when there ARE color pop moments of pink, red, and blue, they really shine. Of course, there is a downside to this, which is that the glossy paper WILL show your thumbprints in the darker areas (especially if you have particularly oily hands like I do, ech) but hey, it adds character and it's worth seeing the comic's art come to life on the glossy paper.

Sooo yeah! This is a very competent and well-made book from an awesome creator and if I have ANYTHING to snipe about just for the sake of it, it's that it's no wonder Webtoons tried to keep the creator from promoting their book launch, because it frankly outdoes a lot of WT's own publishing efforts LOL Congrats on your book launch Lysandra, I'm looking forward to getting my hands on Volume 2! <3

[writing-for-life]

How To Collect The Sandman

I wrote about this a while back, but I thought these videos are actually really great to see the differences and give a really good and comprehensive overview.

What’s missing above are the new Netflix-stickered books (content-wise, the Helm edition is actually a leather-bound version of them). They are softcovers and also cover the whole arc (including Endless Nights, Dream Hunters and Overture, but not Death). You can check what they look like here (there are meanwhile six books, not four, this video was made before the last two came out):

The above softcovers are currently probably the most cost-effective way to collect the whole run, closely followed by the collected TPBs and the Deluxe. Of course there’s always the option to get them as ebooks as well (either individual issues or the volumes) if you prefer to read online. I got the new Netflix-stickered books as online copies to have when travelling, or for referencing panels on here. Amazon sometimes has an offer for them—I got all six for the equivalent of under $30, so it’s worth keeping your eyes open.

I started with the individual floppies pretty much when they came out, then got the TPBs and eventually got the Deluxe because I wanted to stop handling the first editions so much/prevent them from falling apart. I personally really recommend the Deluxe (it’s 7 volumes if you also get Deluxe Overture and Death, only 5 if you stick with the main run) because they are a good compromise between the advantages of a full HC collection that still isn’t too uncomfortable to read at the same time. I also have the Annotated versions for reference, but they aren’t good for reading because they are massive and heavy. They’re also completely b/w.

And if you want to go completely over the top and just stare at the art like me 🙈, you can also get the Gallery Editions:

I’ve at least seen/handled all of these, so if you have any questions or are unsure about their contents, just ask 🙂

[laboratoryrats]

Note to Self - Word Balloons: A Study

(No spoilers, don't worry)

14 total comics to compare against, across genres with half as traditionally printed comics and half from webcomics. While not an exhaustive list, should be enough to start to give some idea about preferences.

Text Type: Either fully capitalized (EXAMPLE) or with mixed case (Example)

All Caps versus Mixed Case

Mixed Case vs. ALL CAPS for all comics

Mixed Case vs. ALL CAPS for Traditional Printed Comics AND for all webcomics (same results)

A slight preference for the traditional method of writing out word balloons with text in all caps

Spacing Between Text and Outer Balloons

Min Spacing versus Regular Spacing versus Max Spacing

Spacing between text and outer balloon for all comics

Traditional comics are basically evenly split between a normal spacing (about the width of a letter) and min spacing (which leaves essentially no room between the text and the balloon)

Traditional comics slightly tend toward a minimizing the spacing between the text and the balloon

Spacing between text and outer balloons for webcomics

Webcomics are split between between a normal spacing (about the width of a letter) and extra spacing (which can sometimes double or triple the distance between the text and the balloon). Webcomics slightly tend towards adding additional space between the text and the word balloon

Word Balloons Within or Outside the Panels

Within Panel versus Outside Panel

Whether word balloon (typically) lie entirely within or can exist outside the strict space of the panel

This is perhaps the most obvious difference between webcomics and traditional comics. All traditional comics in this set only have word balloons that lie within the panel, while all the webcomics typically have there word balloons lie outside their panels

Conclusion

As reductive as it sounds, the overall conclusion is that any combination of word balloon choices are well represented in both traditional and webcomics. The only noticeable difference is that webcomics tend to take greater advantage of the negative space between panels by moving their word ballons out of the panel borders

Resources (and Comic Recommendations)

Format: Print (Traditional)

Fables by by Bill Willingham, Lan Medina, Steve Leialoha, Craig Hamilton, Sherilyn van Valkenburgh

Nimona by ND Stevenson

Bone by Jeff Smith

Ghostopolis by Doug TenNapel

Saga by Brian K. Vaughan, Fiona Staples

Tintin by Hergé

Superman: Red Son by Mark Millar, Dave Johnson

Format: Online (Webcomic via Webtoon)

Marionetta by Míriam Bonastre Tur

Suitor Armor by Purpah

Castle Swimmer by Wendy Lian Martin

Cursed Princess Club by LambCat

Lore Olympus by Rachel Smythe

Space Boy by Stephen McCranie

The Dragon Tutor by Mar_Mai

[graysoncritic]

A (Negative) Review of Tom Taylor's Nightwing Run - What Went Wrong? Bludhaven (PART 2)

Introduction Who is Dick Grayson? What Went Wrong? Dick's Characterization What Went Wrong? Barbara Gordon What Went Wrong? Bludhaven (Part 1, Part 2) What Went Wrong? Melinda Lin Grayson What Went Wrong? Bea Bennett What Went Wrong? Villains Conclusion Bibliography

Instead, Taylor readily abandons the statue just as soon as it is introduced. We don’t return to it, we don’t even use it as a set piece that can ground Bludhaven and make it feel like an actual place. It doesn’t make an appearance in any covers, nor in establishing shots. In fact, even its thematic symbolism is forgotten when Alfred’s statue is built. Such a decision is especially infuriating when one considers the fact that not only would Alfred hate having a statue in his honor, but that Alfred means absolutely nothing to the people of Bludhaven. He means something to the reader, but not the citizens of the city that Dick is meant to protect. In this, we see how once more Taylor’s online mindset interferes with his storytelling, replacing a set piece that was tied to the in-universe history of the city he was writing with fanservice.

By contrast, Humphrie’s Bludhaven is filled with specific locations that are unique to, well, Bludhaven. We have the different casinos

(Humphries, Sam. Ruthless, writer. Janson, Klaus; Campbell, Jamal, illustrator. Nightwing: Rebirth no. 37, e-book ed. DC Comics, 2018. pp. 22)

The Tiki District

(Humphries, Sam, writer. Chang, Bernard, illustrator. The Untouchable: Chapter Two: Relentless. Nightwing: Rebirth no. 36, e-book ed. DC Comics, 2018. pp. 13)

Which greatly contrasts the darkness of the docks…

(Humphries, Sam, writer. Chang, Bernard, illustrator. The Untouchable: Chapter One: Hunter. Nightwing: Rebirth no. 35, e-book ed. DC Comics, 2018. pp. 17)

And the melancholy of the sunken city

(Humphries, Sam, writer. Jimenez, Phil; Campbell, Jamal, illustrator. The Untouchable: Chapter Five:Face Off. Nightwing: Rebirth no. 39, e-book  ed. DC Comics, 2018 pp. 05)

All of it is so specific that it makes Bludhaven feel alive. It gives Bludhaven an identity rather than keeping it a generic location.

Let’s take a closer look at the establishing shot of the sunken city and see how the page is laid out to emphasize the storytelling going on in the dialogue and enrich Bludhaven. There's something so visually poetic about that last panel. The intimacy between the Judge and Nightwing, the opulent throne atop a simple boat in a sunken, destroyed home. 

It feels a bit like a visual metaphor for Bludhaven and corruption. Bludhaven is thriving because of the casinos, but they are also corrupt. And yet, despite their rich aesthetic, they are built on top of a tragedy, of a city that was lost and had to rebuild itself, taking advantage of a corrupt system that devastates its citizens while also being the only thing keeping them from drowning. 

The lighting of the page is also so beautiful. Light coming in from above, appearing almost heavenly, and yet it makes the scene so still and lonely

During Dixon and Grayson’s runs, and during Taylor’s run, Bldhaven does not have an identity outside of Gotham and Nightwing. It is difficult to describe it without relying on those two factors. It is not impossible, of course, but those descriptions would be rather bare, relying on what one wishes Bludhaven could be rather than what is actually on the page.

In The Untouchable, however, Bludhaven can be described independent of Gotham and Nightwing. Yes, those elements are still crucial to its depiction, but rather than being all that there is to it, they serve to enhance what is already there. Dick’s interactions with people from Bludhaven further fleshes out the city while also demonstrating that they have their own lives outside of their meetings with Dick or Nightwing. Guppy, Svoboda, Lucy, Dick's clients at his gym... All of them are clear products of Bludhaven, they are affected by what happens in Bludhaven, and they interact with different parts of Bludhaven. Because they are characters with their own interiority, the reader really is able to feel the consequences of the Judge's actions. 

Yet, Taylor and Redondo both refuse to pay Bludhaven any of the attention it deserves. They do not even give it the respect of making it into Gotham-light. Instead, they opt for the generic, lazy, and morally simplistic depiction that is yet more proof of just how little thought they give to anything remotely related to Dick Grayson.

Bludhaven, as it exists in The Untouchable, was built on top of a corrupt foundation, and its systems are so intertwined with the rot that you can't neatly separate them. There's no easy answer to this, no solution without a victim. It adds some nice stakes to the story, creates constraints which Dick must creatively work around, and demonstrates how Nightwing’s fight is far larger than just The Judge. It illustrates how even if Dick catches this one guy, he still has so much more to do, creating a perfect comic status-quo where the hero can progress and make a difference without eliminating conflict sources for future stories.

Through the Judge, we also get to see Bludhaven’s history, and through this evolution, we also get to see just how much Humphrey cares about Bludhaven. I have yet to encounter another writer who has devoted so much care to Dick’s city. I have yet to encounter a writer who put so much effort into making this city feel alive. Gotham is beloved by many writers and fans alike, and The Untouchable showed that Bludhaven has the potential to be just as great if only it was given to a writer who cares enough to develop it. 

Needless to say, Taylor is not that writer.

(Taylor, Tom, writer. Redondo, Bruno, illustrator. Leaping into the Light Part 4. Nightwing: Rebirth. 81, e-book ed. DC Comics, 2021. pp 13)

While this may be wholesome, the truth is that by giving such a triumphant moment early on in the story, Taylor robbed his characters of any opportunity to change, and any opportunity for a well-earned pay off later. In turn, this robbed the story of its ability to engage with its themes by creating a very simple morality. Evil can be manifested in different ways and anyone is capable of it. Perhaps not all of us will be uppercase Evil, but we're all capable of the smallest acts of lowercase evil by letting our anger blind us to what is right, not helping others because we tell ourselves we have to survive, upholding unfair systems because they benefit us.

The city of Gotham does something similar. We have the evil of the rogues, but we also have the crime families, a myriad of corrupt institutions -- from the police department to the justice system to the politicians who are in the pockets of those on the top – and the ordinary citizens who have been disillusioned by the hardship they face. We have greed on a massive scale but also a small and personal one that is far more relatable, we have chaos of the Joker and we have more relatable pettiness, selfishness, apathy, and cruelty. 

Some of these play a larger role than others, their influence has a wider reach, but it is the different layers that makes Gotham feel so difficult to tackle. There’s a reason why Batman's origin story works best when it's just about a mugging gone wrong, and when Joe Chill is just a simple man who fired two shots in a dark alley because he wanted a pearl necklace. There's a reason why Bruce stays in Gotham rather than trying to save the entire world all the time. Batman, after all, is not about fighting the just grander Evil, but about bringing justice to everyone, even in what may be perceived to be a small scale. 

While I do not believe Batman: The Knight was perfect (and, indeed, I have a lot of problems with it and dislike Zdarsky’s current Batman run nearly as much as I dislike Taylor’s Nightwing), I do think that Zdarsky did a good job when having Ra’s Al Ghul confront Bruce on this matter. 

In #09, Ra’s challenges Bruce to work on a macro scale, and Bruce explores that idea before deciding he needs to work on a more personal level.

(Zdarsky, Chip, writer. Di Giandomenico, Carmine. The Knight Part 9. Batman: The Knight. 09, e-book ed. DC Comics, 2022. pp 13)

Bruce’s world did not fall apart because of a war or an alien invasion, but that did not mean his pain is invalid. There might be far more important things than catching a mob boss who orchestrated the murder of two circus acrobats, but that doesn’t mean that their lives did not matter or that their son does not deserve to see justice. One of the beautiful things about the detective stories of Batman and of Nightwing is that they treat everyone’s trauma with equal respect. Batman and Nightwing aren’t just about catching the bad guy, they are about giving the victim a chance to heal by offering them closure. 

You can also observe the dichotomy of these two evils in The Untouchable. The entire plot of The Untouchable is about the Judge using people’s desires to corrupt them, luring them into committing evil deeds. At the same time, the story does not condemn those who fell prey to the Judge’s promises. Instead, it portrays them as complex individuals, and this reaffirms the themes of corruption through desire and the necessity for forgiveness.

Lucy, for example, is not vilified for betraying Dick. She did the Judge’s bidding, but she is not a bad person. She is still Dick’s friend and cares deeply for him. And yet, her choices are not portrayed as excusable. The comic perfectly balanced having Lucy not be a bad guy for what she did while also making it clear that she was still in the wrong for accepting the Judge’s offer. She is not Evil but she made an evil choice and she needs to be held accountable for that. 

This plays into the idea that to Dick, people are not naturally Good nor naturally Evil. They just are who they are, they have the potential for both, and it's their choices that dictate their nature. 

(Humphries, Sam, writer. Chang, Bernard, illustrator. The Untouchable: Chapter Six: Deep Dive. Nightwing: Rebirth no. 40, e-book  ed. DC Comics, 2018. pp. 18)

And as mentioned previously, Grayson also played with such ideas when she introduced the character of Sophia into the story. 

Taylor flirts with similar ideas without ever committing to them. His Bludhaven supposedly has corrupt institutions, big men on top who oppress others in order to stay rich, but to lay every wrong and every sin in the city at Blockbuster’s feet is morally simplistic. It's flattening. Immature. It's, frankly, boring. It just doesn't work on a narrative level. Most importantly, it makes Nightwing's presence superfluous.

Once more, I must emphasize that I do not believe that one must incorporate a social commentary in the themes of one’s story. However, as Taylor's narrative seems to signal he wants to discuss these matters, I think it is only fair to point out how his actual writing is uninterested in examining the complications inherited in these subjects. Taylor wants those big, meaningful moments that claim to say something thematically important, yet he creates easy-to-take down strawman villains who can take the blame for everything while wrapping them in the trappings of social commentary. 

Nothing in Taylor's supporting characters, conflicts, villains, or city were created to challenge Dick in any way. Part of the reason why you can feel Bruce's genuine love for Gotham is that that city is always challenging him, always giving him a reason to give up, but Bruce never does. Again and again, Gotham shows itself as a place that perhaps should not be saved, that is too rotten, literally cursed to bring out the worst of humanity. It would be easier to burn the whole thing down and start new. 

But Bruce doesn’t do that. He still sees something in Gotham worth saving. No matter what he uncovers, Bruce won’t give up, and that makes us, the readers, root for Batman and root for Gotham.

Bludhaven should challenge Dick in a similar way. But in this run, it doesn't. Dick's assertion that the citizens of Bludhaven are good and there are only a few bad apples ruining it for everyone is never challenged. Dick is never asked to question his beliefs. When he decided that the solution to one of Bludhaven's biggest problems (homelessness) was just to create a shelter, Dick is never challenged for his savior mentality, he never faces push back from those above him or below, is never paralyzed by bureaucracy, never has to deal setbacks that force him to re-strategize. He's just... Proved right. And everything goes on smoothly. 

Taylor’s approach gives Dick no room to grow and no room to stand his ground. I can’t help but think how much more powerful Dick’s own belief in Bludhaven and its people would have been if, during that earlier scene when the tent city was in flames, no one came to help. Nightwing and Robin would have had to save everyone on their own, and Dick would be faced with the difficult to swallow possibility that maybe he’s wrong. Maybe the people of Bludhaven are too disillusioned to do good. Maybe Babs and Tim, both characters who are known for being pragmatic, would even tell him so. But he refuses to accept that. As he looks upon the octopus statue, Dick affirms  the resilience of the city and how it does not need to come at the cost of kindness. Bludhaven is worth saving, its people are worth saving, and Dick will continue to believe in them, even though he was just given a reason not to. 

Again, I must emphasize that it is fine if a person is not interested in writing a story about this. Not every superhero story needs to explore these real-world, complex themes. One of my personal favorite Batman stories (and one I believe should be required reading for any Batman fan) is Murderer/Fugitive. While there are certainly themes of forging of identity, the story is far more concerned with what the forging of one’s identity means in the specific context of Batman rather than that of the real world. That is not to say you couldn't do an analysis on identity about Murderer/Fugitive, but the work as a whole serves more as a commentary on Batman, and it is in conversation with the popular idea that "Bruce Wayne is the mask that Batman wears." 

And just because one wishes to engage with themes of class and economic inequality, it does mean one needs to tackle it directly. Again I must bring up the modern masterpiece that is Scott Snyder’s Court of Owls. That story beautifully uses the fantastical and noire elements of the Court and the creation of the Talons to engage with themes of wealth inequality and to explore Bruce’s complex relationship with Gotham. The secret cult, of superhuman assassins, and the murder mystery element provide enough distance between the real world issues and the story itself that Snyder has the creative freedom to play with his characters and narrative while the specificity allows him to dig deeper than he ever could should he have decided on going for a broad approach.

Taylor tries to ground his themes by using real-world issues, but he refuses to engage with what those real-world issues look like in, well, the real-world. He deals with them in the context of his morally simplified, perfect little society. As Braxis perfectly pointed out “When Dick starts a charity to help the homeless he never actually explains how that will be done, what causes homelessness, or what the homeless are asking for support.” (Braxi, Steve, “On Superman, Shootings, and the Reality of Superheroes” Comics Bookcase, September 2021)

Taylor’s Bludhaven demonstrates a frustratingly simplistic view on morality that prevents the story from engaging with these issues with the care they deserve. By not fleshing out the city, by denying Dick’s interactions with other characters, Taylor creates a world of simple morals. This means that rather than engaging with the progressive ideology he claims to care about he is simply creating the appearance  of social commentary and rich themes. This demonstrates that he’s not actually interested in the work required to make that work, only the prestige that comes from it.

[littlemissmanga]

1 or 8 from the spicy prompts for tech?

Ok, look I was 100% going to choose 1 since I've written a few praise ones now. But it's Tech, and lord do I think that man can control me with just his voice so I'm going with 8 again, "“Seems like someone likes to be praised.” Though I've taken a little liberty with the exact phrasing to fit Tech's speech patterns better.

I hope you enjoy, Nonnie!

Pairing: Tech x gn! Reader

W/C: 375

Warnings: hand job if you squint, spice adjacent, delicious delicious Tech dirty talk.

“You’re not quite there. Try rotating your wrist clockwise slightly.”

When Tech asked you to stay behind as the rest of the group went to scout and grab supplies, this wasn’t the “helping” you thought he had in mind. But ever goal-oriented, Tech wasn’t likely to indulge you or take advantage of this rare moment of privacy while his precious ship needed his attention more. So you followed his requests, which is how you found yourself pressed tightly against him under the control panel, your smaller hands able to grab the wires he couldn’t to reconnect them.

Heeding his instruction, you twist your hand and immediately hear the click of the cooling system coming back online.

“Got it!”

“Indeed.” Tech skillfully slid out from under the console, his firm grip on your hips pulling you along with him as he stood. “Excellently done, darling.”

You beamed at his words, letting a pleased smile sit on your lips.

As with everything, Tech noticed.

“It would seem someone enjoys being praised,” he teased, taking your hand in his.

You rolled your eyes playfully. “Like that’s news to you.”

“Hmm, I may have noticed previously.” Tech pressed a light kiss to your knuckles, never breaking eye contact as he did. “We have a bit more maintenance to perform. I do not doubt there will be plenty of opportunity for you to earn more praise.”

“More work?” You tried, really, to keep the whine out of your voice, but sometimes Tech’s single-minded drive drove you crazy.

“You’re off to a poor start. I said maintenance, not work.”

With a smirk that could rival Crosshair’s, Tech brought your joined hands down to brush against his crotch. Immediately, you let your fingers trail lightly over the outline of his hardening cock, smiling yourself at the shiver that went through him from the sensation.

“Just like that. I knew you would understand what I want,” Tech crooned, leaning forward to rest his forehead against yours. His eyes bore into yours as he wrapped his arm around you to pull you closer, holding you tight against him.

“Now, my clever pet, be good and help me resolve this little … problem, and I shall ensure your reward is one befitting of your talents.”

[ingek73]

Meghan says she suffered ‘hateful’ online abuse while pregnant

Duchess of Sussex finds the ‘cruel’ hatred being ‘spewed’ online disturbing and keeps her distance for her wellbeing

The Duchess of Sussex has said she received hateful abuse on social media while she was pregnant with Prince Archie and Princess Lilibet.

Meghan gave a keynote speech as part of a panel that included the US actor Brooke Shields at the annual SXSW Conference in Texas to mark International Women’s Day.

When asked how she tackled the “seemingly endless toxicity” aimed at her online, Meghan said: “It is really interesting as I can reflect on it, I keep my distance from it right now for my own wellbeing, but the bulk of the bullying and abuse that I was experiencing on social media and online was when I was pregnant with Archie and with Lili.

“You just think about that and really wrap your head around why people would be so hateful – it is not catty, it is cruel.”

The former Suits actor said she found it disturbing that women were “spewing” hatred at each other online, adding: “I cannot make sense of that. If you’re reading something terrible about a woman, why are you sharing it with your friends?

“Why are you choosing to put it out in the world, what if it was your friend, or your mum or your daughter, you wouldn’t do it.

“I think that is the piece that is so lost right now [with] what is happening in the digital space and in certain sections of the media – we have forgotten about our humanity and that has got to change.”

Meghan said when she was 11 she wrote to Procter & Gamble and got an advert changed, from saying dishwashing liquid was for women to instead for people all over America.

She said: “It’s funny to look back at it now as it was before social media, where you had a reach that was so much greater, it was just an 11-year-old with a pen and paper, but goes to show if you know there is something wrong and you’re using your voice to advocate for what is right, that [can] really land and resonate with people. Your voice is not small, it just needs to be heard.”

Shields joked: “This is one of the ways we’re different, when I was 11 I was playing a prostitute,” recalling her starring role in 1978 film Pretty Baby.

During the session, Meghan also emphasised that “representation matters”.

“The key thing that I think needs to be focused on in terms of equity is it’s not a zero-sum game, just because someone else has the same advantage that you do doesn’t mean that you’re losing anything, and actually create an environment that is so inclusive, where people feel as if they have a seat at the table – as they should,” she said.

[infini-tree]

now for something completely different (and something of a third anniversary post)!

as i’ve stated once in a while about the music room scene in the comic: it was one of several scenes i’ve been extremely excited to draw. its gone through a lot of revisions, which is detailed here.

it, along with captain’s first appearance was literally one of several reasons why this part of sticky notes au exists as a comic as opposed to just writing it as a fanfic. sure, it may have taken less time to write, but words can’t really compare to the buildup, gutpunch, and subsequent tone shift that came with that one scene.

i’ve literally been revising this one specific part since october 2020, which puts into perspective as to how long i agonized over it (for reference, the scene went live online in fall 2022*). so have that process to the lead-up to the snap.

* (disclaimer: a good chunk of the scene was in my drafts for months prior to its posting, but you get the idea.)

late 2020 (pics 1-2): 

the original plan was for krupp to fall. i never figured out how or why-- maybe he just slipped on some vc-barf! i think some versions had him additionally fall back into the stairs as a result of that. but in that moment the boys just took advantage of that moment and snapped their fingers to switch him over before he hit the ground. this was also back when krupp also knew the method of switching, hence his hands in the first pic.

early 2021 (pics 3-5): 

still had the concept of krupp knowing about snapping, but i swapped it to the idea to him learning it right at the moment before he switches over in the coming months. early sticky notes krupp and captain are learning how this works and having their initial assumptions about the other challenged, so i figured it would be the more appropriate story beat for the whole thing at the time.

i don’t remember the context of the comic thumbnails in the 4th photo, i think i was just playing with how the snap itself was going to be illustrated. but the right panel was a different version of it. krupp was initially supposed to say... something. i don’t think i planned that out in specifics, but the point was that he was supposed to be genuinely afraid. the hand was going to come into view, and was blurry. when it snaps, the hand is the one in focus and krupp is blurry. the change in focus is all symbolic. here’s my original commentary on the subject:

theres going to be a future page where the boys start talking but it just continues to linger on krupp's pov for a lil bit and how he feels abt the boys just being v casual and callous about the fact that theyre making him fight a monster (semantics about how its CAPTAIN whos gonna fight notwithstanding)

before yanking the pov back to the boys for some sweet sweet dissonance

a version of this dissonance does make it in the final comic, so there’s that.

2022 (pics 6-9): 

we’re almost there folks. the trio of poses (and gif made of those 3 poses) was from a version of events that had less block-busting. basically, the gag eel was at the door much sooner, and running out of options, the boys essentially say “the stealthy [prank] option isn’t working, he’s dry enough, we have to do it now”. krupp is confused and panicked on the fact that there’s a monster and this whole bit in the music room was a set-up. 

he starts panicking and hurling accusations/theories about how they did it. he even had a throwaway line along the lines of “did you steal one of melvin’s inventions [to make me into captain]”. that line was immediately scrapped since mentioning him felt a little out of left field at this point of the story and i wanted to keep the scope small.

while in this version of the thumbnails, the frames were meant to gradually zoom in to krupp’s face, i did do a set of full body poses just in case i did want something more than a waist up... mostly to make sure if krupp’s pose and hand placement could be feasible

note the fact that he’s covering his head but not his ears. he’s really working off of assumptions

[starcolonelkatrinamoon]

Death and Glory

The sound of impact guns rattled through the FOB camp of Clan Smoke Jaguar. It was all hands on deck for refit and repairs and they were behind schedule with ten mechs that needed major work.

New orders had come down from above. Instead of an assault on Falaise, they were to be interdicting the superheavy column. That dictated an entirely separate kind of tactics and warfare that they were not originally prepared for. To that end they had called in Gorgon Star - part of the untouched Supernova they had left in orbit. And they were going to need to move fast.

Five HBK-IIC “Gorgon”s were readied at the edge of the encampment to head out, along with their accompanying support elements. Up-engined J-37 transports loaded down with tons of ammunition and a couple industrialmechs with loading mechanisms for swiftly changing out the bins of belted ammunition. The five mechs had a near-standard CSJ Alpha Galaxy paintjob with one exception: a head of snake hair, painted over the cockpit and rear reactor cowling. 

Katrina finished final warmup checks of her own HBK-IIC. All of the communications systems had connected with her helmet correctly. She hoped that stayed the case, even with the left torso EW pod operating at full spectrum. She toggled the painfully familiar power panel, beginning the system startup sequence.

Reactor online.

Sensors online.

Weapons online.

All systems Nominal.

A shuddering breath escaped the woman as she eased into the throttle with trepidation, leaning the BattleMech to the right to join up with Gorgon star. The Hunchback - already nicknamed Pushin’ Flowers by Gorgon star - responded snappily and swiftly, precisely coming to a stop in line with the other ‘mechs.

Katrina eyed the name painted across the shoulder of the Hunchback next to her. “Permanent Address” was hand-daubed in script across the shoulder armor, the iconography of a gravestone beneath it. As the other BattleMechs powered up one by one, the star’s BattleComms came alive and synchronized.

“Ready to rock with the dead, Star Colonel?!” Cheered Enigma the Star Commander enthusiastically, her BattleMech throwing its arm up into the air. “Last Home” could be read across its right torso, emblazoned on the outline of a crypt. Without waiting for an answer, she pushed her mech into a run, dirt kicking up.

A series of whoops and hollers would break over the comms as the rest of the star threw their mechs into overdrive, their superchargers enabling them to catch up quickly. With little hesitation, Katrina followed suit, a menacing whining coming from below her deep within the mech.

The mechs pulled into a rough wedge, Katrina pulling out front and leading the charge. As the mech ran over snowy terrain and past trees, she carefully forwarded movement plans to the rest of the star. They were in for a long haul - 400km of winding, rough terrain. 

--------------------------------------------------------------

“Watch that edge!” Barked the Star Commander as Point 3’s left leg came a little too close to the edge, rocks tumbling from the sheer ridge face. The mechs were jogging along the shallow cliff as they sought to navigate over the ridges between the reinforced star and Kinship FOB. Currently they were fifteen kilometers northeast of HAMEL and twenty minutes behind schedule. They needed to pick up the pace.

Katrina twisted her mechs torso to the side to avoid a rocky outcropping. She held her breath as she watched the top of the LB 10-X pass inches from the rock face, nearly scraping the protruding fume extractor cowling. Moments later she heard a scraping of metal from the external pickups as one of the Gorgons bumped their shoulder into the same outcropping, showering her mech with gravel.

If it was this tight for a Hunchback, she couldn't imagine how tight the road would be for the J-37s. They had the advantage of not having to deal with the outcroppings above, but they also had to be far more careful about the ground conditions. They had nearly lost one of the trucks earlier to a similar ridgeline. That truck was currently at the back of the convoy with scraped paint.

Katrina dreaded what losses they might incur if they tried to rush.

--------------------------------------------------------------

Two klicks out from Coen, Gorgon star had stopped for a short break. Final combat checks rattled across the BattleComms as they prepared themselves for the grinder.

“Star Commander, counter-rotate your left rotary. The belt link is hooked up in the feed mech.  Point 5, drink some water. I can hear your dry fucking mouth and it is making me thirsty. Point 3, spin your rotaries one more time? Good, all confirm final check?” Katrina rattled off, performing her own checks at the same time. EW pod was online, the angel ECM keeping them under a shroud of anti targeting systems and lidar spoofers. She fired up the bloodhound probe and watched her HUD as her own enhanced lidar systems began fully mapping the area, the secondary scanners picking up every vehicle within range. She began to tune out IFF codes.

“All green, all checks final, good to go Star Colonel,” the Star Commander responded, their RAC now rotating freely as the autoloader ejected the bent belt links from the secondary ejection port. A few 30MM autocannon rounds ejected with them, dropping into the dirt with soft thuds.

“Okay Gorgons. All checks green. We prowl!" The Star Colonel snarled into their BattleComms, kicking her own HBK-IIC up to flanking speed. The IFF pings on her radar told her the rest of the star was following behind her, spreading out into a wide wedge shape.

Within a minute they were entering the northern edge of Coen, the streets abandoned. In her 360 view Katrina watched as Gorgon star behind her torso twisted to create overlapping fields of fire.

Minutes of tedium passed before her bloodhound peaked a reactor signature. Immediately she fired an analysis wave, watching as it returned a smaller reactor signature. A 210 fusion, moving fast.

A Malak. It wouldn't be ready for them.

Confirmation clicks washed over their BattleComms like a wave.

All at once, chaos erupted.

Three more reactor signals. Fusion. 210. 270. 240. Another Malak, a Preta, and a Grigori.

The first Malak flew into the street, sparks kicking up from its feet as it turned hard into the star’s direction, skidding slightly along the pavement before catching and charging.

Katrina's TarComp blared a lock as she whipped the controls, Pushin’ Flowers twisting its torso over hard. She fired the LB 10-X at short range, the twin THOOM THOOM firing pattern of the autocannon rattling the cockpit heavily. The twin solid shots impacted the light ‘mech before it was shredded into scrap by a barrage of fire from the rest of the star.

Pushing the remaining reactor location pings to the rest of the squad, she engaged the supercharger and brought her BattleMech back up to flanking speed. A horrendous whine built in the cockpit as she charged perpendicular to the street she knew the Blakist OmniMechs would be down.

At the last second she ripped her throttle to neutral, stomping a control pedal at the same time. Her BattleMech performed a right anchor turn as she skidded along the pavement. She would have only a one second window at this speed.

The LB 10-X read green with canister munitions.

Her hands gripped the controls, sweat slicking the surfaces.

Now!

The twin resounding roar of her autocannon shook her world once again as her mech slid across the intersection and back behind another building.

The world slowed to a stop. Her heart dropped into her stomach. There in the windows she was facing, barely ten feet away, were faces.

Civilians.

Cowering, frightened, terrified.

Of what was happening. Of what they were seeing.

There were children.

Immediately she slammed the control rudder hard into the floor of the cockpit and threw the throttle all the way up, bringing her war machine to a screaming stop.

“GORGONS! CIVVIES IN THE BUILDINGS! Cubs! FIGHT WITH HONOR!”

The response was a roar.

"DIE WITH GLORY!”

The star moved up, positioning themselves opposite the street from Katrina. Momentary silence.

“I will distract the bastards!" Cheered Point 5, kicking his hunchback into movement. The ‘mech strode into the street and turned.

The rotary autocannons clicked once and begun to spin.

And then a hellacious BVVVVVVVVVV filled the air as he opened up with the twin rotaries, his mech slowly striding forwards. Aluminum casings and belt links scattered across the pavement like hail as he kept the trigger held down, lazing the torrent of shells across the three mechs that were at the far end of the street. His laughter echoed madly over the BattleComms.

Fire was returned. Lasers slagged armor away, drops of molten metal and woven diamond composite spraying to the ground. A few missiles cracked against the armor, but most flew astray the instant they entered the ECM bubble protecting the star.

Points 3 and 4 stepped into the street as well, their rotary autocannons joining the chorus of devastation that was ripping the Celestial mechs to pieces. It didn't take long for the three ‘mechs to collapse, their hulls more composed of craters than armor.

Oh so carefully, Katrina waved the civilians back from the windows. Then scooped out a small section of the wall, her mechs’ hand actuators complaining at her request to break concrete. As the wall was opened up she held out the hands of her mech, permitting the small group of civilians to transfer over.

She locked the actuators. No reason to risk it.

“We are headed back to the supply convoy to drop off the civilians and reload." 

“Aff, Star Colonel." 

--------------------------------------------------------------

Industrialmechs hooked ammunition feed belts into autoloader mechanisms. Thousands of rounds of ammunition rattled into emptied bins, replacing what had been expended not even twenty minutes prior.

Point 5 was having new ablative plates fast-fused to the outer layer of his ‘mechs armor.

The Star Colonel’s mech instead was being fed new ammunition from shell trays, the chain driven sleds pushing new heavy shells into the loading mechanism which fed the hungry autocannon. Each 105mm shell was accepted, sorted, and then rotated downwards, deep into the guts of her mech.

The civilians huddled at the side of one of the J-37s, near to the infantry bay. They were afraid. Cold and wet. They needed hope.

Unbuckling herself from the mech’s cockpit, she unsealed the hatch and pulled herself from Pushin' Flowers, standing up on the hull for a moment. Her power armor hummed around her. She felt the breeze, smelt the cordite on the wind. Tossing her neurohelmet back into the cockpit, she grabbed the dropline and rappelled down to the ground.

As she approached, they watched her with trepidation. She knew what sort of image she cut, but it was far more evident when faced with non combatants.

Except one child didn't flinch. They watched her with wide eyes but held no fear. As she stepped up to the group, she kneeled in the snow. A smile - normal, be normal, don't snarl - broke onto her face. Her gazed traced from the cub up to the few adults of the group that were doing their best to keep the large conglomeration under control.

She needed to say something but was lost for words. What would Nicholas-

No.

What would Alexander Kerensky say?

Pride welled in her chest as she knew what she would say.

“I am Star Colonel Katrina of the Moon bloodname. A MechWarrior of Clan Smoke Jaguar, of the Jaguar's Shadow Independent Drop Cluster. This is my rede - you will be unharmed. My transports will bring you to safety. There are shelters nearby that they will deliver you to. If we can spare it, we will leave rations and blankets.”

A pause.

"We are Smoke Jaguars, not pirates. I do not know what propaganda you have heard about us. Let our actions be the true judge of us.”

And in that moment she saw flickers of hope where once there had been despair.

--------------------------------------------------------------

Settling into the cockpit of her Hunchback, Katrina pulled her helmet on and immediately heard snark from the BattleComms.

“Aww, is the Star Colonel playing politician?" Jeered one of the Gorgons. Katrina frankly didn't care which one did. She would use this as a lesson.

“Yes. Because unlike you bastards with a deathwish, there is a REASON I am Star Colonel of this cluster. My job is not simply leading you all into battle. It is ensuring you are fed, your guns are loaded, that we have a place to sleep after a long fight. Did you think your bullets were FREE, you cutdown fodder? You forget the teachings of The Great Father. Alexander would be disappointed in you.” With her short rant finished, she queued up the bloodhound active probe once more. On their way back something had brushed the bare edge of her probes’ range, lighting up her sensor array with a reactor signal.

It had been a very big reactor. A 300 fusion type according to her readout. Which meant two things. Either it was an Archangel…

… or she had just detected an Omega. And judging from the reactor mass, she was going to assume it was an Omega.

“Luckily for you lot, the bloodhound picked up a large ping on the way back. We should go say hello, quiaff? Welcome them to the neighborhood."

A resounding wave of "aff”s set the star into motion once more.

--------------------------------------------------------------

They found the Omega and had been stalking it for the last few minutes. It was not far away from other forces and given its armor, could easily hold out until reinforcements arrived.

Katrina watched the superheavy through a ballistics hole that had punched a tunnel through a building. The ECM bubble was keeping her Hunchback and the other five behind the building next to her hidden, but they had to play it careful. There was a strong chance that they could take it down before reinforcements arrived.

Or at the very least disable the pilot. But she would need to get into the machine with her Nighthawk.

The fight was about to get complicated. 

@is-the-battlemech-cool-or-not

[hologramcowboy]

Recently, there was a video of the main J2 panel in Indianapolis (https://youtu.be/VWS4URkl-sg?si=nf8C7scfim0Jyx8o - 25:50-31:42) and someone asked J2 a question about sending highlight reels for acting roles, which they laughed at and said they don't really do that anymore. Both commented that their time in the industry and lasting connections they've made have allowed them to share relevant clips related to a specified role they want, get straight to meetings to discuss if they're a good fit for the script and role, etc. Jared mentions he's sent clips of when he was younger for more heroic roles. Jensen specifically details stuff like having experience with the showrunner and lead for Tracker, going on a Zoom meeting for when he was gonna be on Rust, and how his role for The Boys was the most intensive one to try out for. I wanted to know your thoughts on what both of them were saying, but also would like to know if the lasting connections made on the set of Supernatural (or other sets) are maybe the only advantage Jensen has when it comes to obtaining his current roles without more effort.

Also, this is related but unrelated, Jensen mentions ten minutes before that he's busy and excited with his new roles, trying to be a dad, and also mentioned that Chaos Productions has something in the works, but I felt like him talking about his own work had more enthusiasm than him talking about his family or his company.

It used to be that all actors required a reel to submit (by agent) or self submit. These days due to digital, there’s been a shift towards clips that are on brand. For example, if you are a leading lady you need to identify your main types( roles you’re most likely to get cast for) and record shot clips of such roles. You might do one where you are in procedural show, a comic one, one where you are the teacher or sister( because those are a part of your types) and then once a role pops us where the breakdown of the character matches that essence (e.g Fiesty Medic) then your agent will send the relevant clip directly to casting to show them you can indeed do fiesty and medical. This goes for any type of character. Basically casting requires hard proof you can do *that* specific character well and cares less about your reel overall. Of course, this doesn’t mean reels are obsolete, they are still a great marketing tool for actors, it’s just that once you reach a certain tier or when you have little experience, clips will serve you much more. They can get you in the room and on your way towards being booked. So, if you are an actor, I highly recommend identifying your main castable types and then creating on brand clips of scenes that match those types. Your agent will thank you for it and you could even post those online and get even more visibility.

As for headshots, sorry to break it to Jensen and Jared but they are still the actor’s calling card, no matter what tier you are at. They aren’t A listers so they won’t be shortlisted for a lot of roles, they need good headshots. It does help.

As for Jensen, it all depends on his team, he is pretty clueless about his own industry and so far has only been able to land roles thanks to networking. I hope his team pitches him to the right people outside of his SPN circle. Countdown might give him more visibility, if it goes well, and so might the SB spin off.

he’s always going to be more excited about work because that’s where his core value lies. We are each different and our core vary, one of Jensen’s core values is definitely having work as an actor.

As for what they both said, my fear is they are relying too much on their current status instead of being proactive, which is what any actor should be at any tier, especially if they plan on becoming A List. Marketing materials for actors are highly important, don’t just rely on your agent finding and sending a YouTube clip. You can do so much more.

Thank you for this beautiful question. 🧡

[coochiequeens]

The "2SLGBTQI" cult loves to use any marginalized community to make themselves look inclusive until someone dates to criticize them. Even if that someone is a woman and survived addiction

By Shay Woulahan November 25, 2023

A museum in London, Ontario, has removed a female powerlifter from an exhibit on resilience in apparent retaliation for her vocal opposition to males participating in women’s sports. April Hutchinson said the move quickly followed her suspension from the Canadian Powerlifting Union.

Launched in October at the Museum London, the exhibition, titled “Resilient London: Meet Your Neighbours,” was intended to be an inspiration for the community and featured a diverse panel of locals alongside obstacles they had overcome. Hutchinson was featured not just as a local athlete, but also as a survivor of addiction.

But on November 10, Hutchinson received a letter from the Executive Director of the museum saying they were removing her feature from the exhibit. They stated their reasons were due to Hutchinson’s media appearances where she commented on male athletes competing in female sports. The letter accused Hutchinson of being at odds with the values of the museum, and claimed she was “denying” the existence of “transgender women.”

Signed by the museum’s executives, the letter continued by implying her public comments went against the Ontario Human Rights code, stating: “Misgendering someone intentionally is a form of discrimination.” The letter ended by saying they had made the decision to remove her from the exhibition because her comments were harmful to the “2SLGBTQI community.”

Speaking to Reduxx about her removal from the exhibit, Hutchinson expressed anger and sadness over the decision, which she says was a sudden, decisive move. Hutchinson says museum administrators were already aware of her views prior to her inclusion in the exhibit, and had still sought her out and worked with her on developing her contribution. At the time, the board director reportedly told Hutchinson that they would not police her online activity.

“I was devastated when they told me this information. I’m still so hurt. My friends and family and tons of people came out to support me. I’m still very angry and disgusted,” Hutchinson told Reduxx.

Hutchinson notes that it was only after she was suspended from the Canadian Powerlifting Union for her outspoken stance on women’s single-sex sports that the museum decided to take the opportunity to remove her display.

“The museum is basically telling women they don’t care about us. Our safety or our sports. It’s absolutely wrong. I am standing for truth and saying the things that 99% of society thinks. I will not lie to myself. I will not play charades and I will not give in to delusional thinking.”

After the Museum London removed Hutchinson, another member of the community who was featured in the exhibit celebrated the decision on social media.

Stevie Bees, a trans-identified female, took to Facebook to praise the museum for removing Hutchinson’s contribution.

“I am EXTREMELY proud to be on that wall and I also want everyone to know that Trans Women ARE Women! April Hutchinson SHOULD be deplatformed for spouting garbage like this,” Bees said, providing screenshots showing Hutchinson discussing her suspension from powerlifting for her stance on fairness in women’s sports.

Hutchinson has been outspoken in her defense of women’s sports, both in interviews and on social media. She appeared on Piers Morgan Uncensored in August of this year where she argued that males should not be allowed to compete against females in powerlifting due to their inherent biological advantages.

Hutchinson has also spoken about how she approached Canada’s powerlifting governing body, the Canadian Powerlifting Union (CPU), about the issue of males participating in female competitions.

During an event hosted by Independent Council on Women’s Sports (ICONS) in June of this year, Hutchinson said the CPU told her the issue wasn’t a concern because there weren’t many trans-identified males competing in female divisions.

Earlier this month, Hutchinson was suspended from competing and is now potentially facing a two-year ban from the Canadian Powerlifting Union for airing her grievances with biological males competing in women’s sports.

The suspension and potential ban follows Hutchinson voicing concerns about Anne Andres, a trans-identified male powerlifter who had bragged about beating women and labeled female competitors “weak.” Anne Andres recently set the all-time record at the Canadian Powerlifting Union’s 2023 Western Canadian Championship after scoring over 200kg more powerlifting points than the top-performing female in the same class.

Despite her removal from the exhibit and suspension from powerlifting, Hutchinson says she’s received an outpouring of support, including from other female athletes like Martina Navratilova. She also explained that her activism is motivated by a desire to ensure safety and equal opportunities for women in sports.

“Women need and deserve their own sports. The female category has always been protected,” she says.

“My platform is about fairness and women’s sports. It has nothing to do with hate or [being] anti-trans. The museum is basically sending the message that trans rights are more important than women’s rights … but women are fighting back and we will send a stronger message: Bodies play sports not identities.”

[school56df]

Cheap Web Hosting with free domain Unbeatable Prices and Features for Your Online Presence

Cheap Web Hosting with free domain  hostinger is a well-known web hosting issuer that has won reputation for its affordability, performance, and consumer-pleasant services. Founded in 2004, Hostinger has grown to turn out to be one in every of the biggest net web hosting companies inside the global, catering to thousands and thousands of users. This review will discover Hostinger's capabilities, pricing, performance, customer service, and different key aspects that will help you decide if it's the proper web hosting provider to your desires.

Hosting Plans

Hostinger cPanel login  gives quite a few web hosting plans to cater to distinct wishes, from individuals and small corporations to larger businesses. 

Shared Hosting

Ideal for novices and small websites, Hostinger's shared web hosting plans offer a cost-effective solution with essential functions. Plans typically consist of one-click installations, unfastened SSL certificate, and a person-pleasant manage panel. Shared hosting is a superb choice if you’re beginning a blog, portfolio, or small business web page.

Cloud Hosting

 For the ones wanting extra sources and versatility, Hostinger’s cloud web hosting plans offer scalable sources and greater performance. Cloud web hosting is appropriate for growing websites and companies that need greater manage and reliability. Hostinger's cloud plans include capabilities which includes automated backups, SSD storage, and increased pace.

VPS Hosting

Virtual Private Server (VPS) web hosting is designed for users who require extra control and customization than shared or cloud web hosting. VPS plans provide committed sources, along with CPU, RAM, and storage. Hostinger's VPS website hosting is appropriate for medium to huge websites and applications that need sturdy overall performance.

WordPress Hosting

Tailored especially for WordPress customers, those plans include optimized servers for WordPress, automatic updates, and enhanced protection functions. WordPress web hosting is good for customers who want a hassle-free setup with built-in functions to manipulate their WordPress web sites efficaciously.

Reseller Hosting

Hostinger additionally offers reseller web hosting plans for users who want to start their personal hosting business. These plans provide the gear and sources needed to manage a couple of consumer accounts and offer hosting services beneath your brand.

Pricing

One of Hostinger's most terrific elements is its aggressive pricing. Hostinger is known for presenting a number of the lowest charges within the industry while maintaining a excessive stage of provider. Here’s a popular idea in their pricing shape:

Shared Hosting

Prices for shared web hosting begin as low as $1.99 in keeping with month, making it an attractive alternative for budget-conscious customers. Higher-tier plans with extra features and assets are to be had at higher costs.

Cloud Hosting

Cloud web hosting plans start around $nine.Ninety nine in line with month. These plans offer greater assets and scalability, catering to growing websites and groups.

VPS Hosting

VPS website hosting plans begin at approximately $three.99 in step with month. Higher-tier plans with more assets and more advantageous performance are to be had at expanded fees.

WordPress Hosting

WordPress hosting plans generally start at $2.Forty nine according to month. These plans are optimized for WordPress web sites and encompass features like computerized updates and more suitable security.

Reseller Hosting

Reseller website hosting plans start round $19.99 per month. These plans provide the vital gear and sources to control a couple of consumer debts and start a web hosting business.

Performance and Uptime

Performance is a critical element of any net website hosting provider. Hostinger has a robust popularity for providing dependable performance and uptime. They provide:

High Uptime Guarantee

Hostinger promises an uptime assure of ninety nine.Nine%, which is important for ensuring that your internet site stays reachable to visitors.

Speed Optimization

It  makes use of SSD storage, which gives faster study/write speeds as compared to standard HDD garage. This contributes to faster loading instances for web sites.

Data Centers

It  operates multiple statistics centers around the sector. This worldwide network facilitates to reduce latency and improve website performance with the aid of ensuring that content material is served from a vicinity closer to the consumer.

Customer Support

It  offers 24/7 customer service to assist users with any troubles they'll encounter. Support options encompass:

Live Chat

It  gives a live chat function for instant assistance. This permits customers to get brief answers to their questions or resolve any issues in real time.

Email Support

 For much less urgent topics, customers can attain out to Hostinger’s guide crew via electronic mail. This is appropriate for exact inquiries or support that doesn’t require instantaneous attention.

Knowledge Base

It has a complete know-how base that consists of tutorials, courses, and FAQs. This resource is beneficial for users who choose to troubleshoot issues on their very own or study extra approximately precise capabilities.

User Experience

Hostinger is known for its person-pleasant interface and straightforward setup process. Key elements of the person experience include:

Control Panel

It  uses a custom manage panel that is designed to be intuitive and easy to navigate. This manipulate panel allows customers to control their website hosting debts, domains, electronic mail money owed, and greater.

Website Builder

It gives a website builder tool that enables customers create websites with none coding information. This drag-and-drop builder is designed to be easy to use and springs with diverse templates and customization alternatives.

One-Click Installations

For users who need to quickly install popular packages like WordPress, Joomla, or Drupal, Hostinger offers one-click on set up alternatives. This characteristic simplifies the system of putting in a website or utility.

Security Features

Security is a vital attention for any website, and Hostinger offers several capabilities to help guard your website online:

Free SSL Certificates

Hostinger includes loose SSL certificates with maximum hosting plans. SSL certificates are vital for encrypting facts among your website and its traffic, improving safety and building agree with.

Daily Backups

Hostinger gives every day backups for most plans, making sure that your statistics is frequently backed up and may be restored in case of any issues.

DDoS Protection

best budget VPS hosting options from Hostinger has built-in DDoS safety to help safeguard your website towards distributed denial-of-carrier assaults, which can disrupt carrier and compromise safety.

[muninnhuginn]

Mob 1 ~Moving~

Thoughts on: Reigen

Reigen's advice to Mob in this episode starts out as generic stuff he searched up online, but ultimately he realises that Mob's nature is to his advantage here and tells him to just be straight up with her and be himself. This part is more interesting for what it says about Reigen than anything else. Reigen believes that for people to become close they have to be open and honest and that Mob already fits that criteria. Reigen though? Despite saying this, he believes that if he is open, he'll be rejected. And this comes back to the core of the Reigen-Mob relationship because it started when Reigen claimed to have psychic powers and they wouldn't have gotten to where they are at this point without that, but at this point, that very same lie is what's holding them back.

The one bright part to this actually doesn't make it to the anime. Reigen may not believe he would be accepted if he didn't put a facade but he still yearns for a situation where he could be. (Though yeah, this panel made me full on double take before I could untangle what I think the actual intent was meant to be)

It is debatable who Reigen is referring to here. There's his relationship with Mob which this definitely applies to, but it does read as much broader than that? Reigen is inherently lonely (see separation arc where the closest he got to ‘friends’ were bar acquaintances) and he's only recently had anyone aside from Mob as even an option. (Namely Serizawa, who has the added bonus of also being around his age meaning Reigen doesn’t have to feel the same responsibility that he does to Mob - the fact that Reigen is even sharing this with Serizawa says something in of itself). I guess I think Reigen means it as applying to his relationships in general but with the foreshadowing here aimed specifically at the Mob aspects?

(Tangent: Reigen is kind of dismissive at first of Mob's crush and whilst I do get that crushes can be fleeting etc, I do think there's a layer of him genuinely not realising at first that this is properly actually important to Mob. It's very easy to put issues down to "it's just being a teen" and Reigen has a tendency to do that even when there may be a deeper meaning.)

[darkshrimpemotions]

Is your thesis available online, with the horror film synopsis that disturbs men? A post you made back on the jujubiest acc has gone up on tiktok and I just wanna read it (if you share it) also a bunch of other people in the comments wanna read it, because ... its really interesting, I do film and this is the kinda stuff I wish I was taught in my horror modules, instead of how good films made by straight white men are :p

Oh there was plenty of that in my courses, too. My professor, bless his heart, had a hard-on for Quentin Tarantino like you wouldn't believe. But he was excited and supportive when I proposed my thesis to him! And gave me a lot of really valuable advice and support throughout it. He was a huge horror nerd...which just made his discomfort with the material so much funnier. Like my guy, your favorite director is famous for aestheticizing violence. You've seen and loved shit like Scanners and Reanimator. But fucking Teeth gave you the heeby-jeebies?!

Anyway, horrifying that this has made it to tiktok of all places. The horror thesis isn't available online anywhere, and when I was looking for the file to maybe just upload it and post the link, I discovered I apparently no longer have the file?! My laptop crashed in 2012 and I lost a ton of stuff, so that was probably among the casualties. But! I have the nice copy my school printed for my thesis advisors to read and sign!

So on my lunch break I typed up the part of the film synopsis that had my all-male thesis panel professing they were afraid to go near their own wives for seven business days, just for you (and all the other people who've asked, lol). Enjoy!

(Content Warnings: Discussions of the plot of the film Teeth below the cut, including descriptions of rape, sexual assault, and genital mutilation.)

Teeth is about Dawn O'Keefe, a teenage girl who spends her free time advocating for abstinence until marriage. She is an all-around good girl with a close relationship with her mother and stepfather, a dedication to maintaining her sexual purity, and an automatic avoidance of her raunchy bad-boy stepbrother, who is secretly obsessed with her.

Dawn's trouble begins when she develops a crush on one of the boys in her abstinence group at school, and the two meet in a secluded area to go swimming. He attempts to convince her to sleep with him, resorting to force when she tries to refuse. Unfortunately for him and unknown to her, Dawn has what is known as vagina dentata--teeth inside her vagina. This mutation comes to Dawn's rescue by castrating her would-be rapist. Terrified and devastated, Dawn flees the scene, leaving her attacker there.

What follows is a vicious cycle of fear, trust, betrayal, and more fear as Dawn attempts to cope with her body's strange capability. At first attempting to go to a gynecologist for help, she accidentally bites off his fingers when he attempts to take advantage of her on the examination table. More afraid than ever, Dawn must do her own research to discover what is going on with her body's unique adaptations.

[laboratoryrats]

Note to Self - Convert a Physical Page to Online Scrolling

(No spoilers, don’t worry)

Little Nemo in Slumberland (February 17, 1907)

The original full vertical page is 800px by 7680px, but split into 8 images via Croppy (using the Line Webtoon option) to preserve image quality and get around upload limitations

On sites like Webtoon the seam between images is not visible, but Tumblr introduces a few pixels of padding between each image

Vertical scrolling takes advantage of spacing between panels to make time appear to slow down for the reader, since it artificially increases the time it takes to read the page. For the sake of curiosity, we will expand the last three panels of Nemo floating through space to emphasis how lost he feels and how sudden his return is