#the majority of his stuff

[shoelesswonder]

David Altmejd

[oliveroctavius]

In Plagiarism and You(Tube), Hbomb says "If you consider something so obscure you can get away with stealing it, you do not respect it." Save that line for the next time someone tries to tell you that Roy Lichtenstein brought respect to comics as art.

It's since been pointed out that while Lichtenstein did copy one of Russ Heath's drawings of an airplane getting hit, the painting depicted above was actually copied off Irv Norvick, because Lichtenstein did this so many times to so many comic artists.

In Lichtenstein's defense, he was doing this in a time when comic artists frequently weren't even credited in the issues themselves. In his condemnation, he never even tried to check, nor has he made any move to pay or credit any of the comic artists who recognized their own work later on. Rather than elevating the "low art" of comics, he was widening the gap of financial success and respect even further.

The Hbomberguy of this story is art historian David Barsalou, who has now spent decades tracking down the original art and the names of the original artists used in Lichtenstein's most famous output. Here's the flickr gallery for the Deconstructing Roy Lichtenstein project. Frequently copied were Tony Abruzzo, Ted Galindo, Mike Sekowsky, Joe Kubert, Jerry Grandenetti, and dozens more Golden Age artists who aren't very well known in comics circles, let alone art history books. Many of them died in poverty. That's something that the Hero Initiative, mentioned in Russ Heath's comic above, aims to prevent.

Also, Lichtenstein didn't even paint Ben-Day dots. That's a specific thing.

[puppetmaster13u]

Prompt 314

Danny has discovered something absolutely amazing. While he can’t cook for shit, he can? Actually bake? Really well? Must be those bonding sessions in Long Now with Clockwork making all those cookies and cakes and everything else. 

But? This means he can A, actually make himself food, and B, has somehow befriended several more ghosts, including his rogues. Apparently he gave off bedraggled cat vibes when covered in flour. Or they just enjoyed the cupcakes he’d made to look like them in a sleep deprived ferver. 

But hey, he even has a decent job while he’s in (online due to medical issues, officially) college at one of the local bakery-cafes. Which means he also gets free coffee, so that’s nice too. Just erm, he might’ve gotten in the habit of handing cookies or other baked goods to anyone trying to attack him.

Look, it’s how he befriended his rogues (Apparently Fright Knight, being the ghost of Autumn, enjoys pumpkin spice cookies, who knew?) and they even continue to visit too. 

So really, it’s not his fault that there’s several goonion (honestly Sam will be pleased to learn they’ve got a union) members who are now constantly coming to the bakery. And- okay is that another undead person? Have a cupcake. 

[illmoraineakoi]

So, I know I'm a little (very) late to the AvA stuff, but I was rewatching AvM Season 3 for the seven hundredth time and, well, I noticed something and I'm curious to know if it's been discussed before.

AvM Episode 29, Purple's story, specifically, Pink's death.

Her color changes as she dies, or is represented to have died.

It fades to grey.

Now, the question is, can we, or rather should we, use this to infer anything lore-related? Was this just an artistic choice to depict the act of becoming unhealthy/dying, or could this be what actually happens to stick figures that die over a period of time? Are their colors linked to their health?

Let's have a bit of fun with it, and presume that the fading of one's color can happen to a stick figure for health-related reasons, as the scene could imply.

This fading seems to involve loosing the saturation of one's color into grey. Saturation is how vibrant a color is, and the complete lack of saturation is greyscale.

The World-of-Alan reason for Pink's death is that she 'got sick', which is where the health connection of this theory comes from. If she did loose her color as she was dying as the notes depict, that loss of color was likely a result of her failing health rather than any other factors, like age or outside variables. A whole bunch of human body stuff are indicators for good vs poor health, including skin color (jaundice and cyanasis are good examples) so why not a stick's color for them?

What if, when they fully die, they lose all of their original color?

Now, let me propose this…

Who else do we know of who has had their color loose vibrancy?

What if Victim's color has lightened because he's ill?

[poorly-drawn-mdzs]

A fierce duel commences!

[lazycranberrydoodles]

i think the barbie movie would have a profound psychological impact on hua cheng

prev comic / next comic / follow for still more hualian barbie movie content because i am not done

bonus angsty version 🎉 i hate love expressions just a couple tiny lines on the mouth and eyebrows and it goes from silly to sad

:(

[starry-bi-sky]

i need to get this out of my head before i continue clone^2 but danny being the first batkid. Like, standard procedure stuff: his parents and sister die, danny ends up with Vlad Masters. He drags him along to stereotypical galas and stuff; Danny is not having a good time.

He ends up going to one of the Wayne Galas being hosted ever since elusive Bruce Wayne has returned to Gotham. Vlad is crowing about having this opportunity as he's been wanting to sink his claws into the company for a long while now. Danny is too busy grieving to care what he wants.

And like most Galas, once Vlad is done showing him off to the other socialites and the like, he disappears. Off to a dark corner, or to one of the many balconies; doesn't matter. There he runs into said star of the show, Bruce who is still young, has been Batman for at least a year at this point, but still getting used to all these damn people and socializing. He's stepped off to hide for a few minutes before stepping back into the shark tank.

And he runs into a kid with circles under his eyes and a dull gleam in them. Familiar, like looking into a mirror.

Danny tries to excuse himself, he hasn't stopped crying since his parents died and it's been months. He rubs his eyes and stands up, and stumbles over a half-hearted apology to Mister Wayne. Some of Vlad's etiquette lessons kicking in.

Bruce is awkward, but he softens. "That's alright, lad," he says, pulling up some of that Brucie Wayne confidence, "I was just coming out here to get some fresh air."

There's a little pressing; Bruce asks who he's here with, Danny says, voice quiet and grief-stricken, that he's with his godfather Vlad Masters. Bruce asks him if he knows where he is, and Danny tells him he does. Bruce offers to leave, Danny tells him to do whatever he wants.

It ends with Bruce staying, standing off to the side with Danny in silence. Neither of them say a word, and Danny eventually leaves first in that same silence.

Bruce looks into Vlad Masters after everything is over, his interest piqued. He finds news about him taking in Danny Fenton: he looks into Danny Fenton. He finds news articles about his parents' deaths, their occupations, everything he can get his hands on.

At the next gala, he sees Danny again. And he looks the same as ever: quiet like a ghost, just as pale, and full of grief. Bruce sits in silence with him again for nearly ten minutes before he strikes a conversation.

"Do you like to do anything?"

Nothing. Just silence.

Bruce isn't quite sure what to do: comfort is not his forte, and Danny doesn't know him. He's smart enough to know that. So he starts talking about other things; anything he can think of that Brucie Wayne might say, that also wasn't inappropriate for a kid to hear.

Danny says nothing the entire time, and is again the first to leave.

Bruce watches from a distance as he intercts with Vlad Masters; how Vlad Masters interacts with him. He doesn't like what he sees: Vlad Masters keeps a hand on Danny's shoulder like one would hold onto the collar of a dog. He parades him around like a trophy he won.

And there are moments, when someone gets too close or when someone tries to shake Danny's hand, of deep possessiveness that flints over Vlad Masters' eyes. Like a dragon guarding a horde.

He plays the act of doting godfather well: but Bruce knows a liar when he sees one. Like recognizes like.

Danny is dull-eyed and blank faced the entire time; he looks miserable.

So Bruce tries to host more parties; if only so that he can talk to Danny alone. Vlad seems all too happy to attend, toting Danny along like a ribbon, and on the dot every hour, Danny slips away to somewhere to hide. Bruce appears twenty minutes later.

"I was looking into your godfather's company," he says one night, trying to think of more things to say. Some nights all they do is sit in silence. "Some of my shareholders were thinking of partnering up--"

"Don't."

He stops. Danny hardly says a word to him, he doesn't even look at him -- he's sitting on the ground, his head in his knees. Like he's trying to hide from the world. But he's looking, blue eyes piercing up at Bruce.

Bruce tilts his head, practiced puppy-like. "Pardon?"

"Don't." Danny says, strongly. "Don't make any deals with Vlad."

It's the most words Danny's spoken to him, and there's a look in his eyes like a candle finding its spark. Something hard. Bruce presses further, "And why is that?"

The spark flutters, and flushes out. Danny blinks like he's coming out of a trance, and slumps back into himself. "Just don't."

Bruce stares at him, thoughtful, before looking away. "Alright. I won't."

And they fall back into silence.

Danny, when he leaves, turns to look at Bruce, "I mean it." He says; soft like he's telling a secret, "Don't make any deals with him. Don't be alone with him. Don't work with him."

He's scampered away before Bruce can question him further.

(He never planned on working with Vlad Masters and his company; he's done his research. He's seen the misfortune. But nothing ever leads back to him. There's no evidence of anything. But Danny knows something.)

At their next meeting, Danny starts the conversation. It's new, and it's welcomed. He says, cutting through their five minute quiet, that he likes stars. And he doesn't like that he can't see them in Gotham.

Bruce hums in interest, and Danny continues talking. It's as if floodgates had been opened, and as Bruce takes a sip of his wine, it tastes like victory.

("Tucker told me once--") ("Tucker?") ("Oh-- uh, one of my best friends. He's a tech geek. We haven't talked in a while.")

(Danny shut down in his grief -- his friends are worried, but can't reach him. When he goes back to the manor with Vlad, he fishes out his phone and sends them a message.)

(They are ecstatic to hear from him.)

It all culminates until one day, when Danny is leaving to go back inside, that Bruce speaks up. "You know," He says, leaning against the railing. "The manor has many rooms; plenty of space for a guest."

The implication there, hidden between the lines. And Danny is smart, he looks at Bruce with a sharp glean in his eyes, and he nods. "Good to know."

The next time they see each other, Danny has something in his hands. "Can you hold onto something for me?" He asks.

When Bruce agrees, Danny places a pearl into his palm. or, at least, it's something that looks like a pearl. Because it's cold to the touch; sinking into Bruce's white silk gloves with ease and shimmering like an opal. It moves a little as it settles into his hand, and the moves like its full of liquid.

Bruce has never seen anything like it before, but he does know this; it's not human. "What is it?" He asks, and Danny looks uncomfortable.

"I can't tell you that." He says, shifting on his foot like he's scared of someone seeing it. "But please be careful with it. Treat it like it's extremely fragile."

When Bruce gets home, he puts it in an empty ring box and hides the box in the cave. He tries researching into what it is. he can't find anything concrete.

Everything comes to a head one day when Danny appears at the manor's doorstep one evening, soaking wet in the rain, and bleeding from the side.

[radiance1]

Something inspired by this post and this song.

Danny blinked as everything around him seemed to pause. Mist escaping past his lips and he looked at the still branch outside of the window.

Hands rested over his shoulders. "My dearest child." Clockwork's spoke from behind him, and Danny stilled. "Won't you join? We can get you out this little predicament binding you by human law."

"No." Danny huffed, resolutely staring out of the window. "I don't want to. You made me try so hard to avoid my bad future, and now you just want me to do something like that?"

"My dear boy," Clockwork flew in front of him, cupping Danny's face in gentle hands. "Your alternate future destroyed this world and as such, the Observants wanted you dead. It would have been unfair for you to be killed for a mere possible future."

Danny scoffed. "You only interfered because you saw a future with me with at your side." Danny scowled, wanting to pull back from Clockwork's hands but found that he couldn't. He scowled a bit more at his body's betrayal, sinking into the touch instead of pulling away.

"I will not lie to you, I had indeed interfered because of such." Clockwork slowly rubbed comforting circles on the boy's cheeks. "But also because you are my child, even if you were then, you would have been eventually. It is a parent's duty to protect their child, is it not?"

Danny wanted to refute that. But the memories of his parent's death at the hands of the GIW for him caused the words to be stuck in his throat. The images of both their and his sister and friend's bodies caused his vision to blur.

He choked down the tears.

"My poor child," Clockwork rested his forehead against Danny's own, a comforting gesture. "To have faced such cruelty at human hands, and for your own human donor to deny you your grief." Clockwork smiled. "Just let us help you, come to our side and we shall make it all go away."

Danny stayed silent for a moment, a small part of himself feeling guilty over wanting Clockwork's touch but a larger part wanting it anyway. "No." Danny breathed out harshly. "They don't deserve to die just because of that."

They don't.

If he says it enough, it'll stay true.

No matter what happens.

Clockwork leaned back, hands falling from his face and Danny had to force himself not to follow the touch as Clockwork circled behind him.

"I am willing to ask as many times as it takes, for you will join us eventually." Danny hated the certainty in the ghost's tone, but couldn't help but push his head into the hand that patted his head. "A piece of advice, however. War is not as patient as I am."

And with those parting words, Clockwork disappeared. Time resuming at once with Danny still sat on his bed. He flopped onto his back, head hitting the pillows as he turned on his side. He stared at his hands silently, before turning one palm up as ice danced up from his palm, slowly taking shape into lifelike versions of his family.

Alive and happy.

A small smile grew on his face he watched. Fighting against living food that Danny had once disliked.

What he wouldn't give to have it all back.

A knock broke him from his starring, and the ice collapsed in his hand.

"Master Danny?" Alfred's voice came from the other side of the door, causing Danny to frown. "Would you be joining us for lunch?"

Danny wanted to say no. He didn't want to interact with anyone in this stupid family.

Danny hated how he couldn't say no without one of them making it into some kind of problem.

So what if he hasn't eaten in a few days? He would live.

Danny sighed, standing up from his bed and silently staring at the door before he got up. He stared at the bracelet on his wrist for a moment as he grabbed onto the doorknob, the one that limited his power extremely, and opened the door.

He stared up at the pleasantly surprised expression on the butler's face, before looking away as he started to lead him towards the kitchen.

[fox-guardian]

read a fic recently that had an interaction like

sasha: tim get like one social media PLEASE I am BEGGING

tim: I have linkedin?

and I cannot describe the Joy I felt reading that. they get it.

[floweroflaurelin]

🎶 The Crown…

Pix now wears the Crown… 🎶

—

The moment of recognition when that ancient and powerful thing deep in the catacombs… discovers the Crown.

[greatestjubilee]

bleh

[lemon-t4rt]

kobylu modern uni au just because i can…

i apologise but i wanna draw them, if nobody else will then i must step up.

[selfloathingextraordinaire]

Yo....I can't get over the Izutsumi reveal, and how it's in a side comic. Like, she was never human. She's a cat with part of a human soul put into her. That's probably why she acts so cat instinctively. Just.....fjdhdhdh what...wow...

[willowser]

getting to a point with nerd bakugou where you're not even playing games online together anymore, you're just — chatting, all day 🥺

and you've gotten close enough that you'll send him a mirror selfie and even if your phone is mostly covering your face, he's ZOOMING IN ON THAT BABY and over-analyzing the hell out of it 🥺 trying to figure out what you look like 🥺 and every single photo he sends in return is assessed for a minimum of 20 minutes, because he wants to make sure his reflection isn't showing anything or his body doesn't look weird, that his posture is right 🥺

and the first time you send something back like, "you look nice today 😊🩷", even though he's just showing off his shirt from a movie you both like — he's having to put his phone down on his desk and put his hands over his face because he feels so airbruqoabdka about you !!!!!

[atopvisenyashill]

i was thinking more about characters Performing Gender, but not necessarily Transgressing Gender. I wound up focusing on Ned and Sansa bc I feel like I understand them the most but-

Sansa as a hostage is imo the most obvious (bc it’s so well done) moment of someone clearly Performing Gender but not being transgressive in that performance. Which isn’t to say it’s not a complicated performance; it’s a fine line Sansa walks between weaponizing her gender to protect herself without seeming too fake. She’s trying to placate the Lannisters by playing the perfect, dedicated, air headed betrothed because it’s the only defense she has - if she outwardly rebels, she will be punished in a likely violent and/or sexual way (which isn’t even conjecture - when she says “or maybe he’ll give me yours” Joffrey has her struck with an armored hand). She’s not quite successful in being convincing but that’s because it’s a rather extreme situation; despite no one believing her, she does make herself seem meek and stupid enough that no one suspects she’s plotting to escape with Dontos until she’s well away from KL. The fact that she even has Dontos to confide in is because of Sansa’s relationship with gender! When she saves him, she covers her rebellious slip by playing up Joffrey’s intelligence & his role as King; she reaches for “tools” of her gender AND of ~proper manhood~ to save a life and herself from another beating. Her retreats into the godswood and silence are very much Sansa attempting to recharge from these draining interactions, the same way a knight would need to stop and eat and rest after a fight. She is fighting, constantly, by forcing herself to stay within the narrow confines of a specific type of gender performance as a way of shielding herself from harm.

Ned yelling at Cat is another big one, and I’ve seen the scene referred to as Ned using his patriarchal power to scare Cat, which is a great description. It feels like a Performance because Ned is putting on this terrifying Lord Stark mask in an attempt to get Catelyn to stop asking about Jon (and Lyanna). This is not how he usually acts with those he loves! When Ned is with His People, he is welcoming of questions, curiosity, emotion, even transgressive thought (to a point! the idea that Ned is a feminist because he lets Arya learn to fight is Not accurate but you can’t deny he allows significantly more flexibility wrt gender expression than most of the fathers we meet in this series. the bar is in hell tho). Yet when Cat asks him about Jon’s mother, Ned scares her so well she stops asking & still remembers the moment bitterly over a decade later. And if that snippet we see through Bran’s eyes of Ned praying that Cat will forgive him does come after she asks (like it’s suspected), it’s clear not only that this is a performance he’s putting on & weaponizing against Cat, it’s one he does not like using as a weapon against someone he is close to. After using the power his gender gives him to cause harm, he retreats to the godswood and silence to pray and rest, much like Sansa. A spiritual cleanse, the way a soldier may pray after battle, to reset and reconnect Being A Proper Man to Being A Kind Man.

I think there’s something interesting in that two of the characters most widely defined by how well they adhere to Westerosi gender norms both dislike feeling like they had to weaponize their gender. They are exhausted by the performance, because it’s a performance. This isn’t Sansa getting excited over tourneys, or Ned teaching his sons to fight; it’s toxic masculinity, it’s structural misogyny. It’s something they’re good at, excel at, and connected to something they enjoy but when it’s paired with violence, whether done by Ned or done to Sansa, it crosses over in their minds from an innate part of themselves (The Gender) to a performance necessary due to survival (The Gender Role). And that after these performances, both retreat to nature & god as a way of resting and cleansing from the experience.

[tinycowboyart]

Bunny boy!!!