I'm Meg. Every so often I mine deviantart for fanart and post it here. Usual fandoms include The Avengers, Batman, Superman, Disney, The Legend of Zelda, Dragon Ball Z and, at the moment, Steven Universe. Your results may vary.
Me: “..and never asked Rudolph to join in any Reindeer Games…”
4yo: “Why didn’t Rudolph just ask to play with them?”
One quick question from a 4yo turns a story of simple bullying into a deeper, more human story of self exile and the isolation of social anxiety.
In the olden times… each wind had its name. A six-klick wind was called a Pastaza, a twenty-klick wind was Cueshma, and a hundred-klick wind was Heinali — Heinali, the man-pusher. Then there was the wind of the demon in the open desert: Hulasikali Wala, the wind that eats flesh.
Per a request from Ben Rawluk, here’s Jimmy Olsen, Seattle-style.
It occurred to me that I’d never really drawn Jimmy Olsen before now. Well there y’go!
No but guys, GUYS, we need to talk about how important this scene is. Because the commonly accepted lore about unicorns is that they are so good and pure that they’ll only appear to young virginal girls. Because Molly Grue is a middle-aged woman who has been living with bandits for most of her life and is as far from innocent and virginal as you’re likely to get. Because she’s so angry that this creature, embodying everything that society tells her she’s lost, everything she’s thrown away through her own choices, is here now when all that The Unicorn represents is long since behind her. Because she knows, in a way that only someone who’s been steeped in an oppressive system her entire life can ever know, that she’s missed her chance and doesn’t deserve to be seeing a unicorn now.
And you know what? The Unicorn doesn’t give two fucks about her virginity, about her supposed loss of innocence and purity. She’s not repelled by Molly being older, being experienced, being a full human person. None of that has ever mattered to unicorns, only to the people telling stories about them. Not only does she step in to physically comfort her here, but before long this bandit’s wife becomes her friend, closer to her in most ways than Schmendrick.
This story is fucking revolutionary, you guys, and I just have a lot of feelings about it.
This commentary literally brought me to tears.
actually speaking of that I have a lot of feelings about how Vimes and Granny are both consciously resisting their own narratives
I mean, the cowboy lone wolf cop who doesn’t play by the book, who makes his own law
and the evil witch, the hag, the cackling old woman who makes your cows dry up and children fall sick
and I think they both have that instinct, they both feel the narrative pushing them towards that story, and they both resist because they choose their own destiny and they know it’s not the right choice
and like…Granny would very much like to have been evil - the whole deal with Lily, for example, I mean, Granny was intended to be the Evil Sister but Lily messed all that up by going and doing it herself in the mistaken belief that she was being benevolent and Granny is kinda bitter that she couldn’t choose to be bad anymore, she had to be good to balance out her sister because witches have to maintain balance
so she has this innate nature or desire or narrative tendency to be the bad sister, but she knows she can’t be and so she keeps an iron hold on herself
and similarly the framework of the law is SO IMPORTANT to Vimes because he knows he has the potential to be what the narrative feels like it’s pushing him to be - chaos and not law
and so the Guarding Dark and never outside the framework, never outside that self-constructed prison, never outside the rules
not once because once would be too much, Due Process always because otherwise he’s giving into the narrative - and that is how he fought the Summoning Dark, because the Summoning Dark was chaos just like he could be and he knows how to deal with that
and it all totally makes sense because narrative is a force on Discworld and you have to know how to control it
#i think the same is true in some ways of carrot and rincewind as well:
# carrot knows how easily his story would embrace him if he took that step #but he continues to refuse it #not necessarily because he wouldn’t be GOOD at it #but because things are already good and he’s happy where he is #and just because something makes a good story doesn’t mean it has to happen that way #and rincewind desperately DOES NOT want to be a part of the stories he’s pulled into #the narrative tries to force him to become a hero or someone important #and he just wants to be left alone #whereas moist knows how the stories work
#and he embraces them completely #he wouldn’t — couldn’t — be the person he is if not for the stories #and people’s belief in the stories #just like ventinari’s penetrating stare he doesn’t resist
#he just lets it go right thorugh and still comes out gleaming #STORIES (via 3parts)
friend I don’t know if you know this but mentioning Rincewind on a post I made is the quickest possible way to my heart and may I just congratulate you on your fine and excellent tags because yes yes so much yes Discworld is SO ALL ABOUT narratives and ultimately about people resisting their narratives and choosing what they want to take and manipulating their stories and it is darned amazing
and then there’s death who literally only exists because of the stories people tell about what death is but then he sort of breaks out of that and grows away from it and becomes an actual character with his own personality discworld and stories!!! (via regshoe)#i love discworld meta #especially the point about moist #and i can’t help it i have to add something about the tiffany books #because tiffany decides to become a witch after mrs snapperly died because of stories #she literally becomes a witch to change these stories #there is a lot of stuff about fairy tales in her books #in wfm when she rescues roland but nobody believes her because of course the son of a baron on a white horse armed with a sword must rescue the young girl with the frying pan #and then hfos is about how stupid and dangerous the ‘magik’ witches use in fairy tales is #also the hair colour part in iswm #not only that tiffany couldn’t become a princess with her brown hair but letitia was never considered to be a witch because she was the blonde daughter of a duchess #aaaaach i love terry pratchett (via peregrin-s)
Okay. But let’s talk about Thor for a second. Thor does not get enough love and (Loki forgive me) he is honestly one of the best fucking characters Marvel has. And it’s shown so simply and so beautifully right here. He is so fucking chill about everything. Obviously, he doesn’t live in space, he lives in Asgard. But he knows everyone thinks he’s kinda like an alien, and he just goes along with it because why not? These humans are funny in their lack of understanding, but it’s an endearing kind of funny. Just like in the first movie, where Darcy tells him to smile so she can take a picture of him and he has no fucking clue what she’s doing or what a phone is and it could kill him for all he knows but he just fucking smiles and keeps eating his delicious pancakes because he’s just so chill like that. And if you look at his face in the first gif, it’s very serious and concentrated but the moment Darcy starts talking to him he loosens up and is like “Muscles? Ah, yes I suppose I am quite muscular. Oh, she’s inquiring about Asgard. But she called it space. She seems confused as to my origins, but it’s not of import. I like space, that’s a good name. I shall call it space too.”
And that little head nod he does back to her in the last gif. I’m dead. Deceased. Murdered from Thor cuteness.
He’s just.. ugh, Thor doesn’t get enough appreciation. There are so many little things he does that go ignored but no more. His complete adorableness will be appreciated.
Okay, of course, Robert Downey, Jr. was the best thing to happen to the Marvel Cinematic Universe in that without him no one (outside of comics book shops and Comic Con) would know or care who Iron Man was, and saying that the MCU kind of revolves around him or that he’s the heart of it is in many ways quite accurate. He took comics, deep cuts comics even, and made them mainstream, for better or worse (mostly better, in my opinion).
But arguably the second most important person to the MCU is Chris Hemsworth, because he repeated the experiment successfully. I once read an article from about 2008 that listed the Top Five Superheroes you shouldn’t make a movie out of, the reason in this case being that they were too silly for the screen, and Thor was on that list, with the Sub-Mariner and a couple of other guys I can’t remember because they were too silly. Thor in the comics up to that point was kind of a big dumb jock, or at least (more importantly) seen that way by most people. You thought Thor and you were as likely to think of Adventures in Babysitting as anything else. He shared space with Conan the Barbarian, who has still never had a movie that got him far enough away from camp that millions of average teenage girls wanted completely unironically for him to appear in their bedrooms. Chris Hemsworth took Conan the Barbarian and dialed him down enough for us to reach his ankles where he stood on the pedestal. And though I’m talking about just Chris Hemsworth, really everyone involved in the first Thor movie worked towards that humanizing of slightly silly, very wacky and out-there comics to the point that even Loki (um, remember how he used to be in the comics? Sexy doesn’t even come in to it) got a hoodie at Hot Topic. (Kenneth Branaugh? Miracle worker!) Thor (the movie) took Samuel L. Jackson’s promise at the end of Iron Man of a “larger universe” and delivered on it, and Chris Hemsworth, almost certainly cast more for his physique than his acting chops but who luckily for everyone also had acting chops to spare, was a large part of why for me, and probably thousands of other people, Thor was the reason we got excited about the idea of a shared movie universe. It proved the concept, and it did it beautifully. Thank you, Chris. We owe you one.