The mother and son duo that nobody asked for

blake kathryn

Janaina Medeiros

Origami Around
Peter Solarz
Lint Roller? I Barely Know Her

if i look back, i am lost

❣ Chile in a Photography ❣
let's talk about Bridgerton tea, my ask is open
One Nice Bug Per Day
AnasAbdin
$LAYYYTER
Three Goblin Art
todays bird
almost home
No title available

titsay

izzy's playlists!
Mike Driver

Andulka

tannertan36

seen from United States
seen from Nepal
seen from Hong Kong SAR China
seen from United States

seen from United States

seen from Pakistan

seen from Canada

seen from United Kingdom
seen from United States

seen from Italy
seen from United States
seen from United Kingdom
seen from United States
seen from United States
seen from Netherlands

seen from Brunei
seen from United States
seen from Türkiye
seen from France
seen from United Kingdom
@larbears
The mother and son duo that nobody asked for
that negative touch
Cheetah (Barbara Ann Minerva) Complete Reading Guide
dailywonderfam’s 1k followers celebration: part 8 [part: 1/ 2/ 3/ 4/ 5/ 6/ 7]
Post Crisis
Wonder Woman (1987) #7 [debut], 8,9,51, 58-61,65,94-100,118-123,126,160, 169,174,175,179,180,183,186,187, 206, 211, 213, 214,222 [recommended: 7-9, 27-35, 118, 119, 186, 187, 214 (continued from Flash #219), 222] Wonder Woman Annuals #4,5 Wonder Woman: Secret Files & Origins (1998) #1,3 Wonder Woman Special #1 (1992) (continues in #63) Catwoman (2002) # 46-49, 58, 71, 75, 78 Catwoman: When in Rome (2004) #3-6 Villains United: Infinite Crisis Special #1 (2006) Wonder Woman (2006) #1-4 + Annual 1, #26-30 JLA: Wedding Special #1 (2007) + Justice League of America (2006) #13-15, 19 Salvation Run (2007) #1-7 [background character]
New 52
Justice League (2011) #13-14 Suicide Squad (2011) #20-23 Wonder Woman (2011) # 23.1, 47 Forever Evil (2013) #1, 2 Forever Evil: A.R.G.U.S. (2013) #1, 4-6 New Suicide Squad (2014) #9, 17-21 Secret Six (2015) #7-10 Suicide Squad Most Wanted: Deadshot and Katana (2016) #2-4
Rebirth
Wonder Woman (2016) #1,3, 5-10, 12-21, 24, 25
Other Readings:
Wonder Woman: The Blue Amazon (2003) not recommended Wonder Woman ‘77 (2014) # 7-9, 14 Sensation Comics (2014) #5-6, 12-13, 49-51 DC Bombshells (2015) #46, 60-66, 69-72, 76 Injustice 2 (2017) #7, 10, 13, 14
Sources: (x), (x)
Who is Connor Hawke? - A Reading Guide
Connor Hawke is the son of Oliver Queen and Sandra "Moonday" Hawke. He is best known for his role as the Green Arrow, taking on the mantle upon his father's death and continuing as the Green Arrow after his resurrection. Connor was raised by his mother, and struggled in school due to being bullied for being mixed race (his mother is Black and Korean and his father is white). At around age thirteen Connor was able to talk his mother into letting him move to a Buddhist Ashram that his father had once stayed at, and there Connor entered the care of Master Jansen, learned martial arts and archery, and became a Buddhist monk. It was at the Ashram that Connor decided to continue the Green Arrow legacy. While serving as the Green Arrow, Connor teamed up with the Green Lantern Kyle Rayner and the Flash Wally West, Robin Tim Drake, Cassandra Cain, and the Justice League.
While Connor is most known for his connection to the Arrow family, as this was what was focused on most heavily in Green Arrow Vol. 3- it is important to remember Connor has strong connections outside of the family as highlighted in Green Arrow Vol. 2! These characters include: Sandra "Moonday" Hawke, Nathan Hawke (Connor's "Gran"), Mastern Jansen, Eddie Fyers, Kyle Rayner, Wally West (and his wife Linda), Tim Drake, and Cassandra Cain!
As of June 2022, Connor has been confirmed as asexual, which solidifies his ace coding from both Green Arrow Vol. 2 and 3!
Reading list with RCO links under the cut!
hey @sapphic-corgi i heard you'd wished for some catcrow 👁️👁️ 💫
i was so excited when i saw i'd gotten you as my gifting partner !! not only because your catcrow takes on the server are great but also because ??? i've somehow not drawn these two yet, and it feels extremely fitting that the first time is for you <3 (hope you like this !!)
i hope Christmas (and december overall!) treats you with nothing but kindness and love 🫂💫
ֹ 𝆬ׄ ꕮ .Я 𑀝ᥙᴦⲙᥲ κρуᴛ᧐ᥔ я 𑀝ᥙᴦⲙᥲ 𑀝ᥙᴦⲙᥲ 𑀝ᥙᴦⲙᥲ
my colored pages for the @dbda-coloring-book! if you wanna color the lineart yourself the coloring book is completely free to download and available for digital coloring! so I hope you guys check it out! and I'd love to see your versions so please tag me if you end up coloring my girls <3
and big thanks to Sam for organizing this awesome project!
whos up missing them
MY GIRLIES RAGHHH
what if I was slowly dying of internal bleeding and hypothermia and you stayed with me and read to me. Because you know I'm dying and you don't want me to be alone and scared (like you were). And what if I chose You, instead of heaven?
does not compute
You know, I've been wondering if part of Edwin's need to tell Charles how he felt then and there was because Hell is so full of despair for him. They're nearly there. They can see the exit. They're nearly free. But Edwin has been dragged back into that horrible place where he suffered for 70 years. It's a place where the majority of the time, hope is only an illusion to make the pain and torment that much worse.
Part of him probably doesn't believe they'll ever actually escape.
And if that does happen, if they ARE stuck in eternal torment, he wants Charles to know that he is loved, fully and completely. The confession was for him, yes. But I think it was for Charles, too.
He knows Charles well enough to know that he struggled with feeling unlovable - something that only got worse when the Devlin House unearthed old feelings and trauma. Charles tries aggressively to not be his father, but he feels the same darkness and anger deep within himself. He covers it up and counteracts it by trying to be the best person he possibly can, but that fear of his own darkness and his own anger never goes away.
Charles knowing he was loved, even if he didn't return the feelings in the same way, would be a source of strength for him in the event that they were separated or trapped.
And if no one ever got the chance to know Charles again, he'd go into whatever eternity he ends up in knowing that the idea that he was unlovable was categorically not true.
dear dead boy detective (especially paynland) enjoyers: have you yet heard of the biggest gift bestowed upon the fandom so far, aka jayden's charles playlist? the one he mentioned in interviews? well, he dropped it on twitter at 19th of may. and man, do i have stuff to say about it.
there's a lot of 80's bangers, for sure, great to get into the mood and character, but some of the choices...
i'm gonna focus on a few of my favourites, songs that made me go insane when i saw them. honorable mentions: - category 1 (so devoted the lines blur): ain't no mountain high enough by marvin gaye and tammi terrell, there is a light that never goes out by the smiths, inkpot gods by the amazing devil - category 2 (family life): family line and summer child by conan gray, seventeen going under by sam fender, matilda by harry styles, father by the front bottoms - category 3 (being queer in the 80s): smalltown boy by bronski beat, boys don't cry by the cure - category 4 (there's no heterosexual explanation for this one): good luck, babe! by chappel roan, yellow by coldplay, fight or flight by conan gray (is this about monty? the cat king? i need answers!), the prophecy by taylor swift, arms tonite by mother mother, sweet by cigarettes after sex, head over heels by tears for fears
this list is by no means complete or comprehensive!
and now, the songs that made me go the craziest: (they're predominantly in charles' pov as it's his playlist)
found heaven by conan gray
the only reason this song made it into the list and not the honorable mentions instead of smalltown boy is that it makes almost the same point, just so much more explicitly. i don't think i have to say much about it, it's a story of a young person griping with their queerness, being forced to leave home, a common theme of the playlist. "you're in love, you found heaven" when he chose edwin over his own afterlife, heavily implied to be heaven, and built his heaven with him on the mortal plane? ouch! (and we see this same notion repeated in another bop from the playlist, heaven is a place on earth by belinda carlisle).
2. like real people do by hozier
"i miss kissing" charles rowland, 202X romantic meaning aside, the verses show a sort of a common understanding the boys have around the manner of their deaths and their lives before it. we already know from the show they don't really talk about it, with edwin not knowing about the severity of the abuse charles suffered. it feels like one of them saying "let the past be past, we're together now, yeah?". but also, jayden: can there ever be a platonic explanation for this? ghosts can't touch, can't feel, so they wish they could just kiss like "real" (alive?) people do?
3. flaws by bastille
not the most romantic song, but i absolutely love how well it fits their dynamic. despite his edwardian brand of repression, edwin truly is the one that's more open about his feelings (recognising of course that in this case, the bar is so low it's in hell. haha, get it). edwin has worn his flaws upon his sleeve, and charles has held them buried - eg. bottling up all of his anger and resentment towards his family and his own death. the song presents a very sweet outlook, in which their flaws are brought up to the surface (for example, charles' outburst against the night nurse in episode 4), but they learn to accept them as they are, an extension of themselves.
4. a pearl by mitski
you know it's gonna get intense if there's a mitski song in the mix.
the song is about a person who finds love in their partner, someone who treats them way better than they've ever been treated - and yet they cannot bring themselves to reciprocate the affection ("it's not that i don't want you, sorry i can't take your touch") despite reciprocating the feelings themselves because of the trauma. charles is known to bottle things up ("you're growing tired of me and all the things i don't talk about"). the person in the song recognises the love the other person holds for them ("you love me so hard and i still can't sleep"), which reminds me of charles' response to edwin's confession. not a "no", but a "maybe, as time passes".
5. fair by the amazing devil
this one made me genuinely gasp when i first delved into the lyrics. it's simply so sweet, such a genuine and domestic portrayal of love. at first i thought it was way too open about being a love song (normal text instead of the subtext i'd be used to) for jayden to choose it with edwin in mind, but... there's no one else it can really be about. it's far too domestic, too "established" to refer to crystal. refers to a relationship that's laster for a longer while.
the narrator in the first verse is a person deeply in love with the other person, someone who loves to make his lover laugh and simply drinks in their presence. the "he" in the song i believe is charles, while the "she" refers to edwin. edwin promises to fight off anyone - or any feelings pulling charles down (we can see this in the first episode: "you ever think... what if death did catch us? she'd force us to go to the afterlife and split up" "i will make sure this never happens."). charles feels left behind by the world (seeing as he clings to crystal at first, refering to her as "someone their age who's still alive") and believes edwin to be so much stronger than he's ever been. i'm not going to break down the song verse by verse, but if you read it yourself while subbing out "he" for charles and "she" for edwin you'll see just how sweet (and... strangely very in character?) the song is.
6. work song by hozier
if the previous song made me gasp when i saw the lyrics, this one made me go "NO WAY" out loud when i saw the title. the first one verse is just pure toothrotting sweetness, but the chorus is what i want to draw attention to:
when my time comes around lay me gently in the cold, dark earth no grave can hold my body down i'll crawl home to her
HELLO? charles, who keeps escaping death and afterlife to be able to stay with edwin? charles, as he literally takes his last breath with edwin right there, choosing to be by his side rather than move on? charles, who keeps choosing him despite night nurse's promises and threats? charles, who literally crawled through hell for him?
verse 2, to me, can be interpreted as referring to when charles died. edwin found him at his worst, and he "woke" up with his presence comforting him. he was shivering due to hypothermia and his injuries. edwin didn't ask him about what happened or pushed him, he simply listened. the lines "i didn't care much how long i lived, but I swear, i thought i dreamed her" are pretty self explanatory.
in verse 3 we still see the same attitude of "damn the afterlife, at least we have each other" as charles portrays througout the series. they're free, and heaven and hell are simply words to him.
7. orpheus by vincent lima
i literally have no words for this one. it fits too well. if you want commentary for this one, just... i don't know, rewatch the staircase scene.
8. francesca by hozier
(cracks knuckles) this is the big one. the album francesca is from, unreal unearth, is based on dante alighieri's divine comedy, a fourteenth century poem about a man venturing into hell, purgatory and eventually heaven. the eponymous francesca is one francesca di rimini, a woman who was politically married off to a man older than her, called giovanni malatesta. francesca didn't love him, and eventually fell deep in love with giovanni's younger brother, paolo. the two carried on with the affair for years, before being murdered by giovanni upon his finding out. francesca and paolo are mentioned in canto v of the first book, inferno, as two souls damned in the second circle of hell, lust. their punishment is to be permanently locked in a hurricane, swept away by the winds the moment they manage to get close enough to touch one another.
as opposed to their portrayal in the poem, the song is from the perspective of paolo, explaining that no matter the punishment, he wouldn't change anything about his life because he got to know, and love, francesca.
the first verse brings to mind the scenes in hell, especially on the staircase ("do you think I'd give up? that this might've shook the love from me? or that I was on the brink? how could you think, darlin', i'd scare so easily?" as an echo of charles' "sorry. no version of this where i didn't come get you"). "my life was a storm since i was born, how could i fear any hurricane?" could relate to charles' tumultuous family life, an assurance that nothing he has to deal with while by edwin's side will faze him given the things he's lived through. no, despite everything he's suffered through, charles wouldn't do anything differently - because his (admittedly shitty) life led him to edwin ("i'd tell them, put me back in"). we already know charles would choose him over heaven, willingly sacrificing his own afterlife to stay with a boy he's known for hours, someone kind enough to keep him company as he drew his final breath. all of it - his father's abuse, his schoolmates' bigotry, the pain of his own death, as well as everything he's gone through since - he'd do it all again, for edwin.
"for all that was said of where we'd end up at the end of it" could be taken as an allusion to the fate the boys would meet at "at the end of it", when they're finally caught by death and separated, or as more of a general "if you sin, you will go to hell when you die" (up to you to decide what the sin itself would be - an interpretation that would work with other songs on the playlist is that one such sin would be same sex attraction). then their hearts ceased, they never knew "peace", nor did they want to find it in death. their deaths were too soon, them being ripped away from life, but even though it would break his heart: charles would ask to do it all again.
the outro, i think, beautifully pulls it all together: heaven is not fit to house a love like theirs.
to wrap it all up:
jayden, what were you cooking in there? what do you know??
One thing I absolutely adore about Dead Boy Detectives is the immaculate costume design. Specifically, how it perfectly encapsulates who the characters are, both as a whole and who they are in the moment.
From the very first scene of the show, we know immediately that Edwin is a bookish, somewhat stuffy guy from the Edwardian era who attended a boarding school, and Charles is a punk from the 1980's who's most likely the wildcard between the two of them, just going off of the way that they're dressed. Both of them have distinct color schemes and different styles, but the general shape of their outfits is actually relatively similar---both of them have collared shirts (Edwin's dress shirt, Charles's polo), something over those shirts (Edwin's vest, Charles's suspenders), a jacket of some kind (Edwin's suit jacket, Charles's flannel thing), a longer overcoat (Edwin's traveling coat, Charles's peacoat), something around the neck (Edwin's bowtie, Charles's necklace), slacks, and nice shoes. They're distinct, yet matching, two clearly defined separate characters yet part of a set.
Edwin's prim, proper, buttoned-up personality lends itself to the way he dresses throughout the season---in the first episode, he only dresses down when he's in the office with Charles, aka his safe place and his safe person, and he doesn't really dress down like that again for a good long while after getting stuck in Port Townsend (though, if my memory serves me correctly, he does take off the suit jacket while watching TV with Niko). But in episode six, he's changed up his usual look for a cozier, casual-looking sweater and a little bit of collarbone, and in episode seven... well, he's in his nightclothes, and he's about as open, raw, and vulnerable as you can get. Edwin's color scheme is also predominately blue, which lines up nicely with his logical and practical, yet deeply sad and closed off personality, and the only time he really wears anything other than his normal blue-and-brown outfit (willingly, that is) is when he's in that green sweater in episode six. And, uh... all I can say is that it's quite telling how blue and green---or, well, teal---are the main colors of the gay/mlm flag.
Charles, by contrast, dresses down a lot, and that makes a lot of sense when you consider the fact that unlike Edwin, he feels comfortable pretty much anywhere. On any given episode, he goes from wearing his peacoat to just wearing his flannel to ditching the flannel to not even wearing the freaking polo---though, again, the latter is something that only happens when he's in the office with Edwin. Safe space, safe person. And, well, plenty of people have analyzed Charles's polo shirt going from red to burgundy to black over the course of the series, and there being a little bit of red under the collar of his coat that's only visible when Edwin fixes it, and then it goes back to burgundy, and then it's red again when Edwin's out of Hell... for good reason! It's color symbolism at its finest! Not to mention, the red and black not only perfectly contrasts Edwin's color scheme, but it also lines up with Charles's personality---he's a rebel, he's hotheaded, he's bold and brash and loud... and yes, he's angry, but he's also so, so loving.
When we first meet Crystal after she loses her memories, her outfit choices feel very deliberate. They're stylish and vaguely trendy, they're arty and a little bit witchy---pretty fitting for a psychic who's also a showbiz kid, even if she doesn't know that last part. But all of her clothes appear thrifted, or at the very least vintage, and the patterns and the general vibe all feel natural and comforting. Her makeup's always fairly simple, her hair's either down or up in a couple of cute space buns... overall, this Crystal looks like the kind of person who'd make you tea when you're in a bad mood, who'll listen when you just need to vent, and who may not always know the right thing to say but will understand what you're going through. But when we see her in the flashbacks, her clothing's flashy and prioritizes high-end trends over comfort, she's either got her hair up or has it straightened, and she not only has dramatic makeup, but acrylics. This is a girl who talks shit about you behind your back, who's bitter and cynical and wants everyone to feel the same way, who makes up for the lack of love and stability in her life via material things. It's also worth noting that Crystal's color scheme has a lot of purple, which is a color that connects to wealth and luxury, but also creativity and magic---which, yeah, fits her two conflicting sides pretty damn well.
You cannot talk about Niko Sasaki without talking about her outfits, and the meaning behind each of them has already been talked about at length. However, one thing that really stands out to me is that the reason they're so iconic isn't just because of the monochrome color schemes, but because they're out there. They're weird, they're eclectic, they're a little mismatched in style sometimes, and they're so unapologetically her. Niko wears heart-shaped sunglasses, unironically. Everything about the way she dresses speaks to how, even though she's a recovering shut-in who initially doesn't want to be perceived, she's still very sure of who she is.
Jenny's design, like Charles and Edwin's, is a design that gives you the key information you need the minute she first appears onscreen. The dark makeup, the silver jewelry, the leather apron, and the hairstyle all point to a person who's tough, doesn't take anyone's shit, and has long since given up on caring what other people think---in other words, she's a badass. But the butterfly tattoo hints at a softer side, a side that we see time and time again throughout the series as she shows that she cares about Crystal and Niko, and even the boys... eventually. Also, Jenny's design is perhaps one of the most clearly queer-coded in the series, to the point where her being a confirmed lesbian is pretty much a no-brainer.
Esther's design oozes camp, from top to bottom. The fluffy coat, the bustier, the boots and the cane and the everything, speak to a woman who's kept with the times and yet has seen it all. There's really not a lot I can fully say about her design, other than what Charles has already said: "She looks like a witch... like, kind of a sexy witch, who smokes a lot." (Or maybe I'm just tired and running out of steam at this point, idk, I love Esther's design and I can't really put it into words.) It's also pretty fitting that her color scheme has a lot of yellow in it---after all, she's always striving for more, so what better color for her than the color of gold?
Everything about the Night Nurse's design speaks to a woman who follows rules and discipline above all else, from the pantsuit to the pinned-up hairstyles to the tie to the heels. She's also the most muted out of the main cast in terms of color, dressing mostly in browns, dull greens, and duller browns---and while I don't have a lot to go into detail about there, I feel like that's kind of a symbol of her narrow-minded and bureaucratic worldview.
And the animal characters... Jesus Christ, I fully forget that they're all being played by human actors. Tragic Mick dresses like a man who's always spent his life by the sea, layered denim and all, and it's never a stretch to see this sad, bushy-bearded, baggy-clothed fisherman and imagine him as a walrus lounging on a beach. Monty, at first glance, seems to only wear black, which would be perfectly fitting for a crow, but when he's in better lighting, you see that he dresses in layers of red and blue, calling to how he envies Charles and Edwin and clearly longs for something more---and this might just be me, but I think that even though his outfits seem fairly normal at first glance, they feel kind of like a costume for Monty more than anything else, like he's trying to emulate a teenager that he's seen on TV more than someone in real life.
The Cat King fits this just as well, with all of his outfits aligning perfectly with whatever his cat form is at the time---when he's a fluffy ginger, it's always sequins and fur coats and clothing pieces that are specifically designed to take up space and call attention, and when he's a black shorthair, it's sleek styles and shiny leather and pieces that are designed to cut an intimidating yet more subtle figure. And while I could go into detail about all of those, what really stands out to me is how clearly queer everything is---more than Jenny's alt lesbian attire, more than Esther's campy coat and corset. From the very first scene he's in, he's wearing a skirt, and it looks natural. Nothing about the way the Cat King presents himself is exaggerated, nothing about the way he dresses is played for laughs---he's flamboyant and feminine and flirty, and he looks so fucking hot while he does it. It's gorgeous.
So... yeah, uh, all the awards for the Dead Boy Detectives costume designers!
hold urself as a baby or wtf is it...
MONTY 🪶