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@salteywater
The reason I always bring up obscure Vertigo comics and shit every time the topic of superhero "deconstruction" comes up isn't because I'm playing gotcha. It's because I'm trying to illustrate that if you think you've got something clever to say, but your critique of the medium fails to rise even to the level of self-directed criticism that fucking DC Comics is willing to put their name to, you need to reexamine your premises.
Ye knowe eek, that in forme of speche is chaunge With-inne a thousand yeer, and wordes tho That hadden prys, now wonder nyce and straunge Us thinketh hem; and yet they spake hem so, And spedde as wel in love as men now do.
chaucer, Troilus and Criseyde c. 1380
glossary: eek also and even tho at the time prys great value wonder a cause for astonishment nyce stupid spedde succeeded
You know the form of language, too, can change. Within a thousand years, even the words that were most precious then, seem strange and foolish to us; yet they spoke them so and did no worse in love than we now do.
This is an art piece by Rick Gibson, and yes, it works.
It was placed in different nightclubs for a total of three days, and over 1,200 people decided to pay to use it
That video of Alex Hirsch reading S&P notes for Gravity Falls conveys a few things to me:
1) the U.S. entertainment industry (especially animation) is run by older conservative types who make up offensive terms and get really mad about them.
2) the people who run Disney would be the first to fall in line with a fascist regime.
3) most of the media we consume is tailor-made and watered-down to appeal to the tastes of older, deeply religious conservative audiences.
4) conservatism, not the left, is and always has been the biggest voice of censorship in American culture.
J. Michael Straczynski, creator of Babylon 5, was before that a producer and writer for a number of cartoons in the late â80s/early â90s (The Real Ghostbusters and the original She-Ra, most notably). After a few years of dealing with the censors and their obsession with finding Satanism (or at least looking for Satanism to further political agendas) he wrote an article about the whole corrupt and bullshit system.
And published it in Penthouse, to force those same censors to buy a skin mag. The editor there asked, why Penthouse?
That one is from his autobiography, Becoming Superman. See also:
(As he goes on to say, heâs never worked in animation againâheâs effectively been blacklisted by the cartoon industry.)
Every time something like this comes up, I remember two stories about making media. The first is about movies, and comes from Quentin âFeet Manâ Tarantino.
When he was making Pulp Fiction, he was worried that the MPAA would object to the high level of violence in the film, so he shot a bunch of extra-gory stuff that he didnât actually want in the film, and added it in before submitting it to the MPAA. Predictibly, they asked him to cut most of it (without even commenting on some of the things that had him worried, like the bits of Marvinâs skull that lodge in Samuel L. Jacksonâs hairpiece). The resultant cuts were actually more permissive than heâd expected, so he cut a little more and submitted it, and it got passed with an R.
The second story is about that artist on Morrowind whose name escapes me (Iâm not a big ES fan tbh) who figured out that if he made two creature designs, one weird and what he wanted, and one even weirder, he could get Todd Howard to agree to just about anything by showing him the whopper first, then going back and âworkingâ for another few hours on a second, âtoned-downâ version, and it worked every time.
The reason I bring these up is that the thing that drives censors isnât some extant physical rubrick of what is and isnât acceptable, itâs the idea that they can have absolute power over someone elseâs creative work. Itâs about the social dominance of the interaction.
There is nothing so innocent, so clean, that a censor will not find some fault with it. Because they must find something wrong with it to justify their existence, and because it makes them feel powerful.
This is true of all censorship.
Art by Grady Frederick
an erotic poem:
leg so hot
hot hot leg
leg so hot u fry an eg
I HAVE WAITED FOR SO LONG TO FIND THIS AGAIN
The Catalogue of Ships in the Iliad is, to a modern audiences, what classicists have called âboring as hell,â but I canât help but think that if you were watching Homer recite it it would have been more like when comedians go, âanybody here tonight from Chicago?â and the Chicagoans in the back start cheering
Homerâs like, âand there were forty black ships from⊠LOCRISâ and the Locrians in the crowd start going absolutely nuts
kill the imposter syndrome in your head because not only is there someone out there doing it worse than you, theyâre also using chat gpt to do it
RNN: Ground incursion in Al-Shakoush northwest of Rafah. #Gaza
July 31, 2026 at 08:37PM UTC
Reactionary sub: I'm literally biologically designed for you to use and abuse me. It's just my body doing what is natural.
Dialectical materialist sub: Historical trends in productive forces have produced a moment within the superstructure wherein I derive sexual satisfaction from roleplaying taboo subject matter.
Liberal sub: nobody knows why I get a funny feeling in my tummy when they call me their kid
Hey, don't kill yourself. We gotta be alive in 2061
"For care, community & justice.
For a world beyond cops & cages"
Poster designed by Black Lodge Press
i realize this is a hack live at the apollo type observation but its really striking how "good customer service" in the us does not mean "providing customers with a good service", but instead "providing customers with a terrible service but forcing the people providing it to act slavishly obsequious at all times"
"trump dying won't fix fascism" neither would a big steamy bowl of pad thai but I still want it
who up wasting their only shot at life through complete and utter inaction
