[thesweetiepienovels]

Actually, you are enough. Even if you don’t work. Or study. Or go out. Or have friends. Or have family. You’re enough because you exist and your existence is enough to be enough because you are not a product. You are not a sum of output. You are not a task to complete. But because you are something the universe wanted and put here even if you’ll never understand why. Somewhere in the cosmos your existence makes a difference, even if it’s not the way others existences do.

[splinterofpandora]

It's how you learn to be yourself. Supergirl. A new beginning.

Ignoring the monstrous incompetence of The World, I want to tell you about one story. This is the plot that makes this collection exist. This is the pride of Italy. And its dark reflection... Every first step that a reader takes inside The World is an art. I'm talking about a universal perception system. If you're familiar with Kara, the visual style is enough to give you into the the depth of the story. Federica Croci performs a forbidden spell with our fighting blonde. She makes her mature. You can rightly say, this's another part of the of the post-Tom King era's picture. But let's figure out where the accents are. Tom, Mariko, even the upcoming Milly movie are products of the teenage legacy. They use Supergirl's pain and awareness of her own vulnerability as the outline of a fading character. The period here plays the role of a decoration, which has been well placed on Kara's (+/-)25 years due to numerous restarts. If we move the boundaries of her evolution a little further so that it coincides with the global Zor-El's post-2005 chronology, we will get about 30, maybe a little more. The main trap of this age, even today, in a more progressive and humane era, is the standards that the collective unconscious of society imposes on us. Because we need to have money, a family, a big goal, and even some success. But at the same time, no one says when we should find ourselves after our 18th or 21st. For most people, it's a small personal drama that gets resolved after another five years of active work. For the lost ones…yeah, you definitely caught it.

Federica portrays Kara as a woman with all her dreams right in front of her. At the same time, we have our old trouble in the form of a vestige, a Supergirl. Age exacerbates the problem due to the melancholy of youth. She feels too deeply for a time-tested warrior. But not too thoughtful for an adult. The last remark directly takes us back to the previous work, Family Vacation, which considered the topic of expressing feelings as learning how to set tasks correctly and find your own growth points. Locked in a circle of responsibilities and unspoken feelings, The World's Kara suppresses emotions so that they don't tear her apart from the inside. So that there is not too much pain. So that she couldn't outweigh her efficiency. She becomes a person who forgets how to let them out. A woman who can't breathe even in the sun-soaked relaxing streets. And this effort devours her.

Why am I retelling something that the short, precise words of the girl herself and the picturesque views conveys much better? Because this story too accurately describes a condition that we have always seen between the lines, but have never observed directly. Because the shell of her personality in the main comics wanted to break through the barriers. Even in Action, where the atmosphere is entirely focused on the search for internal answers, Supergirl appeals to the external environment. She's trying to be, but she can't. Here, in Italy, she doesn't want to be. She doesn't want to belong. She wants to dissolve. It's much more...painful experience. Because you can see yourself a few years ago and realize how explosive you were. Francesca Michielin doesn't show wild parties, first dates under the moon, she doesn't care about thousands of flights near the sun. But you can feel it in the look, the gait, the general tone of the comic. It doesn't break down after one, even the most terrible tragedy. It's a whole complex that leads people to a kind of lack of empathy for themself. It's like…a mirror whose lesions are not obvious until a huge crack, and nothing will be the same.

I don't want to spend a lot of time on the recovery process, because that's not what our story is about. But I think it's necessary to explain the choice of the last page. It may seem like it's about people. You find new contacts, you remember old friends, and life gets better. In the context of Kara, it's about the change your location. Not like a place on Earth. Or even the behavior pattern I mentioned. It's an opportunity to let go of fear. Let the situation, life itself, guide you. Because this landscape, your choice of the future, works best when you know what's around. When you see that the multiverse of your being is the opportunities that surround you. It's a willingness to be wounded again.

At last, I want to look at this topic with another important comic this week. DC Super Hero Girls: High School Reunion doesn't give us as much Supergirl as I hoped. Nevertheless, it perfectly creates an understanding of how we transform in the superhero medium. So, we also have an adult Kara, with a deeper outlook on life. Of course, not counting the exaggerations of G1 as a format. She became a completely independent star, wrote a book, and passed many tests. It reminds me a little of her last days before the Great Crisis, very close to the vibes of manifestations and promoted ideas. Speaking about the connection with The World, Shea Fontana uses the gas of fear as the main plot engine. Kara quickly regains control of herself. Victory! Ah, I love how light the Generation One is. In any case, (and I'm making a big reference to Tamaki's work again) even in the most thoughtful comics, inspiration for the hero comes through battle. Catharsis needs a big point, because enhancing action is the idea of superheroic. For the life of calm people, this is a lingering expectation, which then slowly flows into a moment of triumph, which you realize strongly after its finale. And yes, I call Kara calm because she's an ordinary girl who starts crying when she sees a child die, or gets really angry and destructive when you threaten her favorite things. Her activity in her early years does not reflect life on Krypton. Almost every version of her future encourages silence. Therefore, when you release both a large number of new experiences and killing events, you get a girl who is very restrained, but who also wants to live a full life. This's what unites them.

Supergirl changes the filter to change with the new shape of the light.

[splinterofpandora]

We should have ended up the best way. But life has its own principles. The Boys, Final.

Not knowing where to start, I'll start with a comparison. I see a lot of season 4 criticism, and it doesn't look like deserved. Why? Well, The Boys is The Boys after all. We had well-written humor, the introduction of fresh storylines, really difficult moral decisions that couldn't be categorized as good or evil. These were eight episodes of mood-making music. It was one of the best connection between the main project and its spin-offs in the history of global franchises ever. When the viewer understands all the key details, it's enough to fully feel the flow of the plot, but not enough to be inside the extra dimension. It's like you're hearing the report of a meeting instead of being in the room. It always motivates you to do your own research! But what is really matter...

It was the man behind the story. You know, I like to talk about character paths like I'm a f*cking expert. Oh, she's doing this because of her psyche! It was inevitable, because his loneliness forced him! No, no, it's interesting.

It's important. I'm sure that we really need more good thoughts about motivation and possible forms of the future. However, this would never have happened if the characters didn't evoke deep feelings in us. Ever since the very first episode, I couldn't stop admiring Annie's strength. Hughie has became my favorite (among all, from any world) character because this guy always tried to do the right thing, and he changed his own method just to avoid becoming a second Billy. To remain a good-natured simpleton with a huge soul. And Grace's steely courage...how much help will you get from a person who always says no? More than from hundreds of multibillion corps.

Okay, let's not burn down this church in the preface of the text. The fifth season has two whole episodes, which reflect the right view.

You can see the ending of one on the screen. How do these two pearls differ from their relatives? Three words. Performance. Directing. Text. If the classics say, "Bad acting is bad directing," the final fight is "Bad timing is bad relying." I'll use the first two chapters for comparison. When the guys meet together for the first time, we see a very quick dialogue between Annie and Hughie, which then becomes a very long set of kisses. The context of the situation makes this strange. Historically, they were more reasonable people. And softer. They didn't do that having a big unbearable conflict. Now, we have Starlight, who has completely forgotten her feelings. We have a man who does not fully trust her as a former person.

It may sound like a small thing, but it was the details that always made us keep our eyes on The Boys. If you watch 6 of the 8 episodes here, they will always have this conflict. The problem of easy...retreat from the global line. Some readers will say, "It's been a long time, you, Starlighter!". That is!

Despite the huge gap between the seasons, the characters have changed cosmetically. They began to look more tired, and their lines tried to show us that new roles lead to new dilemmas. However, they either act completely identically, or all these complex choices simply have no effect after a couple of boring dialogues. This does not affect Butcher, a stable man. For some others trying-to-be-a-story-sales-engine heroes, it's just a different kind of punishment. You understand why Homelander has gone completely crazy. You quickly synchronize yourself with his twisted logic. But there should be a push between the first and the second, a small one, very fast and simple. Just let the pieces of logic match, because every person has causes and effects. There is a point where everything starts. Not here.

The circumcision of these basic laws completely destroys the hints of communication. Therefore, the series begin to exist instead of life. What I'm trying to say is that The Boys, unlike many similar cases, don't lose its soul, that's important. But because of the bad narrative, the lowest quality of humor, and the music that was actually killed...you can't feel like home in this place. Which brings us further.

Broken by the script and cheap fights, losing the charm of the old moments, this show can still offer you your favorite universe. Or rather, you think it's capable of doing that. And then...Trump! Trump. More Trump! Haven't forgotten yet? Donald Tru...enough!

I've never considered this show to be a genius satire, but oh my God! It's so...pathetic. I love that all truly insignificant people use someone else's house to deal with their own fears. They try to be so big in the crowd, or above it. The joke is that you can't introduce something alien into the world. Real artists try to implement it slowly.

And no, I'm not saying this to annoy Eric Kripke(okay, a little!). I think we have a responsibility for the things we call our own. And I don't see any real desire to help the serirs' Earth develop next. Yeah, the third part. An ending with a perspective.

The main projects have a world inside them. There is no reason to specify how the fifth season was canceled it. I'm asking how you plan to act when any tail is doomed in advance. Because a prequel can't become a bridge for a leading story. Gen V is officially over. And Mexico will have to deal with the very local cause-and-effect relationships that we discussed above. The finale leaves no room for discussion! Oh, exactly, the end!

What I've been trying to figure out for a long time is...why. Why do I feel like something is wrong if logically every line really finds its rightful point. Yes, I have a few comments about a darker outcome for Hughie. Or a completely different ending to Annie. But these are personal views, some deep ideas. This does not negate the objective "Damn, it works."

The problem is that you can't get a proper ending with those kind of introductions. The Boys started out as a universe where people are part of the picture. This does not contradict the personal story, but it changes its focus. This means that each path here explores a topic in advance. Remind me, we've been exploring this topic throughout the season. Oh, yes, it was Donald Trump!

I believe in The Boys and I look forward to their next adventure. I believe that in the right hands they will once again be one of the brightest symbols of superhero shows.

But maybe it's time to finally try a third time. Because there are many chances to fly here. And right now we're falling...safe you comics!

[splinterofpandora]

Not being Super in the world of winning punk rock. Why do we love Family Vacation?

The eighth volume of Supergirl established Kara's division into several independent personalities, each representing a different era and aspect of her character. Sophie Campbell has become a symbol of DC's strategy to promote the kryptonian blonde's image of an ordinary girl with a normal life. At the same time, we have a Karen-like variant, with an orphanage, early adulthood, rapid acclimatization to an unfamiliar world, Dick's "not a date!" scenario. Between these states lies a treasure that cannot be imagined without the struggle and suffering of the Woman of Tomorrow. If my introduction seems too dark for a Young Adults comic, you weren't here when the fifth volume started and you didn't cry during the animated Crisis. But don't worry, we'll use this time tonight to gain a comprehensive psychological understanding. Smile!

If the first page is the mind of the book, we risk finding ourselves inside a deep teenage consciousness. Kara is really the kind of girl you'd expect to see in a normal family. How weird is that? Usually, Clark sends her to a farm and forgets about her until the next event. Sounds rude, and we're not going to criticize the big guy for his lack of experience. We're looking at it from the perspective of a girl who lost everything at a reasonable age. Starting with the following panels, the narrative focuses on global isolation in a fully accessible information environment. This is a small turning point in the reader's worldview, where they have to choose between falling into a lost culture and the comfort of their modern times. How do we do this right? Well, why not try not to dance on their graves? My favorite part of the comic…I realized this after rereading...is the amount of plot hooks the author leaves on the pages. The main problem with the Kara/Clark dynamic in the Krypton story - which is why you don't see many big arcs in the medium - is the lack of perspective. When you try to understand Supergirl through her brother's perspective, you think about the absence of familiar little things. Like:

It works for the first two days, while Kara tries to regain her sensitivity. Then she puts on a long red coat, and things finally turn into a nightmare. She realizes that the "girl" in her name is an extension of "Super," which in turn refers to American mythology. As you expand on this topic, you begin to see how the legacy of one person's achievements circles back to the DNA of human civilization. This leads to an even more terrifying consequence. The El family does not exist here as a separate part of society, part of the context. Clark's help, his role on Earth(universe), is too powerful for a little girl to handle. However, I don't use the age indicator for that reason. Comics have always made us a little…more experienced and stronger than we could be in any state. I love Kara because she's very close to everyday problems, and she behaves exactly like any person with a traumatized childhood. In this book, she is forced to be an older sister and a friend in a place that provides an escape from everyday life. In other words, if the 6-volume's Supergirl was here, she would have destroyed a lot of buildings and performed dental surgery on many aliens. Then she would have been even more upset because her goal was to find the remains of her homeland. But since she has other inputs, this character makes her quiet on the inside. This continues the tradition of recent years, which began with Tom King. When a fit of rage ends into her death. When you can't breathe properly (hi, Mariko!). Even before the central plot begins, we can see how it differs from the cute similar-style (narrative, not visual) Cosmic Adventures in the 8th Grade, where Supergirl uses the issues of that, old, period.

Stop! Didn't we talk about her culture?! Clark says that the S-symbol stands for Hope. Some comics do interpret it this way. However, if you listen to Kal or Kara's parents, they always talked about their children's future as individuals. The battle-hardened blonde continued to grow in this, and her fate remains free from any expectations. I'm saying from Kara's perspective again, because that's the only thing that makes sense to the girl. It's not about being a part of a new big idea. It's about not being able to see yourself as an individual in a world where family is replaced by a group of moral interests, and being a sister means being inside a topic that you don't want to belong to. You can tell she made it clear to people pretty quickly that Supergirl is on her own. And she's never been against the concept of Superfam. Yes, it's true. But this is the position of a person who has decided to stay on Earth. Then we change the author, and she flies away. Again. And again. And again. Oh, wait, she flies away even with the same authors. Because she can't feel complete until her family is out of context. I mean, a new family. Her friends, her boyfriend. What kind of people does she choose? The same kind as herself. Lost. Lonely. Helping to escape in parties, passionate nights, suicidal missions. When things get too normal, she leaves. Because it's not her norm. Because Supergirl is just a picture that hides the desire to hide and/or scream. S-culture is not a main part here. It serves as a marker of pain that never stops. A marker of when life starts to remind her of the main problem again.

Back to our days. My Adventures with Superman second season. She can start over because of the small experience difference. Age-reduction goes along with a small legacy; there is no "S-cult" here. It reminds me of pre-Crisis, if you remember that old time travel! She also gets Jimmy right away and breaks the philosophy of Kryptonian imperialism. Can we consider this comic book to be a spiritual continuation of animation then? Mmm, some way. We have a large family, strong connections, something like home. Supergirl: Family Vacation serves as a bridge between "I don't know where my rage will take me at the end" Kara and "let's break a couple of unstable villains, сousin!" Kara. ///I really should replace her brother with Natasha, but that's not the point/// This is the first comic where the conflict takes place after Supergirl is granted her status. She doesn't have to go to the future to heal her emotional wounds. Or to kill the Monitor. The problem is, by closing the possibility of doing this in the later stages, we create conditions for an early conflict. The age reduction doesn't allow her to properly formulate it into an idea. Therefore, Kara...well, you know why she became Galatea in the DCAU. The teenager thinks in terms of what is most visible. Being Super is a curse.

Now, let me talk about the authors and the supporting cast. Natasha is really hard to work with because she has two sides. She can be just as obsessed with perfection as her uncle is. But she also can be quite vulnerable or very cheerful. It depends on the period, circumstances. Showing one side means losing Natasha completely. At first, I wasn't sure if it was our girl. She wasn't stable enough. She's too dependent on Superman. But then we see how she is obsessed with the symbol in a good way. At the same time, she easily helps Kara solve problems. She knows when to warn about danger, and when to show confidence and strength. If you remember her first days with Courtney, that's it. Modest, furious, destroy morally. Give a chance. God, I love Natasha! Jon is the only objective weakness in the comic. He was never an ordinary child. He was only an ordinary child in Damian's context. Yes, he is naive. Yes, he may do something stupid because of his interest in the world. Yes, he really wants his parents' attention. The key detail? Jon would never do that for himself. His childhood was one of isolation. Then his mother was rescued. He didn't have to grow up overnight, like Kara. But it made him a little closed off from the world, like his father. Plus, he's constantly thinking. Here, Jon is a child who causes too much trouble for his older sister. I'm not saying this in the context of a Kara fan. I say this because Jon is our new Superman. You can't write him as something amorphous. His life on the farm is close to his father. His life in the city is even worse, because it's a brok...problem stage. Don't treat him like that because he's small. Our babies have their perfect unique characters, in their first few months! It was supposed to be a mini-Kon!

Since my goal is to keep repeating why Supergirl is the best girl in the world, I want to use her dark side as a demonstration of Mr. Snider's talent. My question to you, a super-reader. How do you use the love line in the context of the issues we discussed in the post? Yes, you'll remember that she likes bad guys, and this will cause a deeper problem through conflict with her family. Since we can't directly use Clark for this (you must avoid a father's allusion in any way possible), we'll start harassing Natasha for the Krypton's sake! Estafa is quite atypical as a love interest, as they usually continue (I'm talking about bad options like Power Boy or Red Hood) the overall downward trend. Here, Kara's negative emotions are really going up. However, this is a result of the right question on his part. No spoilers! I think their meeting in the water is a really good mind-altering experience, if Kara uses it as a lifestyle. She does. And this is where the second part of the conflict begins, when one side goes to understand free will, but the other side doesn't know how to use it. Do you understand what Brandon did with...for her? He uses the identity conflict to create a new behavior pattern for Kara. I'm not using this as a critique of other variations, but the point of the modern Supergirl, after 2005, is the battle. That's why we have so many dark arcs, where she commits murder or causes harm to her loved ones. She is overwhelmed by this feeling. This feeling brings her to a modern state. The current state of affairs liberates her.

That is, there is less pain. There is more awareness. But she will never be a normal girl again. And that makes her incredible, because she has all the love in the world, but she chooses lonely or personal paths. She's not a punk. She's not a rock fan. Hell, she's not even kind in the context of global morality. She's just doing what she thinks is right. Thank you, @cootiekid! You gave her something unexpected. A self-identification comic! Btw, a cosmic gorgeous looks! I have to start this by noting a lot of references. Funny features, a good way-ridiculous Justice League. No, it's really a selling point. Like the attention to detail in Kara's room. Or the funny faces of the girls on the pile of panels (the Teen Titans 2003 comics legacy is strong these days). It's cool, but it's what you expect from any comic book that tries to…is the first big step into the modern era of Supergirl. So I'm thinking about the color palette and the chosen style. If you're familiar with Sarah, her drawings maintain the tone of the original but add some humor. Tumblr won't let me add more than 10 images, just find this thing with the Monitor dialog or any other fan-comic. She experiments with styles, leaving dream-like animated fantasy at the forefront. The previews were very similar. However, Family Vacation is more like an americanized anime. I can remember Ben Ten from the 2010s or Voltron from 2016. These things want to be more teenage-oriented. They're designed to appeal to their parents as well, by addressing relevant topics while utilizing the appearance of an action series. That's why I use the word "Dream." It's a story for those who aren't afraid to dream like teenagers. To know the beauty of a dark sky with a hundred stars in a twilight city. This Supergirl is available without much analysis and understanding Kara. If you want a simple, fun story for one night, you get it. When you understand it, the color choice seems more...accurate? The main colors and even the locations create a sense of relaxation. Is this a vacation with people? Globally, yes. But when you look at it from Kara's perspective, you realize that you can have a good time here even if you're in a mild state of depression. It may sound a little weird, but it allows it to maintain the contrast of a story where someone is preventing someone else from being themselves. In other words, with a complex of conflicts and the sunniest moments, it perfectly describes both of them. Especially when you see the humor again. Or the cool transformations. Or this meanie:

Tell her she's Kara, the Goddess of Beauty, not Flamebird!!!!!!!!!//////I can't imagine Family Vacation without @comickergirl. She makes this story real. Plus, you were laughing for two weeks when you saw Bruce too. Admit it!

When I first started writing this review, I planned to talk about love interests and the role of the Power Girl in a separate text. Then, I removed it to make the legacy issue more clear. But yes, it gave way to "I need to discuss the final words." And now here we're, with everything but the ending… We'll soon have a movie where Kara finds her shelter in alcohol and entertainment. This is the path that was supposed to end Supergirl after the conclusion of the 7th volume. Because her rage couldn't find the right outlet in combination with her thoughts. Special understood this well, if you remember. So, then Mariko Tamaki says no. She shouldn't end up this way. In Action Comics, Supergirl gets a chance. Then Sophie says the same thing, but in a different way. Now, Family Vacation is doing. We have a lot of variations, but it's all Kara. This is the point at which the way back is forever closed. Not because she can't return physically. Because she no longer needs to. She's finally done this right. She finally found a family. In the form of her own Understanding. Happy new birthday, Kara Zor-El.

[targetedknowledge]

[su-majestad]

she puts on the old Arrowette outfit sometimes….. he goes back to Impulse after his time as Kid Flash…… they kiss…….

[comickergirl]

Pack Your (Super) Suit: Brandon T. Snider Talks “Supergirl’s Family Vacation” | DC

In Supergirl’s Family Vacation, a 13-year-old Kara Zor-El enlists her cousin and his family to journey with her across the stars to rediscov

Oh, one more interview. XD Just saw this one from the DC blog shared on bluesky!

[splinterofpandora]

Ok ok, I'm already wringing about. Every good Kara-love letter needs some proper time and thoughts!

[su-majestad]

Es que me obsesioné con el diseño de Bart de @chinchu-lin ♥️🫶

Alts (see more)

[dark-fri3ren]

[jolenegifs]

CLAYFACE (2026) — dir. James Watkins

[splinterofpandora]

We are moving towards an epic final. Since the Internet is actively dying all over the world, I'm not sure how long I can stay here. I have a job that needs to be done. So, this'll be a cycle of lore texts, and after the 17th(june), I will probably delete this page. I want to talk about 3 issues that are actually parts of one big problem. Now that we have fanfiction as an official part of DC, we have the problem of cataloging the works. At first, it seems to be an accessibility problem, that is, "What should I do if I lose access to a large list due to the unavailability of, for example, a fanfiction site in my region?". In fact, the right question is, "How can I understand which Earth the project belongs to?". This question is relevant even for the official part. Actually, it is most important for the official (the publisher's) part. Why? We are increasingly seeing examples where DC refuses the obligation to explain affiliation to the reader. Without the ability to have an exceptional voice, it finds itself trapped between the uncertainty of facts and an outside right to "borrow" its works. Uncertainty creates a vacuum that often cannot be explained by the lore part. Thus, the work remains isolated from the others. Since it preserves the principle of variability, the method of interpretation is lost. This is the logic of living "without the main Earth." I want to explain this complexity using a small equation. But first I have to use an example to show you the scale. It's like the world before the Crisis. The key difference is that back then you had one "almanac" for all the adventures. You're buying Detective Comics. Some story is obviously not part of the main line. Robin is no longer Grayson, the year is 4915. But it will never be used again. So, one story = one world. Right now, one story = 10 worlds = 100 other stories in each. You just can't catch it. You're still using the scheme that I described in the 4-part-text, about K.O. You set the line. You interpret DC through this. This is an internal, local, level. Your personal logic level. For lore, it doesn't matter. It won't work that way because the Earths are objective. They are objective from the point of view of history. It's changing because of the retcons, but it's one world. It has a framework. This is the topic of our future dialogue here.

[judedoyle]

Clayface: Digging Up the Dirt

The many Clayfaces behind "Clayface: Celebrity Dirt."

I got to write a CLAYFACE limited series for DC, and I am now the world's biggest, weirdest Clayface fan. Here's a bit about the character's history, why I love him, and which comics I read to get him right.

[splinterofpandora]

They say, why don't you celebrate Supergirl Day, I thought you were a big fan. Dude, every day is Supergirl Day. What do you want from me?

[comickergirl]

Happy Supergirl Day! :D

I've heard that, traditionally, one celebrates by preordering Supergirl's Family Vacation...jk, jk XD I think the BEST way to celebrate would be to recommend some fav Supergirl comics:

-Gates/Igle run (an all-timer, IMO!) -Daring New Adventures -Woman of Tomorrow (the Evely/Lopes artwork is figuratively and literally out of this world)

I'm also really enjoying the current ongoing Supergirl book by Sophie Campbell! :D All of these should be fairly accessible/easy to find these days, thanks to reprints and such.

Okay, and LASTLY: sharing a lil' sneak peek below!

[splinterofpandora]

About the lore. I use the same frame because it's really interesting:

1)We have received confirmation that Darkseid is in the world of Absolute. It was mega unobvious at the end of K.O.; 2)Now we understand where S was going to go. It was also not obvious, given the descriptions like "he's going to conquer the multiverse."; 3)The End of Time back here!!! This is important because we understand that virtually the entire multiverse thesis is incorrect. If Clark is there, he is much closer to the worlds of the gods and the Source than to the Earths. June 17th is still officially possible?!!!!!!

[splinterofpandora]

Ok, we don't have a complete list of July yet, but here's a description of Superman, and I see a big ideological question here that wasn't obvious earlier due to the "congestion" of the event... I'm concerned about the question itself. They say Superman is going to "heal the future". However, what we see in the example of Absolute, it's (in general) a fairly ordinary world that does not need any outside intervention. Its story is a little more tragic than, for example, the main Earth, but it is impossible to put it next to Earth 10 or the world of Kamandi. It turns out that Clark is turning into an intruder who is going to forcibly introduce his own vision into the formed society. Is this the behavior of a hero? There is no peace in this. You can say that he is waging a war against the future. He is saving his own world. But a joke is, because the two universes are connected, it's impossible to do it only one way. In other words, it's really...incorrect question statement.

[transmanbat]

so i found out its very easy and fun to make myself stamps...