#dc comics#dc#batman#bruce wayne#batfam#dick grayson#tim drake#batfamily#dc fanart
seen from Canada
seen from United States
seen from Canada
seen from United States
seen from United Kingdom
seen from Israel
seen from United States
seen from Latvia
seen from United States
seen from Canada
seen from United Kingdom
seen from Türkiye
seen from United States
seen from India
seen from China
seen from United Kingdom
seen from Malaysia
seen from Canada
seen from Canada
seen from Germany
QUESTION TIME
go to the askbox and ask any character from Broken Realm anything you want nothing is off limits
Or maybe it was a nightmare for citizens cast in the dream of their dictator. For these perfectly orchestrated visits were studies in propaganda. And so as I grew older I came to appreciate that there were two Malawis—the utopia of my childhood and the dystopia of a dictatorship. The book is an attempt to marry those two contradictions.
THE RUMPUS INTERVIEW with Robert Glancy
Max Gray from the Broken Realm series by Autumn A. Hutchings and J.A.Pierce
Fandom: *reads about how Mason can't take care of sparky* Fandom: ....for a penny a day you can- Max: *burst in* MINE
When you have so many people eager to be part of something, there is no space to wonder about an endeavor’s success or failure. You move with the current. And, of course, even though there is so much more I want to do with the site, and so much more I want to give back to the literary community, I am beyond thrilled at what I—what we—have created.
The Rumpus Interview with Becky Tuch.
Max Gray, Broken Realm series.
“Five Years” sounds like the soundtrack to a party marking the end of the world. “Five years, that’s all we’ve got,” Bowie sings. A suspenseful, yet celebratory tone permeates the song, as though he and his band, the Spiders, have resigned themselves to their fate. The implication is that we should too. It’s coming, they seem to proclaim, so why not enjoy it? The instrumentation on “Five Years” is perfect—the anchor of the piano buoys us like a raft in a storm in the face of the repeating refrain from the title. The chord changes, a result of just one of the divine powers attributed to Bowie, are unusual and wonderfully appropriate, reinforcing the sense of impending doom and abandon. Decorative strings lend a final, classical flourish that tips us off to an exciting realization—we are in for a treat. The record introduces itself with a demure bow and a smug smile; it seems aware it is the rare creation of an artist with unique vision and the wherewithal to express it.
Sound Takes: The Rise And Fall Of Ziggy Stardust And The Spiders From Mars by Max Gray.
