Latest Posts by soapylaundry - Page 4

My friend came up with the cutest idea of not just drawing OOTD's, but drawing -- mousefits! So of course I had to make some, featuring two Pyne and Smith dresses I've been living in lately. 💛

more of the girl........ I have nothing else to say lol I just think she's cute

uh. star wars character I never plan to use but wanted to make anyways. She's a former padawan who flunked the trials and was a mechanic for a bit, she's a nautolan/human hybrid. I used to be the most FORMIDABLE clone wars nerd, take my word for it <3

an experience

gouache sketch of the 1943 phantom :0 I loooove his mask, it has a lot of character, and I think masks with a personality of their own help to sell the idea that the person wearing it is not only disguising themselves, but creating a whole new self on top of that. Claude rains phantom you may not be the most accurate but I love you regardless <333

Vintage Classic Collection Divided Ceramic Casserole Dish by ChenuzAtelier

Tiny friends

Photographed by Miles Herbert

Caped Crusader, "Safe Diversity", and Catwoman

We're at a point where it's expected that a new incarnation of any story previously with a white-dominated cast would be reimagined with a "more diverse" cast. This can mean racebending them, genderbending them or making them queer, but for the purposes of this analysis we'll be focusing on racebends. Most of the time, executives will take the "safer" routes with diversifying their cast- pick a couple of unproblematic supporting characters to be incidentally "diverse this time". Other times, there might be "braver" takes where more prominent characters (perhaps even the main character) are racebent. This doesn't necessarily mean racebending prominent characters is an inherently better thing to do.

I've been more than critical of MAWS' portrayal of BIPOC characters but especially their Asian Lois before. Sometimes BIPOC representation is just a decorative palette-swap change for these shows. Caped Crusader however, is different. It's more complicated- but it's rooted in very similar problems. Unlike MAWS (though I can only speak for S1), CC is far more willing to take on political topics: classism, sexism, police corruption and brutality, even beauty standards in the entertainment industry! Yet, in choosing to portray these topics in their stylistically anachronistic 30s-40s set piece- it makes it so the show's reluctance to discuss race intersecting with any of these topics far more apparent.

(spoilers for all of Caped Crusader)

Take for instance, episode 2: "...And Be A Villain". The story is about Basil Karlo, a less than handsome actor who wishes his appearance wasn't holding him back from both love and playing roles saved for better looking people. He makes a deal with Jack Ellman, an experimental makeup artist who turns him into Clayface. This story is set in motion when Miss Yvonne Francis, a beautiful actress, goes missing. Miss Francis is a woman of color (brown skinned, unspecified) played by Lacey Chabert: a white actress. CC goes for a generally colorblind casting what with Stephie (a white girl) being voiced by Amari McCoy (a Black actress) but it always feels icky when a white actor voices a character of color. Prominent characters of color in CC are more accurately casted. However I do think animation should be wary of using their medium to get away with their show appearing more diverse than the actual talent behind it.

The episode's theme is pretty clear on how unfair the entertainment industry is in regards to who it prioritizes in leading roles. Basil is constantly emphasized as a tragically talented actor whose appearance is holding him back. "With your talent you should be a leading man, Basil." Yvonne says to Basil in a flashback. Meanwhile as Alfred is watching through movie clips featuring Yvonne and Basil together, he comments "while lovely to look at, Miss Francis is no Gloria Swanson." So Yvonne has the looks, but not the talent and still gets prestigious roles because that's showbiz. The only time this is weirdly inconsistent is when Yvonne calls out Basil/Clayface in the finale, saying:

"I don't believe your performance. You're chewing on scenery. Relying on makeup effects to enhance weak characterization. It's insincere, Basil. It's not real."

I honestly feel like this scene was just meant to quickly "subvert" Yvonne being a damsel in distress by having her call out Basil's acting. It's a moment that isn't reinforced by anything the episode set up. After all, according to Alfred, she's not as good an actor compared to Basil. That's supposed to be how they foil each other, so this moment feels unmotivated. Again, I get what they're going for, that Basil's performance ironically relies on his newfound appearance so much that even a bad actress like Yvonne can spot his meager acting. But it doesn't work when our protagonists were actually convinced by his imitation of others. She's still a damsel in distress character regardless of her having a bit of attitude when calling her captor out.

What I don't understand is: why make Yvonne a woman of color if this was the story you wanted to tell? It's not like they're paying homage to how her voice actress looks, after all. Why, in your story set in purposely anachronistic 30s-40s era noir, did the character who was meant to represent the epitome of "not talented but gets by the industry because of her conventional beauty and pretty privilege" a woman of color? We're missing the very obvious conversation here where Tinsel Town is a white industry with white biases to what it considers attractive. It doesn't matter how many attractive actors of color exist, they're still pigeon holed into stereotyped and often racist roles (especially back then), and have to work twice as hard to get the opportunities their white colleagues get. Why is Basil, a white man, the only one afforded a marginalized narrative when Yvonne is quite literally a woman of color right next to him? The episode is especially painful to sit through when Basil is afforded so much sympathy compared to Yvonne.

"He didn't have the right look. He didn't have the right face."

"The camera is kind to some, but cruel to others."

This is transparently a colorblind narrative. Yvonne is written and even casted as a white woman. The CC crew just decided she should be a WOC likely because "wouldn't it be neat if the beautiful actress in this story is POC" without thinking about how that would drastically change a narrative already critical of the showbiz industry based on appearances. It's not intersectional and flattens the narrative to being selective of the prejudices Tinsel Town has. This episode is a great example to what CC generally does with diversity. It's not afraid to be critical of society, but it gets oddly squeamish with discussing how race intersects with these topics- opting mostly for a palette-change type of representation.

It's not entirely fair to say CC doesn't ever touch on the topic of racism. It sort of does: if you read between the lines for why the mayor gives Jim Gordon his commissioner role, and more prominently with the Gentleman Ghost (a rich aristocrat ghost that steals from the poor, believing wealth is his right) being offended that his mansion is sold to Lucius Fox (saying "and you would sell it to rabble like this?")- racism is somewhat present in the world of CC. We see the women in this show experience misogyny, but it's ambiguous if any of their struggles are intersectional with that of race. But that's... just about it. Racism isn't discussed more than it is alluded to, whenever the writers decide it's relevant. Because of this, CC has a spectrum of hits and misses when it comes to integrating characters of color in their reimagined cast.

Here's how I would visualize that spectrum using canonized instances of Asian Lois Lane. I should emphasize that representation of people of color doesn't entail the narrative owing us "a racism arc" or what have you. This spectrum is more used to measure how much racial identity was integrated in the characterization of the character: whether that be cultural identity or history. Being a person of color isn't just "person who goes through racism".

This is how I'd personally place the prominent characters of color in CC on my "spectrum of racebends" chart. Generally most of the characters of color (whether reimagined that way or were originally POC already) are fairly harmless in how they were integrated into CC's world, but none of the characters feel bespoke as a reimagining of the character and are interchangeable with their white counterparts. To quote cartoonist Juni Ba (in a discussion on CC):

"...stripping characters of color in these time period stories of any cultural, [a]esthetic or social signifiers that’d make them true to the groups being represented. Instead they dress, act and speak very western."

In my opinion, the only character that is an exception to this is Linton Midnite (or as he's popularly known as: "Papa Midnite"). Midnite is a character so interlinked with Haitian culture and mysticism that even CC couldn't erase that aspect of his identity (important note: historically, the portrayal of Midnite since his creation is riddled in racism, but that's not my place to discuss here). Midnite at most speaks with an accent, dresses more nonconformingly compared to the western standard dress of all the other characters, and practices occultish stuff (though I don't think there was anything culturally specific in that episode, please correct me otherwise if someone has more insight!). That's a lot more cultural representation than just about any other character of color in CC. Midnite can't be changed to a white character, his African identity is too interlinked with who he is.

There are a few characters I consider in poor taste to be POC- that being Arnold Flass, Yvonne Francis (who we've covered already), and Harley Quinn (who will be getting her own post, as her case is complicated). So let's talk about cops, then.

I tend to be indifferent about media choosing to diversify cop characters because it feels like choosing the most "respectable to society" role for a marginalized character to play. Cops uphold bigoted systems of power at the end of the day, so that's a very comfortable place to represent your marginalized characters. It's why we keep getting gay or lesbian cops, which Batman media absolutely perpetuates as well with Renee Montoya. It's hard to cheer for two women of color being allowed to date and kiss in public when one of them is a cop, y'know? But this doesn't mean re-imagining cop characters doesn't have narrative merit.

In regards to Jim Gordon being reimagined as a Black cop, I'm gonna refer to La'Ron Readus' video on "Fixing the Batman's Copaganda problem" where he goes into detail about the missed potential of Black!Jim Gordon from Reeves' The Batman (2022). Generally, I felt that opportunity was missed in CC as well. While I love that Barbara Gordon is in CC, nothing about her being a WOC is integrated into this version of her. It felt like if either character was white, the story wouldn't be that different. The bigger issue here is the choice to racebend Arnold Flass- a previously white, blonde, cunningly smart, and brutally corrupt cop.

CC follows some of this in their version of Arnold Flass- he's paired with Harvey Bullock (also a corrupt cop). While Bullock is the brawns of the duo, Flass is the smarts. He's cunning and even implied to be willing to frame Bullock if the worse comes to it. It isn't an inherently bad idea to racebend a corrupt white cop into a Black cop. If the writers want to tell a story about how the police force assimilates people of color into the system and forces them to be just as if not more brutal than their white counterparts, then by all means tell that story.

But that's not what CC gave us. By rarely acknowledging race, we don't get to have a conversation or themes surrounding that delicate intersection of identities. We just have "diverse Flass". Look at these panels from Year One for example, can you imagine how Flass' casual disrespect for Gordon by constantly calling him "Jimmy" could be re-contextualized with a race change? Unlike other characters who just feel like missed opportunities for not integrating race into their characterization, Flass is an elephant in the room. To not acknowledge his race in themes of police corruption and brutality is to white wash the narrative with diverse paint.

I personally think the stronger narrative decision would have been to racebend Bullock as Black instead of Flass. Flass could still be the conniving cop, but he encourages Black!Bullock to be the more "violent brute" who does the dirty work for him. It would put a newfound racial layer to how Flass considers Bullock disposable. Then we could have some kind of commentary on how the police force encourages a system of abuse that makes even fellow POC turn on each other. It'd also make it so a certain scene would be better in optics.

I have many criticisms for the scene where Batman holds a gun to Flass in the finale of CC. It's a narratively unmotivated (see my criticisms for CC's Two Face here for elaboration) and weak moment that relies on metatextual shock value to cover up how underdeveloped this take on Batman is. But it's also just very uncomfortable optics-wise. It's a common and valid criticism that Batman as a character can very easily fall into copaganda, with his status, goals, and collaboration with the police force. In many ways, Batman is often written to be committing his own kind of vigilante police brutality.

Caped Crusader wants to be a deconstruction of a Batman tied to power and hellbent on his mission to eliminate crime. But because CC occasionally omits race from its narrative, the scene where Batman holds a gun to a Black cop-a man stripped of his ability to fight back-just falls flat for me. There's no acknowledgement in this scene that Batman basically gets to be an anonymous cop, "warning shots" and all. Batman shoots at an unarmed Black man several times. It's meant to be shocking to us how Bruce is willing to stoop to such a level and indulge in gratuitous gun violence, but it honestly hits too close to real incidents where this is racially the case for me to enjoy the narrative point of this scene.

You know a character who would be perfect for calling out Batman's many privileges? Selina Kyle. Let's talk about Caped Crusader's biggest downgrade.

I've heard just about all the arguments in favor for CC's reimagining of Catwoman and none have convinced me that this was in any way a good take on the character. I see people saying that this Catwoman is a return to her golden age roots, and there's a lot of misconception surrounding that assumption. So bear with me as looking at Catwoman's history is necessary to discuss race and how a character evolves.

Catwoman debuted in the 1940s as a jewel thief who disguised herself as an old lady. She was just called "The Cat" and would not don her more feline appearance until later. True to the mystery woman femme fatale trope she was inspired by, her backstory was left unknown for a long time. 10 years later, in Batman #62 it is revealed that after a plane accident bonked her head, the now named Selina Kyle got amnesia and went on a crime spree. Giving her leeway to reform and be an ally to Batman. This would historically inform how Selina Kyle toed the line between good and evil as an anti-hero.

Her origin would be revisited in 1983, in the Brave and the Bold #197. Although not canon to the mainline universe, it is still a crucial development for her character's history. In this story, Selina reveals that she lied about having amnesia to get out of facing punishment. Her true story was that she entered a life of crime to escape an abusive relationship with a rich man. The only loss her husband understood was material loss, loss of property, so stealing was how Selina fought back.

This crucial re-examination of her character transformed her from shenanigans inducing femme fatale, to a marginalized fighter. Shortly later in 1987 in Batman Year One, Catwoman is reimagined as a street-hardened sex worker in poverty. She is inspired by the Batman to become a vigilante for her own goals and gets annoyed that she's assumed to be his sidekick.

The moment Catwoman became marginalized by power, was the point where she became worthy of solo-character status. She was not only a compelling foil to Batman-capable of going toe to toe with him and make him question his motives even though she did not share his privilege-she could lead her own adventures reflecting a side of Gotham Bruce Wayne's perspective doesn't. She actively makes the setting of Gotham stronger because of how she's evolved as a character.

Catwoman's character would continue to evolve, with some iterations reimagining her as a latina woman and others where she's canonically bisexual.

While Catwoman has been portrayed by Black actresses before, I want to focus on the most recent and prominent iteration of a race-swapped Catwoman. When Matt Reeves' The Batman (2022) featured Zoe Kravitz as Selina Kyle, an explicitly biracial character within the text of the story, we see another step this character evolves. I think La'Ron Readus' video on "Why Race-Swapped Characters Are Not The Full Story" does a fantastic job of explaining why this is a narratively great race swap. To summarize (though I do encourage watching his video as he goes into depth about 2022 Batman's Jim Gordon as well among many other examples) and add analysis of my own: Selina being the byproduct of an Italian crime lord and a Black sex worker is a brilliant marriage of her original backstory (being connected to and abused by powerful men) and her modern backstory where she's poverty stricken (and tangentially related to a sex worker if we're talking about Batman Year One).

We understand why someone of her background would have an affinity for stray cats because of how she lost her mom at a young age, she is sympathetic to fellow people from the lower class, and explicitly calls out privileged white people- including Batman who attempted to over moralize Selina's partner as a sex worker.

"All anyone cares about in this place, are these white privileged assholes."

It's especially that last line that makes it so Selina's character isn't interchangeable with her white counterpart. She's a textually rich character to contrast Bruce in Batman 2022, and we can see how years of history and evolution has brought such an empathetic character to the screen. Interestingly, Readus feels that while 2022 Selina was an example of a race-swap that works, he believes it was great by coincidence, because of the miss that was Gordon's characterization in the same movie. I think with Reeves as a collaborator on Caped Crusader, that assumption was correct.

Selina in CC is back to being a rich socialite, but (unlike her Golden Age counterpart) she's not married into wealth- she's got generational wealth (with a dad serving jail time for tax evasion). Worse yet, she's taking what little remains of her money and spending it on superficially imitating the Batman to create her Catwoman persona. She even has her own reluctant Alfred, a Catmobile, the works. Selina steals things because. She likes shiny things. And is something of a kleptomaniac. Catwoman is instantly discovered to be Selina because of course she's not as good as Batman is with keeping a secret identity (another key difference from her Golden Age counterpart, whose backstory was shrouded in mystery for a decade).

It is laughable to me that CC touts that their version of Harley Quinn has an origin of her own outside of the Joker, only to turn around and make a Catwoman that is completely tied to copying a man as her origin (did they decide Harley's goofyness as a character needed to be replicated in Selina for some reason? In their supposed dark and edgy show?). What a strange choice to fixate on the part in Year One where Selina didn't like being mistaken for Batman's assistant despite being inspired by him and turn it into a quirky bit. It feels like such a regressive take that frames Selina as a sillier, whimsical version of Bruce that just spends money on a whim because women just aren't smart enough to know how to keep track of their money. They're too busy looking for shiny things to steal. The fact that both 2022 Batman and CC have a scene where Selina is looking through her many bills she's yet to pay is wild to me. How am I supposed to care for a Selina that has the expendable wealth to create a Catwoman costume, car, and gadgets, but delay paying her maid? One of these versions of Selina is far more sympathetic than the other.

Again, I get what CC is going for. Batman is characterized to be hellbent on catching criminals, Catwoman is supposed to serve as some kind of reflection of his obsession. They're both self destructive in their goals, but one is vengeance and the other is chasing thrills. But is that really as interesting a foil as having Catwoman be marginalized, just as skilled, and making Batman second guess himself? Is it a take that strengthens Gotham as a setting by shedding light on its lower class characters? Is it a take that makes her worth revisiting as a perpetual rogue and not a one off episode where's she's basically a shenanigans-inducing nuisance to Batman? Evolved takes on Catwoman have talked about her desire to seek thrills and paired it with how she dismantles power. So it's not like CC's take is particularly unique, it just lacks all the depth that usually surrounds Selina's thrill seeking.

In a show that is frankly desperate to make it so Bruce doesn't have a personal relationship to his rogues gallery because he's too busy being "A cold, remorseless avenger of evil, seemingly more machine than man. Forged in the fire of tragedy, every fiber of his being is dedicated to the eradication of crime." (according to promo) that's how we end up with Barbara as the foil and humanity to both Harvey Dent and Harley Quinn. How the show focuses on the police force more than Bruce. It feels especially pointed that Catwoman is characterized this way. When she doesn't contrast Bruce, she becomes less personal to him as a character that is poverty stricken but still matches up to him in skill. She can't challenge him or his worldview, he can't find her fascinating as an equal, all of their chemistry and intrigue is erased.

All this to say that of the characters revealed for CC, I was honestly surprised that Selina wasn't one of the many characters racebent. CC followed up on a Black Jim and Barbara Gordon, two characters that have been race swapped before in previous media. Most prominently! Harley is Asian in this iteration, something never done before. So why is it that Selina doesn't follow up on the many times she's been portrayed by Black actresses?

It's because it's an actual good racebend if written well. It wouldn't be a "safe" racebend because writing Selina this way means you'd have to acknowledge racism, and it would be much more noticeable if you didn't. There is no canonized version of Asian Lois Lane that parallels her relationship to Superman as an immigrant. But there is a version of Selina as a Black woman who directly calls out white people and is aware of systemic power. It's in something as prominent and mainstream as Matt Reeves' 2022 Batman. So instead it just reads as cowardice to me that CC couldn't follow up on this evolution of Selina.

Not only does it weaken Catwoman and Batman's relationship to regress Selina this way, but it actively weakens Gotham as a setting and the very themes of Caped Crusader. I personally think all the energy that went into Harley Quinn should have been shared with (or straight up gone to) Selina Kyle. Because unlike CC's take on Harley, the way Selina Kyle's marginalization intersects with race and queerness would have actually critiqued Gotham's class corruption effectively. As a Black queer woman, Selina would be among the most vulnerable people in Gotham. We don't have prominent characters in CC that truly reflect the lower class, there are these unnamed characters Harvey Dent sits next to on a train. There are some orphans with Batfam names. A proper Catwoman reimagining that takes advantage of her evolution would have filled this gap in their narrative.

But that's not how "safe diversity" works. CC would rather racebend and canonize the queerness of a character like their take on Harley Quinn. A WOC who gets to kiss a cop and call out powerful men, but not in a way that makes white people uncomfortable.

If I could edit the Sandman quote that "The great stories will always return to their original forms" for Superheroes, I'd say "The great stories will always return to their most resonant forms" because without iterations we don't get characters like the Kents, Alfred or Catwoman as we know her today. Classics are good to look to, but we like these characters because they evolve. In my opinion, none of CC's takes on these characters of color feel resonant. They're not definitive to the level of Mister Freeze's tragic love story in BTAS, among many standout narrative choices in BTAS that continue across media iterations.

In my opinion, CC isn't as thoroughly clumsy as MAWS is in regards to POC representation and race-swaps (all characters of color in MAWS get put in the left side of that chart I made. In the Sunken Place. Where they all Missed The Movement). However, I can't help but see Caped Crusader's take on the world of Gotham as nothing more than an anecdote in the evolution of Batman's story for the modern era. "It's BTAS but superficially more diverse and with less compelling narrative choices."

Rest on the Flight into Egypt by Hermann von Kaulbach

Just wanted to thank y'all so much for appreciating my vintage rogues!! I've been having a long stupid week but it makes me a lot happier knowing people like a project I've put a lot of time and thought into, which I rarely ever do lol. I know it's not a ton of notes but I was still pleasantly surprised..... especially since being a yapper AND a nerd is usually not a recipe for quick n easy posting lmao

OC creation musings + Juno retrospective

I was rewatching this video by Rea, and it struck me that this exact phenomenon happened to me in 2022, with the first inklings of Juno's design - back when I couldn't decide on whether or not her name would be "Juno" or "Kite", and desperately trying not to make her a scientist. She's obviously come such a long way since then, having now become a very well-known character in the fandom, but I often think of the fact that had she not become on of my artistic passions, I probably wouldn't be anywhere near where I am today.

Juno is absolutely everything to me. She is a representative of my passion for storytelling, and she connected me with so many of my now closest friends - one of which is currently living in my house! How crazy is that, man! All of which I can attribute to simply becoming so fixated on my own OC that I couldn't stop thinking about her, or drawing her.

Of course, that's come with some highs and lows. She's getting a professionally done cosplay, a 3D model and potentially a Battlefront mod - but she also has her own dedicated group of haters who think she represents the 'wrongs' of fandom, lol. I certainly have recieved my fair share of 'Juno hate' in my 3-4 years here, but the positivity and support make it well worth dealing with a few rotten apples. It's radiant and outpouring, like a warm ray of sun, and it keeps me going deep into the night.

Anyways. Total tangent. Want to see all her design iterations? Yea you do ;) Here's the first ever Juno ref!

I made this on my phone in 2022, at the tale end of watching TCW and back when TBB was just one season. You can definitely see that the idea was always there, just a bit disjointed in its application. That gas mask on her helmet ended up causing a lot of confusion, so I removed it in later iterations - but to this day, I think this one picture is what really captivated me. Something about the aura, man,, she scary lookin

Then, of course, I had to draw what her face would look like - if it hadn't been for a RP, I don't think I would have.

Woah - she's like a whole different person! And you can see the beginnings of her white hair streak, though back then, I wanted i to be really subtle. And I was soooo adamant about this lol. She also was almost beat for beat Ellen Ripley, and you can see me paint over a picture of Sigourney below with her OG faceclaim haha.

Then we have the Juno-ing... part two. Where I went darker!! Both in themes, and in her color scheme. This one still has so much personality, and I remember being obsessed with how I drew her eyes and face back then. Nowadays, I think it's hideous. xD This was also around the time I was phasing out her gauntlets and oxygen mask, but both still remained for practicality purposes, even if they didn't serve anything to the design. Oh, and the hair streak. Now it's a Thing :tm: but it isn't really flowing well with the design - not yet, anyways!

We finally get to a point where I, begrudingly, accept the fact that her white streak is going to be her facial focal point - and at this point I'm laughing about how much I tried to avoid it LOL. But here, we also see her get more and more refined. Her face is still a bit wonky, but the stern vibe and posture are starting to come together and tell more of a concrete story, even if the reference doesn't have as much color or personality as the last one. I also did this one for my senior year of college!

I even designed her some totally BS civvies - and I gave her a s2 paint job, which admittedly looks hideous LMAOOO but we ball regardless. The second design was scrapped anyways almost immediately. The civvies stayed!

And then, of course, THE FINALE! Her face went through so many iterations with her current ref, but thus far, it's been the longest standing and most accurate one. It atually started out just as me goofing off with a marker pen in CSP, that quickly changed to "hey... this could be something good." And I was right! This is the Juno that's currently circulating today, and I've been polishing and refining her as I go, since I still feel as though I could perfect things.

And then, of course, her various outfits, which I posted about a while back. Oh - and have you seen Baby Juno?

Well now you have. :)

I think it's so cool to see how someone can fixate on a character and pour so much love and thought into them, that this character becomes their entire brand. Juno inhabits every part of my brain space and is what I think about 24/7. I'm so proud of how far she comes, and she reminds me about how incredible fandom can be and continues to be! Something about her is just so intoxicating to me. I can't get enough of her, and I can't wait to keep developing her over the years to come.

Which then begs the question - what is your equivalent to this entire thread? Do you have an OC like Juno, who you're fixated on and who dominates your creative pursuits? Do they have multiple artistic iterations? Because if you do, share them!! I WANNA SEEEEEE.

Anyways, that's Wren's Ramblings for today ~ I got bored haha

SHARE YOUR OCS!!!! >:0

Here's Scarecrow... I'm not entirely happy with him but I did this in a hurry so he'll have to do lol. I had a weird idea of making have a short pointy hat but like,, the edge functioned like a 40s fedora?? Idk if that actually worked but there you go.

I'm definetely a little obsessed with the relation of old horror movies with the fears of society at that time/the current events they were inspired by, and I tried to design Scarecrow with that in mind. Kind of obviously war in the 40s so I gave him a military inspired trenchcoat, but I also heard a take once that the scarecrow idea represents poverty, raggedy clothes and poor farmers and the like, and the Great Depression was fresh in the back of everyones minds at this point. Rationing during the war as well!! I'm using my last brain cell to write this so I hope this makes sense lol. That's it bye :)

burn out

I love how we're all going to be blind without our glasses lol

I don't have anyone to tag I just love me a good picrew!!!

Napoblr picrew tag game!

I found this picrew with really pretty Regency/Napoleonic era designs, I thought it would be cute if we make ourselves as ladies of the Napoleonic court! (sadly there isn't a male version so it's just for fem-presenting folks I'm afraid)

Above is my attempt at making myself, I need the outfit so bad (yes I am going for a historically accurate hairstyle because I am no coward!!!)

tagging (no pressure of course): @apurpledust, @mandatorycommunistbrunchhour, @auguste-marmonts-only-fan, @hanciiii, @bryla-kobaltu, @dinapiss, @6jozefa, @jel-randombooth, and anyone else who wants to join :3

I can tell you something about this place. My boys call it "The Black Lagoon", a paradise. Only, they say, nobody has ever come back to prove it.

CREATURE FROM THE BLACK LAGOON (1954) dir. Jack Arnold

happy Halloween!!!! Here's the sketch for the vintage scarecrow design I did since I don't have the finished product to offer lol

Brooklyn Eagle, New York, October 31, 1920

After 3 years of waiting and a long, hard week I finally got to watch phantom of the opera 1925 in theaters with a live accompanist. Let me tell you I felt God in that room

Hellelil and Hildebrand, the Meeting on the Turret Stairs by Frederic William Burton

Here they are... the final set (for now!) of vintage rogues.... they slowly declined in quality lmao

Firefly was based off of mainly WW1 flamethrower gear, he's just a weird amalgamation of stuff. If I were actually writing a story here I had the idea of him being a kid in Germany during WW1, maybe something tramatic happened involving fire and by the time WW2 electric boogaloo came around he was old enough to dress up and set things on fire....idk folks the two world wars tie in to each other a lot and I think thats some wasted potential!!!!

Roxie Rocket was just based on 1930s flight uniforms, and her rocket was inspired by those vintage sci-fi illustrations of what people though the future would look like. She never made it past sketch phase rip

The Mad Hatter!! Boy I was sad I didn't finish this one. I wanted to do a simple historically accurate 1860s look, since that's what most of the versions of him are based off of, as Alice in Wonderland was published 1865. While researching clothing I discovered that plaid pants were a thing in the mid 1800s?? I think a lot of designs give him checkered pants but that feels too modern to me... I had to give him plaid pants I feel like he would love plaid pants. He would eat them up.

So yeah!! I have a few more ideas for Scarecrow and Riddler sketched out so you might see them around :)

Okay phew!! My biggest Tolkien-related art to date, part of a school assignment. featuring Mablung and Beleg and my OCs and one unnamed guy.

top row, left to right: Mablung, Lirien, unnamed elf, Taer, Faelon, Idhrenes, Beleg

bottom row, left to right: Pelinel, Pethron, Calithil

Unfinished Batman to match my vintage rogues hehe. This was only my like, second time drawing Batman,, for someone who's really into Batman I don't draw him that much lol sorry man

Thoughts ~

I wanted to lean more into historical (or historically believable) clothing rather than the sci-fi clothing he usually wears. Cape neck closure was based on a WW2 era military raincoat, he's also wearing spats and boots and jodphurs and the like. Mainly WW2 inspiration because I feel like people always skip over the fact that Batman was created in wartime America and it makes the history buff in me sad :(( Also some COLOR because he's all BLACK and GRAY and SAD nowadays (but still muted for nighttime camoflague)

another oc, Mary :) I can hardly ever do finished drawings anymore but this was a special occasion (needing to shrimp posture for a couple hours)

alas..... for I have been Influenced to learn cross stitch bc I could not stop thinking about this 😔

The photo is not very good and I still need to wash and iron it, but I couldn't wait to show my first ever big cross stitch project;

Love how it turned out, especially with the green embroidery thread (cotton thread on linen)

will you finish the vintage rogues? I think it’s an awesome concept

👍

AHH THANK YOU!! Yeah I love em a lot! I have a few more I'll post, I have maybe 4 or 5 unfinished ones (Roxie rocket, Scarecrow, Mad Hatter, among others) sitting around that I might get to someday. Who knows lol

Mars by Hans Thoma

bored at work so am posting again..... This is my character Thea, she's an archeologist :)

i always hate how a lot of modern interpretations of Bruce Wayne make him out to be a greedy billionaire who hates the poor. It’s canon he spends thousands— if not millions— of dollars donating to charities to improve life in gotham. Iis family’s business just has and continues to make SO MUCH money. He’s not greedy.

snoopy of the day