Read the Printed Word! My blog is too young to be haunted
My blog is too young to be haunted

'ello name is Bethany. I am 22 trying to get my life together. I have spent most of my life with one foot in Tolkiens worlds and the other in my own. I am to tired to be doing this right now.

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12:34 AM
July 31st, 2014



See this is actually a really neat look at how history works.

Who writes the history books?

The survivors.

Who survives?

The victors.


(Source: whitejadeflower, via heartless-siren)

12:33 AM
July 31st, 2014






can a ghost and a zombie come from the same person

Is this a comic? This should be a comic.

"no stupid, oh my god. no just… just turn… fuck. don’t wander over there, you’re gonna fall down the… aaand there he goes………….. moron.”












I need more

(via noottersontheflightdeck)

12:31 AM
July 31st, 2014


help ive fallen and i cant get up

#its funny cause they’re old



help ive fallen and i cant get up

#its funny cause they’re old

(Source: fassbendor, via heartless-siren)

12:30 AM
July 31st, 2014


the greatest plan in history

(via mollaythesassay)

12:29 AM
July 31st, 2014



I love comics. Frequently, it doesn’t feel like they love me back—but I, like most fans, can take it. I can weather the bloated crossover events, the gimmicky romances, the deaths that you know won’t last before the bullet even leaves the gun. I can take artists who only draw three faces and X-TREME BLOODSHED and a million animal sidekicks.

But god almighty, I am so tired of crappy fashion in superhero comics.

Call it a nonissue. Call it a frivolous concern. I call it a massive missed opportunity and offer the critic an insouciant flip of my hair. When Bryan Lee O’Malley tweeted this a while back, I nearly stood up and cheered: “A cool thing about comics is FASHION = CHARACTER. you can convey personality through clothing. Why do 90% of western artists ignore this.” He gets it—and unsurprisingly, Scott Pilgrim is one of the only Western comics I can think of that uses fashion to effectively convey characterization. Through a character’s clothes, the reader gleans insight into their insecurities, ambitions, social status and more—y’know, the basics of subtle characterization. The titular Scott is a slacker geek dude in reference-happy t-shirts and jeans. Flighty, jaded Ramona is a mercurial hipster pixie with ever-changing hair. Wry Wallace Wells dons monogrammed polos and boxer briefs. Knives Chau starts out a meek schoolgirl in kilts and an overgrown ponytail, then graduates to a slightly-less-innovative version of Ramona’s wardrobe and a big red streak in her hair when trying to win back Scott’s affections. The cast of background characters actually look like the Vertigo-reading, concert-going, Banksy-coffee-table-book owning chic geek set of today and the story is more emotionally resonant because of this immersive realism. THIS MATTERS, YOU GUYS.

But year after year after year, the comics industry ignores it. Male characters are dressed as blandly as possible, or come clad in weird, baggy approximations of early 2000s fashion. Female characters exist in a world where—surprise!—most clothes are tight and sexy, albeit oddly out of date and in clashing colors. Their civilian lives seem more flat and unreal as a result, their emotional entanglements more eyeroll-inducing  because honestly, they look like the cast of an old daytime soap. Fashion impacts our lives every day, at every turn—we judge people based on what they wear, where they wear it, and where they bought it, even if we aren’t consciously doing it. When I say I want more thoughtful fashion in comics, I don’t mean that I need every character looking like they stepped off a runway—I mean that I want comic creators to think about who their characters are, what they would be most likely to wear, where they would buy it, their relationship to their body, and how they want the world to see them. I want them to think about their characters on a deeper level. I want them to make good comics.

Good examples of fashion in comics are so rare that I remember them by individual issue, and one such example comes to mind now. Cliff Chiang is a fantastic artist in general, and as I discovered at San Diego Comic-Con 2013, a pretty stylish dude himself. His current work on Wonder Woman features a lot of mindful clothes, but it’s a comic he illustrated in 2010 that really comes to mind. Brave and the Bold #33 featured a melancholy story about Zatanna foreseeing Barbara Gordon’s wheelchair-bound future, thus inspiring her to take Babs and Wonder Woman out for a ladies night of dancing and drinking. It’s a lovely issue for a lot of reasons, but I found myself truly impressed by the way he dresses the three women for their night on the town. They each wear cocktail dresses that actual real life women would wear today, but moreover, each dress fits each woman. Barbara, pretty young thing that she is, sports a hot pink bandage dress. Zatanna’s look is, appropriately, a little more witchy and avant-garde. Diana wears a draped piece that incorporates more structured, Grecian elements without screaming IT’S WONDER WOMAN SHE’S A GREEK AMAZON, GET IT?! It captures who they are, how they see themselves, and the world they live in simply  and succinctly and the issue shines because of it.

Fashion matters. Clothes matter. They inform our social lives, our self image, our class consciousness and our goals. Comic creators owe it to their art to care about this more—there’s a reason other entertainment industries devote entire departments of people to this task. For now, we wait—cringing at a world where every female character owns thirty midriff tops, every little girl has pigtails and puffed sleeves and men can only be the Everyman Hero in jeans or the Billionaire Hero in a generic business suit.

AMAZING THANK YOU OH MY GOD YES I hope you guys read this especially if you draw characters like this is so important. you think my characters feel so real here is a HUGE contributing factor.

(Source: prynnette, via merichuel)

11:05 PM
July 30th, 2014



Can we just have every superhero react like that?

"A spider bite… gave me abs…?"

"Being put in a barrel of radioactive waste… gave me abs…?" 

"Watching my parents die…gave me abs?"

(Source: littlechinesedoll, via kittykatthetacodemon)

11:04 PM
July 30th, 2014


always ask a snail where they are going and if they need help getting there

(Source: alunaes, via timeywimeyzap)

11:03 PM
July 30th, 2014


so Jim Kirk walks into a bar

(via agent-charlie)

11:02 PM
July 30th, 2014

9:04 PM
July 30th, 2014

Anonymous wrote...
To the person asking if an artist should be proud/happy with their stuff, I'd like to say something my teacher said. He said that a great artist would never be 100% about their work, because we are always learning and always advancing and we will always see something, though we may be unable to point it out, that is missing. It's great too see how far and how much better we've done and be proud but we never reach 100% satisfaction while we are learning. And as artists, we are always learning. :)

9:03 PM
July 30th, 2014

Anonymous wrote...
What's wrong with sea world?



What isn’t wrong with SeaWorld? Here’s just a small portion of things:

-Mother and calf separation as young as 1 years old. (In the wild, they’re together for life.)

-Artificial insemination by physically jerking off the animals and using their hands to insert the sperm.

-Though they haven’t caught wild orcas in a long time, they fund it on the sly

-Food deprivation when VIP guests visit or if there’s to be an inspection. 

-Lack of regard for the safety of trainers.

-And orcas.

-And guests.

-Spending just 0.0001% of their profit on conservation but claiming they’re huge conservationists. 

-Misinforming the public and on occasion, actually lying to them. Particularly on the life expectancy of wild orcas. 

-Claiming they support educating people to care for the ocean during their orca shows but not putting any education into their shows what so ever.

-Claiming they always do rescue and release when 1. they have NEVER released an orca (because they’re the money making machines) but 2. they never follow up on the releases they have done so for all we know, they could all be dead. Part of a good rescue and release program is a check up at least a year later, to ensure that the animal survived. SeaWorld does not do that, and instead dumps the animal back into the ocean and claims this as “success”. The following quote about SeaWorld is pretty revealing about their attitudes regarding release:

"I worked at SeaWorld in San Diego. Had my season pass. My husband was a bait fisherman in SD. He and other commercial fisherman complained constantly that when Sea world rescued injured sea lions they would try to train them and if they were untrainable they would release them and the sea lion is half trained and not fearful of humans. These sea lions become a problem and as a result are killed by fisherman. I worked in the employee lounge at sea world and I heard trainers talk about the release of animals that they tried to train. I heard the concern for certain ones.I do not believe that SeaWorld should be allowed to capture and train any more whales and they should not be allowed to breed anymore.” - comment from Tonya Belden, worked at SeaWorld San Diego.

And another quote from this link:

"As for the rescue program…Some were saved and released, but if it didn’t bring in money, it was not considered valuable by the management.

We rescued a Risso’s dolphin in TX and worked day and night to bring that little guy (Turbo) up to healthy status. They moved her to the whale and dolphin stadium, gave her several types of psychotropic drugs, and she died within hours of receiving the drugs. The use of psychotropic drugs was NOT uncommon. When the Vet (Les Dalton) got the call saying she had died, his response was “Well, we got rid of that problem, didn’t we”.”

-Encouraging fishing tournaments despite the over fishing issue.

-Applying for permits to harvest sex organs from slaughtered dolphins

-They won’t hire ‘ugly’ trainers

-Claiming they don’t have enough money to retire their animals but the CEO threw himself a $3 million dollar birthday in his mansion that’s larger than all the SeaWorld orca tanks combined.

-Calling the diets of their orcas ‘restaurant quality’ when in reality, it doesn’t even match what they’d have eaten in the wild.

-They drug their animals.

-Dumping litres and litres of toxic chemicals into the ocean then having the audacity to say that they are all about saving it.

-Forcing orcas to get onto the ‘slide out’ (where they sit out of water and have their organs crushed under their vast weight). This includes heavily pregnant orcas. See ‘Gudrun' but if you want a more recent example, they’re still doing this to Kalia right now


-Forcing infants to become pregnant.

-Overcrowded conditions. 
I could go on…

They basically live in swimming pools for crying out loud.

8:57 PM
July 30th, 2014

(Source: runakvaed, via thranduilsenpai)

8:49 PM
July 30th, 2014

My cat and my GF’s kitten are getting along


My cat and my GF’s kitten are getting along

(via with-both-my-hearts)

8:47 PM
July 30th, 2014



(Source: imsirius, via echowolves)

8:44 PM
July 30th, 2014




Can we talk about Steve here? The way he’s looking at the Tesseract. He must be thinking “how could something this small cause so much pain?” The war it started, the years it cost him… the friends he lost…

can I just-

this is the only closure Steve gets for the war. That the weapon that fueled Schmidt’s maniacal search for power beyond what the Reich could give him, the weapon that created the backbone of Hydra’s weaponry, the weapon that contributed to Bucky’s fall, to the bombs on the plane, to Steve’s decision to down the plane {ten days} and then everything he lost because of that-

this is the only closure Steve gets for losing everything.

Look at him.  Steve Rogers is not the kind of guy who experiences hatred, but he fucking hates that thing.

(via elindil)