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#explosion tw
sayruq · 6 days
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one-time-i-dreamt · 1 year
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I spilled milk on my laptop and it exploded.
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hollowslantern · 2 years
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HOW IS HE DODGING MY ATTACKS
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xylitolnovaslover · 4 months
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f/o brainrot feels like this tbh
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doppiopinkman · 8 months
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based off of an rp conversation @punchhazard and I had eons ago
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littlest-bugz · 3 months
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I've had this in my head for weeks. I finally drew the image
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raccoonscity · 1 year
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Slime Rancher + Slime Types
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scatterpatter · 6 months
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Huevember Day 4 (a week late but i wont tattle if you dont...)
No I will literally NEVER shut up about these twins and how they were given one of the most horrific backstories in the entire show and it just. NEVER GETS ADDRESSED. Dang. TFA really has the best fridge horror <3
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maggiecheungs · 9 months
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“The gods are to blame. If you have grievances... tell heaven about them.”
A TOUCH OF SIN | 天注定 (2013) dir. by Jia Zhangke
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artsystims · 5 months
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non binary party poison stimboard for anon!
💛 | 🤍 | 💜
💛 | 🔫 | 💜
💛 | 🤍 | 💜
(always wanted to do stimboards for the killjoys, so thank you)
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crystal-bytes · 1 year
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MARVEL CHARACTER EVOLUTION
PETER QUILL/STAR-LORD
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ask-the-becile-boys · 5 months
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Story. Inferno
Previous | Next
[ID: 9 digitally sketched panels in greyscale.]
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[Panel 1: Becile Manor's windows and smokestacks are blown violently out with fire, SFX: (all caps) Boom! The linework is slightly doubled to indicate the house shakes with the force of the explosion.]
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[Panel 2: Locksmith and The Jack flinch from the explosion. The Jack lifts an arm to cover his eyes while Locksmith grabs his hat to keep it on and puts his face in the crook of his other elbow. Locksmith's coat tails flutter with the rush of air. All panels from here out have stark shadows]
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[Panel 3: Dee in profile, eye visible beneath her bangs. She screams in despair, "(all caps) No!"]
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[Panel 4: Riker, still sitting in the van's driver seat, and Hare standing by the van next to him. Both stare silently in horror at the burning house. No text.]
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[Panel 5: Shot of Locksmith, back to the viewer, as he turns to face the burning windows. No text.]
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[Panel 6: Locksmith in profile, seriously regarding the flames as embers drift by. (This calls back to The Jack's burning of the straitjacket.) Locksmith says, "(ellipses) It is done. We are free of this place and its shadow."]
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[Panel 7: The Jack, facing the viewer (Locksmith), staring in horror as Locksmith says, "I will regret leaving you behind. But I can no longer tarry."]
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[Panel 8: Locksmith turns to look at the viewer (The Jack) and somberly starts to say, "Goodbye, The Ja (em-dash)"]
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[Panel 9: SFX: (all caps) Bang! Locksmith's head jerks backward as he is shot in the eye, the glass of his lens shattering. End ID]
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one-time-i-dreamt · 5 months
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I died at a house party due to the radio exploding and a website was displayed in front of me saying that I was dead and “Welcome to Heaven!” “Would you like to reincarnate?” “You will be redirected in … seconds.” And then it started playing some boy band music video but everything was all black. And then I woke up.
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bisexualalienss · 1 year
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Every single thing to come has turned into ashes 'Cause it's all over, it's not meant to be
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positivelybeastly · 29 days
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First question, what year was Hank born? Second question how might the events going on in our world have affected the characterization of Hank? Beyond the 90s incarnation of the character might make a post about this later…
So, asking for a set birth year for a comic book character is a bad idea, because with very few exceptions, they don't exist. For example, Google tells us that Captain America was born on the 4th of July, 1920.
Or maybe he wasn't? Apparently that got retconned and it isn't 4th of July, but it was 1920? Already we run into problems. COMIC BOOKS.
Outside of very specific characters, they just don't have birth years or birth dates, they exist within the Marvel sliding timescale. If you're not familiar with the sliding timescale, the basic conceit is this:
Modern Marvel comics began in 1961 with Fantastic Four #1. This is essentially the start of the modern Marvel era, and every other superhero group is contextualised in relation to this, pretty much. The Avengers were formed maybe six months, a year later, the X-Men not long after that.
For every 3-5 years that passes outside of comics, 1 year passes inside of comics. E.g. Fantastic Four #1 took place either 13 or 21 years ago, or somewhere in between, it's not an exact science.
As for Hank specifically, well . . .
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October, 1983, was contemporary to Hank saying this.
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That plot took place in a comic book from 1974, nearly ten years before this, and yet Hank says it's just "a few years ago." So time is passing, but slowly. Hank here is explicitly in his early 20s, maybe 22-23, but the Hank we saw in this week's X-Force #50 was not 40 years older than him. So, how to make it all make sense?
A lot of headcanon and kind of inferring based on contextual hints. Hank is depicted as being roughly 17-18 when he joins the original X-Men, given that he's stated in dialogue to be the oldest of the team, and seems to have been on the verge of graduating high school when his normal human life was interrupted. So, now you just work backwards.
If Hank was 17-18 when the original X-Men were formed, and it's been 21 years since then (referring back to the sliding timescale), then it stands to reason X-Force Beast is 37-38. If he's 38 in our current year of 2024, then logically, he would have been born in . . .
1986!
Which is what I've been running with for as long as I've been writing him. It isn't quite compatible with stuff like this, which is very obviously written in the 60s and set in the 60s, and which explicitly positions Hank as an Atomic Age hero, with radiation based origins and a super scientist pedigree . . .
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But eh. We move.
As to the second part of your question
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. . . Ooohhhhh boy.
Um.
There's a lot? And I hate to bring it all back to 9/11 and the War on Terror, but it's kind of all about 9/11 and the War on Terror?
Media about terrorism, security, threats to mankind, all looked very different pre-September 11th, 2001. Go back and watch Star Trek: Deep Space Nine, and see how Kira Nerys, a character who is explicitly called a terrorist in dialogue, is treated for her actions. She's positioned more as a World War II resistance fighter than anything else. If that show were made now, she would be an intensely different character, because the American cultural and media consciousness has never recovered from that day.
If you want to read more about this, there's quite a lot of academic discourse on how this has all changed. Here's a decent start.
But specifically Hank? Well, the X-Men have had their own 9/11. Multiple times. The Genoshan genocide, as depicted in New X-Men #116, actually just a few months before 9/11. It's entirely possible that this entire storyline might not have been made if it had been written after.
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The Xavier Institute bus bombing.
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The Decimation.
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The X-Men became a beleaguered minority, besieged on all sides, reduced to the island of Utopia, just 198 mutants and falling. Cyclops explicitly became far more ruthless, willing to ally with former adversaries and use kill tactics to get the job done, and you could see his portrayal, the infamous #Cyclops Was Right movement, gaining a lot of steam during this era. People really like this Cyclops.
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And where's Hank in this? Well.
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He's the moral counterpoint.
People don't like to acknowledge this, and I feel like there might be a degree of cultural difference going on here, but Hank is correct. I feel like it's not even controversial to say that kill teams are bad. Right?
But people hate Hank for this. They think he's a whiny little bitch who won't and can't help, who runs out on his people, who prioritises his morals over being there for the X-Men. People legitimately think this of him.
Hank is the left wing, conscientious objector and anti-war viewpoint. So, naturally, there's a tendency to look upon him as a whiny little bitch. Just look at how shows like 24 contextualise that kind of moral viewpoint.
I do feel like the writers of this era wanted people to at least question who was right, between Hank and Scott, but the readers pretty much unanimously fell on Scott's side, because even as Scott started to use morally corrupt tactics . . .
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He wasn't doing it for America, bullying small countries out of their oil in the name of democracy. He was doing it for a marginalised minority metaphor, fighting comic book supervillains, which is simpler, easier to root for. He had to use those tactics, you understand. He was fighting monsters! He was fighting the good fight.
Is 00s era X-Men War on Terror propaganda? I don't know. I'm not a political scholar, though I do have a B.A. in History. Interesting how the fandom seems to view this ideological conflict, though.
Anyway, time moves on, and then something starts to creep into Hank's character. Something that inevitably happens to characters like him.
Anti-intellectualism.
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No longer is Hank the moral counterpoint, now he's the intellectual who will lead us all to ruin because he's smarter than he is wise, because he's an idiot with no impulse control.
This characterisation is wholly incorrect and runs contrary to the fact that Hank learned his lesson about unethical experimentation practises in the 70s, in an incident that only harmed him, but whatever. It doesn't matter at this point, does it?
Only people with real world experience, who are level headed, who aren't eggheads, can solve the real problems of the day. People like, uh.
Hmm.
Who does have the solution to the problems of the day?
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Ah, I see.
We just forgive him for all the heinous shit he did on Utopia, huh?
All that stuff he did, the releasing bioweapons, the kill teams, that was fine, because he did it to the right people.
Well, that's all right, then.
Mmm-hmm. So much better than the egghead. Look at him in the corner, fumbling around, making more problems than he solves. What a motherfucker.
So, yes, let's talk about American anti-intellectualism.
I don't necessarily think Bendis is anti-intellectual. But I do think he spends a lot of time across multiple comics criticising Beast and valorising Cyclops, considering the worst thing Beast had done up until that point, vandalising the space-time continuum to get the O5 back into the present, was done explicitly so Bendis could play with X-Men with only 8 issues of continuity to keep straight.
But anything Cyclops did? All that X-Force stuff? Ehh. Don't worry about it. The only crime we care about is the death of Charles Xavier, for which Scott was possessed, so we can't make a moral judgement.
It's a whole ass topic, and a lot to get into, but I genuinely do think that Hank is one of those characters who especially suffers when written by a writer who doesn't trust vaunted intellectuals, because he's certainly not going to fucking flourish, is he?
And then it all comes full circle.
Ben Percy, enter the ring.
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Wolverine, the unequivocal hero of X-Force. Beast, the unequivocal villain of the series. The heart vs. the head. The man of action vs. the intellectual. The rugged thug vs. the fancy pants necessary bastard.
It's the same thing, just more extreme, really. I think X-Force is meant to be a critique of the CIA? If so, it's an extremely bad one, considering it ends on this note.
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Ah yes. Our heroes. The CIA.
I'm gonna quote the frankly incredible @brw here because they put it way better than I could on this point:
"This is genuinely a larger problem I have with Krakoa, is that rather than explore the culpability and complicity of all the characters involved in not just the creation, but the active maintenance and survival of what is, categorically, an eugenicist, oligarchy ethnostate, we instead act as if Krakoa would have been fine if not for Evil Hank/Evil Moira/Evil Sinister for ruining it all for the rest of us.
Because are Sage or Logan ever properly thought to be bad people for standing by as long as they did? It isn't even that X-Force are the people who do the dirty stuff–it's Hank that does that, and the rest of the character get to keep their hands relatively clean, at least narratively. They're sympathetic, or understandable.
Hank is positioned as this demon in the shadows ready to snatch you up and kill you which is a weird decision to make with what you describe as the CIA.
The CIA isn't evil because evil people are in charge of it, the CIA is evil because it is a fundamentally evil institution based off evil systems! Benjamin, you can't write mutant CIA if your closing statement is how awesome the mutant CIA is, and it's a shame about that one evil blue guy that ruined everything for everyone."
Good thing we got rid of that Beast guy! What a fucker, right? Nasty, gross, intellectual pustule he was, with his oily words and grossness. Look at him, reading books. Sage is fine, though, because she doesn't read books. I mean, she's quantifiably grossly incompetent in this series, but we like her better than Beast, so it's fine.
Beast, from the 2000s era onward, is a very political character. It's just a shame that a lot of comic book writers tend to be grossly ill-informed when it comes to actual politics, capable of only surface level hot takes like CIA bad or kill teams good, actually, because now we've gone from 'Beast is the left wing conscientious objector' to 'Beast is the literal anti-Christ,' and I don't really like what that implies about what we think of the former.
But eh. I'm just a writer.
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maddskelly · 8 months
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Location: Mel's Diner Status: Open @hidehillstart
The last month was one of the most trying times for Madden. He lost half his platoon in the explosion... getting seriously hurt himself. Only to come home and finally get released to find out one of his best friends is missing. He felt powerless, and out of control. Lucas visited him in the hospital right before disappearing, and he seemed fine... what happened? Madden crutched his way into the diner and sat at one of the booths, his casted leg sticking out. The brunette looked up as someone approached, "Some welcome home" He said with an exhale. "I can't believe he is missing..."
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