Proud 2 B Nerd

Robin’s dream sequence in the Teen Titans Go! episode “Dreams”

earthlycreations:

Nebel, Germany | Andreas Hoops

minxiekitten:

raubbenhood:

Disneyworld needs to make a rollercoaster based off of the ride Yzma and Kronk take to the lair. When the ride starts, Yzma’s voice yells “pull the lever, Kronk!” and the ride starts to move backwards so she yells “wrong lever!” and it shoots you forward.

WHY IS THIS NOT HAPPENING?!

swan2swan:

ask-midnight-whisper:

pyreo:

swan2swan:

"You’e weak! And I’ve outgrown you."

My brother called me yesterday with a stunning revelation he’d had about this scene: intentional or not, this is a perfect commentary on the superhero genre of today, and about one of its greatest weaknesses.

He’s calling Mr. Incredible weak here because the man refused to do one thing—and that was to kill someone. And because he sees him as being unable to kill, he sees him as weak—and childish. “I’ve outgrown you.” Now he is in the realm of “mature” superheroes, where Superman has to snap a man’s neck and Catwoman has to shoot Bane, where the purity of a woman forged by clay is unrelatable and marriage is nonconducive to an interesting story. His is a world where superheroes die to make villains seem impressive, a world where a dark and gritty realism is more important than a fun and adventurous fantasy. 

In the end of this movie, though, the Omnidroid isn’t beaten by Mr. Incredible finding Syndrome and beating an explanation out of him to stop the robot; they solve it through brainwork, audacity, and a fun and creative action sequence. Syndrome dies in the end, yes, but that’s primarily because he keeps trying to push his view, and ends up destroying himself.

But this is Syndrome being Zack Snyder or Frank Miller, and believing that the fun adventures of yesteryear are childish fantasies that need to be left behind: ours is a world where to relate to a superhero, we have to see that superhero be unable to accomplish his task completely, where he has to settle and accept a compromise in order to preserve the greater good. We can’t admire them for being able to do what we cannot—we have to grow up and see that they’re just like us, they’re nothing special. Not really. And that is what true maturity is. A truly mature Avatar would kill the Firelord, a truly mature Superman would have no choice but to fight in the middle of a city, and video games need to be about cover-based shooting and military combat in the real world. With quick-time-events!

And of course, that’s all complete bullcrap, and the sooner that mentality gets sucked into a jet engine, the happier I’ll be. 

Yes, YES, absolutely. I love the philosophy behind this movie in celebrating the light, warm, wholesome side of superheroism.

And I love how well Syndrome represents basically ‘toxic nerd culture’. When he can’t see superheroes as people he relates to any more, he regresses and sees them as playthings instead. He acts like these real people are action figures for him to do with as he pleases, as visually demonstrated by the scenes where he holds people in zero-point stasis and moves them about, frozen in stationary action poses.

He refuses to accept any perspective but his own. He talks about the superheroes like they’re comic book characters to him - like when he finds out Mr Incredible and Elastigirl got married, or in the interrogation scenes where he seems to be critiquing the ‘new’ Mr Incredible and berating him for having let him down. He talks about it like it’s a character reboot he doesn’t agree with. Plus his whole mantra of providing (selling) superpowers to everybody, so nobody will be ‘special’ any more, entirely designed to take away the specialness of what he coveted and couldn’t have, just as many guys entrenched in nerd culture refuse to let anyone else share it and act like it’s a secret club only for them.

Syndrome represents arrested fanboy development in which he refused to grow up. He carries this resentment from childhood all because his favourite hero actually had other things to do with his life than to cater to him. Mature people have responsibilities, actual jobs, they age and have families of their own, that’s what mature means and it’s what Mr and Mrs Incredible stand for, and everything that Syndrome echews in favour of being somebody’s ‘arch-nemesis’. He still thinks that maturity is dark, brooding, sexy (I mean the person he picked as the front for his scheme, not him), and about how much collateral damage you can cause. But he’s just a manchild living out a comic book dream, creating his own fictional life story (his robot is designed to be impervious to superpowers and stage a disaster that only he can defuse, thus saving the day - the whole thing is playing pretend and endangering thousands of people’s lives). Kids like to play at being heroes and stopping disasters, but because he refused to grow out of any of this, he acquired the means to do it for real and became a murderer in the process. All because he couldn’t accept that he was, essentially, wrong. By refusing to believe that his childlike hero-worship was over the top, he buckled down into it and continued to play pretend as a child would. Another aspect of maturity is natural change and Syndrome rejects it just as Mr Incredible and all the other supers accepted their reprimand (by having to go undercover and live as normal people) and adapted to it even though they didn’t want to.

My favourite line in the whole film is when Bob threatens him and Syndrome shrugs it off saying, “Nah, that’s a little dark for you,” because he’s all at once criticising Mr Incredible’s ‘character’, evaluating a real person in front of him as though he has him pegged on a morality chart, and you know he could back it up with some creepy nerd facts like “In 1964 you said the same thing to Lord Heatwave and you were totally bluffing”, as though Bob is predictable, unchanging, completely fictional to him, AND he’s being dismissive of Bob’s personal life, he thinks Mr Incredible’s gone soft, weak, become a family man, because he thinks his former hero needs to be cool and gritty and running away from explosions, not an actual person with depth and goals and feelings - which is, of course, why we as an audience like Mr Incredible and his whole family, thereby proving Syndrome and the Dark Gritty Reboot culture wrong simply by having watched and enjoyed the movie they were in.

You are trying to drag down people who enjoy a little reality injected into their superhero story.  In reality there isn’t always a clever solution that leaves the bad guy grumbling as he walks off towards his lair.  Remember the part where Violet got overwhelmed when the robot body smashed her?  She and her brother should have gotten smashed in killed.  But because it was fantasy, because they were trying to capitalize on the suspension of disbelief that you felt.  You mention superman snapping a man’s neck or fighting in the middle of a city, something the movie makers tried really hard to make you understand that he had zero choice in.  There isn’t always a clever solution, and recognizing that sometimes, people die, THAT is maturity.  Syndrome is a whiny manchild, but don’t compare him to the gritty reboot culture that a lot of people really are enjoying.  They are 2 very different ways of making a movie, and both are valid and don’t deserve your negative judgement.

"A little reality" has been injected to superhero stories from the dawn of their existence. The modern-day settings, the balance of superhero lives and daily lives, and a great number of moral questions have been prevalent time and time again. Don’t give me weak excuses like "they make them more realistic," if I want realistic, I’ll check CNN. I’ll read the headlines, I’ll read the articles, and if I’m feeling particularly disconnected from reality, I’ll go down to the comments section, where I’ll begin to question whether or not I’m actually IN the real world because people can’t possibly be that stupid, and then I’ll get out and become lucid again.

I’m not saying here that superhero comics should be solely escapism, or always happy and lighthearted, or that the villain should be made to make daisy chains at the end. But you know what’s not realistic? You wanna know what’s really unrealistic?

Being able to break a man’s neck when you can’t even turn his head. 

Let’s look at the logic here: you’re trying to turn a man’s head to the left, right? Now, you can’t turn the man’s head to the left. It can’t be done. He’s too strong. So you’re left with one option: turn his head to the right and break his  neck.

Or jump in the air. Or leap backwards. Or just spin his head up and to the right, giving the people time to escape…but no. It’s poorly executed, poorly depicted, and a poor excuse. It’s weak writing and weak direction—and it’s completely irrelevant in regards to the fact that they just fought throughout a city.

And let’s face it: that was all just for spectacle. They didn’t want the boring-ness of two gods fighting in the countryside, they wanted smashing buildings and chaotic destruction—something executed far better in Megamind, which also made its address to the issues of “realistic”, but did it FAR BETTER than a lot of other things. You want realistic villains? Whiny rejected Nice Guy with Superpowers is ridiculously terrifying and believable. And is he killed? Nope. Just drained of his powers. Because kid’s movie? No—because Megamind is smart. He’s a hero, he’s able to pull out that solution. It’s well-written, well-directed, and well-depicted.

I’ll watch Man of Steel front to back someday, but all I’ve seen of it and heard of it thusfar has made me bury my head in my hands at the shoddiness and Grimdark of the writing just to serve the purpose of the plot. Zack Snyder shouldn’t be allowed to touch superhero movies anymore, because let’s face it, if you’re going to cut the alien squid from Watchmen because you’re worried that audiences will find it too ridiculous, you’re just saying “I don’t have the skill to make this work.” And if you don’t have the skill to make the adaptation, don’t make the adaptation. 

And if you don’t have the ability to make something realistic AND fun, that’s also questionable. What made Batman Begins and The Dark Knight good wasn’t that they were realistic because they were dark and gritty, it was that they were realistic because they were realistic. And yet humor and ridiculousness was still inserted into them—half the Joker’s schemes should have never worked, a lot of Batman’s tech is probably still in defiance of logic, and there are a lot of comic lines that work well. But just as the comic book industry tends to generate a dozen half-baked clones any time something is successful (any industry, really), the movie industry did the same. 

Speaking of half-baked, I’m not really sure what your point was with the Violet thing, you seem to have left that incomplete…or just very confusing.

Remember: it’s realistic if it makes sense, not if it is like the real world. A multiverse where men fly and a woman made from clay leads a tribe of warriors on an island while Martians war on the surface of their dying planet as a terrifying being seeks to destroy the beginning of the universe itself really doesn’t need to be too heavily grounded in reality. It just has to make sense. 

The Incredibles makes sense. Man of Steel does not. Lots of things today do not. Heck, maybe people like to read comic books because things make more sense there than in reality. Again, check the comments on CNN articles.

yyeann:

kingkitsu:

Why can’t there be an anime from the teacher’s POV??
“Shit… There’s one student with blue hair again…”
“What the fuck are they looking at out the window??”
“No your ass can’t be excused because I know you’re about to perform some magical girl voodoo shit outside!!”

image

when i had that headcanon i knew that same sex partners would also dance together. but then i got the image of Ox and Harver dancing the tango and Harver just having this really serious face when dancing and now im cracking myself up. i can't tell which is funnier Harver being the girl with the serious face or Ox being the girl and him being a little too good at being the girl

ilarual:

I am not sure you understand how hard this made me laugh holy shit

the only correct way to imagine this is with one of them having a rose in their mouth

badveganwolf:

imran-suleiman:

Photographer Mattias Klum from National Geographic gets close and personal with a lion.

"and all of a sudden you feel very small" damn right

itslikethatfrenchthing:

powerofvoodoo:

so i’m ready to go back to school

image

woah hang on what

are you really sure you’re only going to need one pen?

tonistarkofwinterfell:

LIFE HACK IF SOMEONE IS REALLY EXCITED ABOUT SOMETHING TRY TO BE EXCITED FOR THEM OR AT LEAST PRETEND TO BE AT LEAST SLIGHTLY INTERESTED BECAUSE NOTHING FEELS WORSE THAN EXPRESSING SOMETHING THAT MAKES YOU HAPPY ONLY TO HAVE PEOPLE TELL YOU TO CALM DOWN OR IGNORE YOU COMPLETELY

castieltherebel:

good thing he’s buying pampers cause he just shat his pants

castieltherebel:

good thing he’s buying pampers cause he just shat his pants

All my life, I seem to be in the wrong place at the wrong time. My grandpa, Stanley Yelnats the second, says it’s all because of this 150 year old curse. Now, I don’t really believe in the family curse but when things go wrong, it kinda helps if you can blame it on something. And for me, things went wrong a lot. Grandpa says our destiny is sealed. Could a pair of shoes falling from the sky really be my destiny? - Holes (2003)

ilarual:

thenagger:

She is not entirely wrong about this.

She is not even slightly wrong about this

mandocommand0:

assbutt-in-the-garrison:

nosleeptilbushwick:

now that’s a tinyhouse i could live in.

this is literally all I want and need in life. this is the best.

Want so bad