HAPPY PRIDE MONTH 💙💖🤍💖💙

what gets me about the green lantern corps is that—in addition to being a space fascist nightmare that deforms individuals into agents of its unflinching doctrine and sublimates goodwill into reverence for the law—it's also just really fucking stupid. before critiquing any minutiae aspect of its conduct you have to understand that the glc operates based on a very rudimentary hierarchy of brute force. for all of the guardian's posturing, the only thing justifying their authority as the in-universe law enforcement hegemon is their possession of the most powerful weapon in the universe. and every major appearance of the guardians since the bronze age has demonstrated how utterly out of touch they are. it's not wisdom or even competence keeping the corps in charge, it's the goddamn power ring. the green lantern code of conduct is literally only relevant because the consequence of disobedience is lack of access to the all-powerful weapon, and even then that all depends on the guardians ability to enforce it. the whole institution is fucked as soon as someone (parallax, sinestro, krona, literally anyone, etc) with more material power challenges it—and the guardians know it. which is why they're primarily preoccupied with micromanaging the lanterns' conduct and only personally appear to combat "evil" when it threatens the sanctity of the institution (read: their authority). the yellow weakness only exists as a safeguard against potential abuse!! but like breeds like. what the corps' indoctrination ironically creates is the perfect conditions for developing authoritarian ideology. thus the respective "falls" of its greatest agents are not aberrations but a product of its design—refer to this post by @dctrfate. any difference of intent becomes irrelevant when everybody’s a fucking cop. there is no reason for the green lantern corps to exist outside of its own self-justification.

Midpollo week 2018 Day 6: Soulmate au

Apollo

The first thing he saw was white. The white of the walls, white of the coats around him, white of the bed he laid on and the sheets that covered him. Chatter filled the air around him, slowly coming into focus like breaking through water. He wondered where that thought came from, he can't remember ever being in the water.

They told him that his code name was Apollo, that he had chosen to leave his life behind to fight for a better future. He had abilities now, he could fly, punch through walls, shoot lasers from his eyes. He didn't feel any stronger, but he supposed that he didn't really have anything else to compare it to.

Flying was amazing, feeling the wind through his hair, the sun on his skin. It was indescribable. The longer he stayed out there the stronger he felt and the more he could do. He knew that his past self had made the right choice, though he longed for the knowledge of who that man had been.

Midnighter

There was a voice inside his head. A voice that analysed the sounds the people surrounding him made as he regained consciousness, perhaps for the first time. He couldn't remember any other time.

The voice urged him to move, to strike while they thought he was still helpless, even whilst his sight was not fully restored. The man he grabbed screamed, high-pitched and annoying. His head is so full of overlapping knowledge. The room in front of him played out in different scenes, then reset and repeated. Over and over again in the fraction of a second. His head throbbed, and the scream reverberated through the room. The voice told him to snap his neck, to stop the sound, and he nearly did, but another, outside voice interrupts him.

The man called himself Bendix and told him his name was Midnighter. Then he touched his shoulder and where his hand lay, an ugly bruised green print unfurled across Midnighter's skin. He tells him that it was a soulmark. That anytime someone who has an impact on their lives touches them for the first time it leaves a mark, and that the vibrancy of that mark indicates how powerful their effect will be.

The mark Bendix left was unmistakably vivid.

Midnighter wonders if this is a good thing.

Apollo

He met the rest of his team nearly a month after he woke up. It seemed that none of the others had ever met each other before either. All of them had the same story though, no memories but they were assured that they had known what they were signing up for. It was also the first time he put on his uniform, white and gold with a red triangle and eye in the centre. The Stormwatch symbol.

Later on, he remembers feeling proud and shudders.

He watched as they took turns sparring, just to get to know each other's abilities and how they interacted with their own. He watched as a man all in black except for the matching red triangle and eye blazoned on his chest fought against a woman possibly stronger than he was. And won.

Apollo fought his own matches, waiting patiently for the time to come that he could verse the seemingly unbeatable man. Midnighter.

Midnighter

The first time he saw him, he could think of little else. The rest of their team faded away into the background as he regarded the man in front of him, the man who was to lead him. The voice in his head, the computer that had been put there, didn't know what to do with the man, with Apollo. The Sun God. Throughout his other fights the man was a distraction, one that the computer yearned to destroy.

He grinned as he took his position across from Apollo, who returned it with a matching one of his own. Still undecided on his strategy, they circled each other. Neither of them wanting to make the first move.

Then Midnighter struck.

Apollo

He could feel the blood surging through his veins. He was so light on his feet, he was surprised that he wasn't floating. He dodged the first punch thrown his way, feeling the force of it rush past his cheek. He attempted to counter it with his own, but Midnighter had already danced out of reach.

Apollo settled into defence, willing to watch the graceful movement of Midnighter as he whirls around him. And in a moment of distraction, too focused on the bunching of muscles visible even under the black coat, Midnighter lands the first fit.

Apollo swore that the area he touched, his upper arm, tingled. He knew by now of the soulmarks, his body littered with pale, multicoloured fingerprints left by the scientists that worked with him. No doubt they had more effect on his life than others, but not enough to make a hard mark.

In the showers afterwards, he searches the whole area and is bitterly disappointed when no mark has appeared on his skin.

Midnighter

It didn't take them long to realise that the mission had gone to hell. The first sign they had of it was the poor bastard Amaze killed, with his deformed face. Crow Jane had raged that something was wrong but Apollo, in his calm way of his that drove Midnighter insane, determined that they needed to go on. After all Bendix had said that this was a 'proving' mission that was supposed to test them in the worst-case scenario.

The computer wasn't happy.

Still he stuck to Apollo's side, the unofficial second in command that he had appointed himself.

Amaze died first, a bullet to her brain.

Apollo shouted commands, but Stalker quickly followed her in hail fire. Midnighter pulled Apollo out of the way just in time to avoid the blast that killed Lamplight and Impetus. The thing they had seen in that room was monstrous and it was then that Midnighter realised that Bendix hadn't intended for any of them to make it back from that mission alive.

He and Apollo made it out, just barely, with him clinging onto Apollo's back as they flew. But Crow Jane didn't.

Apollo

He scrubbed at the mark on his arm, the skin around it turned pink from the force. Earlier he had tried branding it away, with the last of his reserves of sunlight for the day, but when the skin cleared, the hand-print remained. A yellowish-green reminiscent of a bruise, ironic really that Bendix would be such a colour. Admitting defeat, he leaves the river he was washing in.

For the past few days, he and Midnighter had been on the run, dodging Bendix's attempts to hunt them down and kill them. They decided it would be best for the time being to stay away from civilization, from the technology it brought and the civilians they would be putting in danger. They hadn't eaten or barely slept in that time either, but it barely bothered him, neither of them needed to really.

But he had missed being clean and so convinced Midnighter that near the stream was where they should camp for the night.

Midnighter

He didn't dare make a fire. It would be like a beacon daring Bendix to find them and while Midnighter couldn't wait to but a fist through the fucker's face, he knew that it wouldn't be Bendix that he and Apollo would be facing.

Apollo joins him in the small clearing, uniform stripped to the waist with the arms tied around his torso to keep it from dangling. Midnighter had eschewed his coat and gloves to give them time to air a little.

He didn't need the computer to tell him that something was wrong. He approached Apollo, a question in his eyes.

"They're going to find us." Apollo said hollowly. He looks at the mark on Midnighter's shoulder, "We can't escape him."

"We can."

Apollo shook his head.

"We're going to hide and we're going to plan and then we're going to kill that bastard."  Midnighter cupped Apollo's cheek with his hand. "Do you trust me?"

"Yes." Came the reply, barely louder than a whisper but they both heard it perfectly.

He gave into the urge, pulling Apollo into a kiss.

Apollo

It was anything but gentle and all Apollo had wanted it to be. He poured his desperation and longing through it and into Midnighter, feeling the same pushed back at him. He reached up to grab Midnighter's neck, drawing him closer still.

Midnighter responded in kind, pushing himself up to cover the small distance between their heights.

Midnighter

Finally, Midnighter pulled back. His hand slipped from Apollo's cheek. A deep blue imprint left in its place. Apollo laughed, breathy and delighted.

Apollo

There was a hand print wrapped around the side of Midnighter's neck, a bright, brazen yellow.

I have literally paused reading the comic to admire the little smile on B's face while Tim is an adorable nerd next to him

Chapters: 8/? Fandom: Midnighter and Apollo (Comics), Midnighter (Comics), Grayson (Comics) Rating: Teen And Up Audiences Warnings: Graphic Depictions Of Violence Relationships: Apollo/Midnighter Characters: Apollo (DCU), Midnighter, Tony (DCU), Dick Grayson, Tiger (DCU), Helena Bertinelli Additional Tags: Alternate Universe - Canon Divergence, Hurt/Comfort, Brainwashing, Child Abuse Summary:

Midnighter leans back, crossing his arms. "Apollo and I specialise in punching people. Hard. And we've been told you have someone who needs punching."

This chapter’s mostly just domestic fluff with a smidge of angst. I thought it was time after all the stuff I’ve been putting the bois through.

so ive been reading the kyle rayner run

going down a non bat superhero tag be like: Batman post, Batman post, Batman post that explicitly belittles the tagged superhero, more disrespect, post that doesn’t even mention the tag but says justice league in it, GOOD POST, good analysis but somehow still about Batman, ship art with Batman, post that has nothing to do with the tag or the fandom, the most incorrect take you’ve ever heard, more disrespect, take based on a spin-off animated show that hated he character, GOOD ART, just a genuinely confusing take, Batman post, Batman post, Batman post.

Hi, Hello, and welcome to:

Snowbirds Don't Fly is Kind of Good, Actually, and You Should Read it and Rethink Your Biases About The Story It's Telling You

By yours truly.

OBLIGATORY DISCLAIMER: now like a lot of people who read older comics, I do have my beefs with dear ol' Denny, but there are a handful of things that your criticism starts to teeter into more than a little bit of a red flag. I'm going to discuss why that is, alongside why I think more people need to learn the core message of this arc.

I HIGHLY encourage people to read Green Lantern/Green Arrow #85-86, which depending on where you read might just be listed as part of the Green Lantern (1960) series because it is in fact technically part of that.

And when you do so I want you to actually read what's being said in the comic, in particular I want you to read Roy's lines. Because it is so, so important to acknowledge that, as a whole, this particular arc SIDES WITH HIM. Which is, honestly incredible.

Like, guys, I'm not going to say you're wrong when you say this is an anti-drugs PSA. I'm saying that if you read this comic and saw it only as an avenue for the "War on Drugs" then I'm not sure you really processed some of the messages in this comic. Because most War on Drugs propaganda is NOT interested in empathizing with the addicts in question, and encourages isolating them ("Just say no, and stop hanging out with people like that" being a familiar refrain from school assemblies over the years.)

Listen, I'm American, I've been having anti-drug PSAs preached at me my whole life. War on Drugs all around me. Grew up in somewhat poorer neighborhoods, literally was told to my face by multiple people that they were surprised how well I turned out because they thought that despite everything I was going to grow up to become a "drug whore." I'm not fucking joking about that one. I had family members say that to me, even.

Anyways, just, keep that in mind. I grew up around dealers and addicts and I have a lot of feelings about their portrayals in media. This whole thing was originally going to be part of a different media but it's probably best to split it up this way anyways.

TW: Slurs, drugs (obviously)

SO, without further ado,

Dennis O'Neil, in addition to comics, has a background in Journalism and some investment in social activism. He actively stated that he thought that he could use this in his comics, especially because, at the time, Green Lantern comics were potentially getting cancelled so he had a bit more freedom to do whatever he wanted. Basically, if it flopped in a probably-cancelled comic anyways, nobody had anything to lose. Think something along the lines of that Flinstones Comic by Mark Russel and Steve Pugh.

Ignore the goddamned cover, it's sensationalist and meant to get your attention, and it does the job. READ the WORDS. The above image is straight off the first page of the book. O'Neil takes off running with the utmost of compassion for the addicts in question, emphasizing their humanity, their mistreatment, and their suffering.

Now, lets be realistic with ourselves: Not every addict is so nobly tragic* as are depicted in Adams & O'Neil's story, but if you've heard people talk about addicts, both then and now, you'd know that it really does mean a lot that they come into this from an empathetic angle. *Yes I'm aware that I called them "nobly tragic" despite actively betraying Ollie & Hal and helping to drug them & leaving them to get caught by the cops while drugged up. Though they do express some hesitation at different parts along the way. The fact of the matter is people often ascribe a certain "nobility" to "victims" that they have enough distance from - whether by them being fictional or by not knowing them personally or changing their narratives after people's deaths to support themselves. in real life it's not uncommon for victims to be unpleasant to be around, they can also be perfectly pleasant people. They're human, and humans cover the whole range of personality and experience. Even if they are not "noble" & even if you do not have that distance, they deserve dignity.

Now, while our first introduction to the addicts (who we don't immediately know are that) they are trying to mug Ollie for money for dope (the dope part is implied). The second time we're introduced to one, however...

We are immediately thrust into the struggle of: quitting. Not using, but how difficult it is to quit. That's the worst part. This won't be the last time we discuss this.

Now, this is an arc where we see Green Arrow, who's typically the more liberal voice voice to Hal's politically neutral straight man, but I have to admit that as a Flawed Ollie enjoyer, I like to see him make a mistake, and he makes a LOT of them here. He is, in particular, harsher with the kids than he should be, and he holds a very very common position of seeing addicts simultaneously as "victims" of their dealers, while also refusing to sympathize with them.

The world is hard for everyone, why can't they Just Say No?

Up to this point, we're looking at pretty standard War on Drugs-style propaganda. But near the end of the story in #85 and for the bulk of #86, this is where I'm going to flat out say that the most important voice in this entire comic, is Roy's.

Roy doesn't at any point hesitate to stand up for himself (verbally) and call his generally well-meaning guardian out for his bling hypocrisy and ignorance. We see that neglect and loneliness led him here, but lets go back a bit and look at the reasons from a few of the other addicts:

Discrimination, cruelty, a need for an "escape." Any even mildly sympathetic media will have addicts explain that's their motivation, and I worry sometimes that people hear this and don't process it, because it's only one part of the circumstances that lead them there. the War On Drugs not only took the people who needed the "escape" the most and shoved at them a bad "solution" then imprisoned and profited off them.

From here we go back into Green Arrow's flawed logic:

He's a good, flawed man. He's like many parents who bring up their kids a certain way, a way they think is right perhaps because it's not unlike how THEY were brought up and absolutely missing the ways that they're harming them. Ollie will eventually see the error of his ways and regret these mistakes, but they're very common and very mundane flaws for him to have.

Alright, I'll admit I included this page mostly because that composition makes me giddy. Like, holy SHIT that's gorgeous. And now we are once again introduced to the idea of the struggle we were shown at the beginning: Quitting Cold Turkey.

It's extremely painful. It's dangerous. It could potentially even kill you as sure as the dope does. This is not something for everyone, and definitely not something to handle alone, which Hal himself expresses some uncertainties over, before inquiring what led Roy to this.

Is he wrong? Are the things he's saying any less true now than they were back then?

Even now there is plenty of pro-war propaganda (Just the other day I overheard someone talking about how their grandfather was in a war "Not World War 2, but one of the other Good Ones."). Even know there's lots of explicit and implicit racism that is treated as if it's justified and really MEANS anything about our humanity (Immigration/border control/ect). Even now we have people who believe that wealth is a measure of a man's worth to society or that it makes them inherently better (... I mean, I don't think I have to explain this one).

Hell, this doesn't even touch on gender (Whether discussing strictly feminism or if it's a trans issue) or sexuality or ableism (Whether physical or mental). Do you know how many people I've heard tell me they won't go to a therapist because they don't want to be reliant on a drug that might get prescribed to them? (ignoring the distinction between different branches of the psych field here, they never know the difference)

These are all things that get parroted to kids. We've seen the rising resurgence of gender essentialism, we've SEEN the rise of neo-nazi-ism, and TERFdom, and all these extremist views and movements and they ALL originate in the exact same place.

"What does that have to do with drugs?"

It's the same story. They're dismissed, they're disdained, they're not treated as equal living and learnign human beings. They are TOLD but they are not EDUCATED and they aren't treated with the kind of respect that leads them to think that they can even believe adults when they ARE being taught.

That neglect will be filled, whether by ideological groups preying on the vulnerable or by drugs or something else.

And here we meet our villain. We see society tossing the children away... and a man profiting off their despair. A CEO of a pharmaceutical company, even. Though, that's not really revealed until a few pages later.

... I'm so obsessed with this page you guys have no idea.

Our villain could have been a foreigner, a slumlord, a stereotypical drug kingpin, but it's not. It's a man with an abundance of wealth and a pristine reputation. A man so well known that he's on TV.

Denny O'Niel may or may not have known about the deliberate efforts to put drugs into black communities and prosecute them for them, but he clearly did see that the root of the issue was NOT someone among them, but something that someone else who could exploit them was bringing down to them.

Bringing this back to the dismissal of the youth and Roy's voice being the single-most important one in the story. Roy explicitly states that he only made it because he had support. Kicking a habit when you're on your own isn't impossible, but it's sure as hell not that far off. And, as I've mentioned, going "cold turkey" can also be deadly.

Now, yes, we have managed to create pharmaceuticals that can be useful for getting people off the harder drugs, and sometimes you can even find it for fairly "cheap"... but in our current day and age I don't think I should have to explain how predatory "Big Pharma" (and the health insurance industry) tends to be for those who have a need.

Like many things these days, even something like a rehab center is an industry - largely for profit, and the ones that aren't are often religiously and ideologically motivated. Even THOSE have issues that many result in incredibly dehumanizing conditions. (I was trying to find an article I read a while back including a few interviews from people discussing the conditions and treatment they faced while in rehab to link here, but I can't seem to find it. Must've gotten lost in all my other links and bookmarks.)

Despite there being places online you can look for how to spot a bad rehab center, the fact that these places will continue to exist with bad treatment methods and a complete lack of regulation and many people fall prey to them especially because they don't know to look for this stuff remains. Even still, and this particular one might be a bit outdated, It's not fully understood how best to treat addiction, especially since the one thing we do know of for absolute certain is that it has to be judged on a case-by-case basis. Though there have been good outcomes recently using MORE.

Social stigma and discrimination Including in media and news journalism plays a huge role in perpetuating these systems. And most people have this mentality of thinking it can be "cured", rather than being a chronic disorder with a management system. Here's another page discussing addiction treatments. Have I made my point yet?

My point is that this comic only reads as war on drugs propaganda if you're only listening to Ollie, who is FREQUENTLY being challenged on this throughout the entire arc by every person around him. Ollie in this is someone who has heard and fully bought into the propaganda, despite being a good person who typically tries to help those in need, He Is Not Immune To Propaganda.

There is a reason that this comic starts with a statement emphasizing that the story is about humans being mistreated, and ends with Roy calling Ollie out.

Ollie comes away from this with a changed perspective. It's not outright stated at this point but it's strongly implied because of how proud he is at the end there, and the ways he tries to repair his relationship with Roy down the line without (mostly) being too overbearing.

I would definitely say the worst part of this comic is that the solution our "hero" (Roy) uses is going cold turkey, which is a miserable, godawful, and dangerous experience. I will allow some forgiveness because it's likely that better addiction treatments weren't well understood back then.

So, in conclusion, Denny O'Neil is not without faults, but if you're issue with his works are "He wrote one of the most human-focused anti-drug propaganda pieces of his time, if not also compared to a lot of our time as well" or "He incorporated a lot of social justice topics into his comics" then I genuinely think you need to reevaluate yourself. Maybe he's a little heavy-handed with it, but have you SEEN people's reading comprehension even TODAY?

Sometimes a heavy hand reminding you that other people are human too, and you need to face the "ugliness" of our society and how it treats them and how YOU treat and think about them is the kind of kick in the ass people need.

I'm not even mad that they used Roy, because nobody is above addiction - not even a hero. It doesn't ruin him, because addicts aren't ruined. It's interesting and dynamic. If later writers take this history and write dehumanizing storyline that frame Roy as the villain of his own addiction, that's their biases, not the original story.

Anyways, ending this on my favorite moment that's not fully relevant but not irrelevant, from Justice League of America (2006) #7:

I drew my favorite green lantern post

donna troy // king by florence + the machine