Emily Wilson has inadvertently created a fascinating new way to categorize basically any visual media ever made
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Emily Wilson has inadvertently created a fascinating new way to categorize basically any visual media ever made
Redwall: top right corner, all the way

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To The Young Who Want To Die, Gwendolyn Brooks | Sorrow Is Not My Name, Ross Gay (written in conversation with Gwendolyn Brooks)
The Members of Haly's Circus - Part 2
Part 2 will include retcons to existing characters and new characters introduced after Flashpoint. This is essentially the continuity of comics published from 2011 to present day (though it should be pointed out that after the events of Dark Knights: Death Metal, all events from the mainline comics pre and post-Flashpoint are now canon).
The New 52/Rebirth
In the New 52 and Rebirth, much of Haly's Circus' history changed. To start, John Grayson was no longer Romani, Mary Grayson (or Marie Lloyd) was. She had been a member of the Cirque Romanes de Paris before meeting John Grayson, joining Haly's, and changing her name.
Nightwing vol. 4 #32
Nightwing vol. 4 #7
In the New 52, Dick's paternal great grandfather, William Cobb, was a member of Haly's Circus as a knife thrower. He was eventually selected for training in the Court of Owls as a Talon. In this continuity, the Court had a deal with the Haly family to select special children from the circus to be trained as Talons. C.C. Haly was aware of this, and Dick was also supposed to be trained as a Talon, but his parents died and Bruce Wayne took him in before he could be taken.
Nightwing vol. 3 #8
Growing up, Dick had 3 childhood friends: Zane, Raya, and Raymond. He would reencounter each of them as Nightwing. After Bruce took him in, the court selected Raymond to be their next assassin, and he became Saiko. Zane became a hitman called Feedback, using an implant in his brain to induce fear in his victims, and Raya became Raymond's lover and accomplice.
Nightwing vol. 3 #3
Nightwing vol. 3 #2
Nightwing vol. 3 #3
The last key member of Haly's was the man who grew up with Mary Grayson, named Richard. He had been with her in Paris before following her to Haly's. She had been the only person brave and kind enough to show him compassion when he had leprosy, and even stole medicine for him. As a result, he felt indebted to her and fell in love with her. Due to his medical condition and lack of treatment, he lost the sense of touch, and had an act under the name "Mr. Numb." Eventually, he became the international thief and villain, Raptor. He is also heavily implied to be the man Mary named Dick after.
Nightwing vol. 4 #32
Other Members:
Aside from the frankly shocking number of villains Haly's Circus produced in the New 52 and Rebirth, there were other, regular circus folk. Bryan Haly was C.C. Haly's son, though he was aware of Saiko's identity. Jimmy the Clown was, thankfully, unaware of any villains, and seems to be a similar character to Harry the Clown from the Pre/Post Crisis timelines.
Nightwing vol. 3 #1
Similar to the previous versions of Haly's, after the Graysons died, new acrobats were needed. One was Marc, a catcher brought on shortly before Dick visited the circus after becoming Nightwing. Another was Christina (as well as her parents) who were hired after Dick became the owner of Haly's Circus.
Nightwing vol. 3 #1
Nightwing vol. 3 #14
There were other, minor members who appeared only once, or were mentioned in passing only. These include Tombo, a Bearded Lady, and a fortune teller, Madame Mystique (Missy to her friends).
Nightwing vol. 3 #3
Nightwing vol. 4 #8
Nightwing vol. 4 #3
Another former member of the circus was a mute girl named Mary, who was an aerialist in 1946. She was taken by the Court of Owls and trained to be a Talon. She eventually fought in the Night of the Owls against Batgirl.
Batgirl #9
For a brief period before John and Mary were a couple, a young woman named Meili Lin joined the circus and was romantically involved with John. They were together long enough for Meili to become pregnant with Dick's half-sister, Melinda. Meili had been forcefully married to Tony Zucco, but ran away to the circus. Eventually Zucco recaptured her. Melinda would grow up believing Tony Zucco was her father for a period of time, but as an adult she changed her last name to Grayson-Lin.
Nightwing vol. 4 #82
Nightwing vol. 4 #81
Finally, for a brief period during Dick's childhood, Boston Brand (aka Deadman) was employed as the circus' trapeze act. Dick had tried to go up on the trapeze alone and fallen, leading to a fear of heights and a fear of his parents falling. John and Mary took a break from their act for Dick's sake, and Boston came in and helped Dick get over his fear.
Nightwing vol. 4 #116
Conclusion
And there you have it folks, every named or speaking member of Haly's Circus I could find, including animals, from 1940 to 2024. I didn't list every member of the circus on panel, but I tried to find all the named and unique ones. There are countless workers, clowns, and "scene dressing" characters, as well as unnamed animals, such as horses, tigers, and more elephants. The circus changed drastically between the warm, happy time before Robin in the Pre/Post Crisis timelines, to the dark, sinister place of the New 52/Rebirth, which spawned some of Nightwing's greatest villains. In the past few years, the circus has returned to a place of warm nostalgia for Dick, though still with many lore connections to his later life as Nightwing. No matter how it changes, Haly's will always be important to Dick Grayson's history, and will always color his character going forward.
Headcanon based on my own experiences as a Showman (gypsy from the fairground/circus)
One of the younger Titans: laughing and joking about how fairground rides âarenât structurally soundâ
Dick, who got enough of this shit growing up: gives a lecture worthy of Bruce Wayne on every bit of work which goes into building up the rides to ensure that they are structurally sound, as well as the copious amounts of legislation, testing information, and insurance terms and conditions which go into getting ready to open every day
The older Titans, who got the more low-key version of this lecture from a baby Dick and know better than to say anything: period.
Hi! I came across a post of yours about Dick being Romani and I had a question for you: What is your opinion on how people represent Romani Dick Grayson in fanfic?
Most fics I read only seem to use the tag as a way to diversify the batfamily but they don't actually involve anything about being Romani. The only mentions to his heritage I see are Dick occasionally saying something in an unspecified Romani dialect or people portraying him with brown skin, a hooked nose, and thick curly/wavy black hair.
Do you think this is fine or should people do their research before writing Dick this way?
Hi, thanks for the ask.
So this is quite a loaded question.
The short answer is that Dick Grayson is Romani, whether thatâs crucial to the story or not.
One of my favourite depictions of Dickâs heritage was in Nightwing Year One, which never explicitly labels him as Romani (despite coming out in the middle of Graysonâs run), and I think because it doesnât make a big deal of his heritage, it feels that much more realistic - I donât speak about being a traveller myself every day, even if I do probably at the very least swear in Romani every day lol, but that doesnât mean Iâm not one, you know? Even if itâs not necessarily important to the narrative, I will always read a Romani upbringing into Dickâs character, as I think it does fit well and can add that extra layer of nuance, which is fun.
That being said, if itâs just being added to diversify the Batfamily (in the same way people headcanon Jason as being Latino, or Tim as Asian, which rely heavily on stereotypes), it then stops being good representation, as it is likely not built on a solid foundation.
So, because of that, to me, it really depends on what kind of story you want to tell. If Dickâs heritage isnât relevant to the story, heâs still Romani, so thatâs cushty. If it is relevant, this is when we get some problems.
Now, I am a Showman from England. This means that I am ethnically a gypsy of Romanichal heritage, whose long standing family business on the fairgrounds and circus has evolved into its own subculture within that ethnicity. As a result of that, even as someone who is ethnically Romani, I can only write about my own experiences and culture. And even that wonât apply to everyone within my cultural subgroup - I am increasingly leaning into my identity as a Romani subtype - partially to fight anti-Ziganism emerging from the more right-leaning people in my community - but many other Showmen have MASSIVE amounts of internalised anti-Ziganism and reject that part of their heritage, wanting Showman to be its own ethnicity (something I think is ridiculous). The point is that, even being Romani, I can only really represent my own experiences within my own subgroup, and I donât know much about the other subgroups. This therefore leads me to believe that it would be incredibly difficult, if not impossible, for anyone - even a Romani writer - to accurately represent or portray Dick as being from a Romani subgroup different from their own, especially since we are a closed culture, so research isnât really possible.
This is also why Iâm glad that DC never really defined Dickâs subgroup/s beyond Carney (US equivalent of Showman). The pressure on any writer to commit to one subgroup would be too much for anyone.
In terms of language, I donât think that the dialect being undefined is too much of a problem, either: growing up, I always just said I spoke âRomaniâ, as Angloromani is the dialect which we all speak in the UK - it just went without saying. And since the language is a closed one, and the dictionaries online are largely inaccurate in my experience, just putting it in Italics and suggesting it was Romani is probably the best way to go. If you want genuine advice, mine would always be less is more, if youâre going for accuracy - but, again, without a Romani writer (who is also willing to commit to a subgroup and its dialect, which I think should be avoided), nothing is ever going to be perfect, and thatâs just a consequence of coming from a closed culture which Iâm happy to live with for the sake of preserving that culture.
As for Dickâs portrayal⌠the spectrum of Romani peopleâs looks ranges from pale white to brown. Sometimes, a certain place on that spectrum is more common within a subtype (e.g. the majority of Romanichal people will be on the whiter end of the spectrum). I know that a lot of Romani people on Tumblr prefer to represent him as darker, as other gorja people on here do too, to represent his heritage. Thatâs fine, if thatâs how you view him. However, as someone who does come from that white end of the spectrum, one thing I will say is to be careful of colourism: I am not any less Romani for being pale. Nobody is 100% Romani, going back 1000 years - we all have gorja in us somewhere - and the idea that ethnicity is static and unchanging is a dangerous one; what one generation defines as fully Romani might not be the same as the next, especially as more gorja blood inevitably enters the family. One of the coolest things about my ethnicity is that it doesnât have one defined racial phenotype, nor a singular ethnicity - we exist within these racial groups across the world. By reducing the word âethnicityâ to mean âraceâ, or - arguably worse - ânon-white raceâ, weâre doing a disservice to a hell of a lot of people, Romani and Gorja alike. And itâs not like Dick doesnât look stereotypically Romani in canon, either - with his black, wavy/curly hair, and blue eyes, he has got the single most stereotypical Romanichal look possible. You donât need melanin to show that heâs Romani. And whilst itâs absolutely ok and fine to lean into a darker Dick Grayson, I do wish we got more people leaning into the idea of a more canon-typically white Dick Grayson who is visibly represented as Romani, especially in fan art.
So, TLDR: there is no one correct way to represent Dickâs Romani heritage. Since research is often impossible, being a bit vague is fine and probably preferable. However, diversity for diversityâs sake is not real diversity, and stereotypical depictions (whilst not always necessarily harmful) can also sometimes not be the best. However, so long as itâs not from a place of malice, all rep can be good rep, and I love Dick Grayson being Romani as much as possible.
Thanks for the ask!

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Hi there! Please feel free to ignore this ask if itâs culturally sensitive/a closed tradition. There are a few fics out there about Dick that explore the idea that as a Romani person, he might believe the most appropriate way to mourn his dead parents would be to burn all of their possessions, to help their spirits move on. From what I can tell through online research, this is a practice among some Romani groups and not others. Is ever this practiced among Showmen? Or do Showmen have other typical ways to mourn their dead?
Hi. Thanks for the ask!
So, death and funerals are a huge thing for Showmen and other GRT groups in the UK, and as far as I can tell, our traditions are very similar, with a few variations (e.g. Showmen might have something more related to fairgrounds, Irish travellers tend to have bigger graves, and a bigger emphasis on funeral flowers).
So, in my experience, we don't burn things. I've not heard of any of my ancestors burning things, either, but there might have been something we did way back, or which my family just didn't practice. This is mostly for practical reasons: wagons were expensive, and were also the family home - it's likely there were still people who needed to live in it! Also, we stopped living in wooden vardos about a hundred years ago, when they started to be replaced with Showmen's living wagons, buses, trailers, and chalets, which are largely made of metal, and thus a lot harder to burn.
There might be something to it, in that there's a tradition to place meaningful items in the coffin with the deceased as grave goods, which will then be burned if the deceased is being cremated, but that's the closest to burning of possessions which I've ever come across.
In my experience, funerals are quite a big thing. I've never actually been to a non-Showman funeral (as my whole family are Showmen), so I have no idea if this is just standard practice for everyone, or if it is truly a Showman thing (feel free to let me know in the replies!). To use my own family's funerals as an example, your typical funeral might look something like this:
The deceased die. The family begin to make arrangements, by organising the collection of the body by a funeral home. Funeral arrangements are made. In England, it can be weeks between the death and the funeral, but I know that other countries move more quickly.
For Showmen, it is traditional for the death and funeral details to be printed in the World's Fair newspaper, which is the Showman newspaper.
The funeral will usually take place on a Tuesday or Wednesday, as these are the days that Showmen are least likely to be working, acting as our âweekendsâ.
The body is typically returned home, ready for burial, the night before. Usually, they are placed in the living room, and visited by close family. It is normal for there to be a 'watch' over the deceased, so that they are not alone during this final night.
The next morning, the family get up and prepare for the funeral. Very traditional, dark clothes are worn: the men wear black suits with ties, whilst women will wear a modest black dress, black tights, and black heels - some may also opt for a hat or a veil. Over the last decade, it has also become increasingly common to include a pop of colour in the deceased's favourite colour, or one significant to their life (e.g. the colour of their family's brand, or the colour of their eyes), such as a ribbon.
The family will gather for a final viewing as the funeral directors arrive to close up the coffin. This is when grave goods might be put in. Examples include family photographs, tokens to signify loved ones, money, important objects from their lifetime, cups of tea (if you're my great-grandfather).
Coffins tend to be a clean wood, but my grandad had his fully painted with scenes from his life, from his childhood in the circus to his adulthood on the fairground.
At some funerals I've been to, the coffin is then moved to the Showman's ride/stall, etc, and the family gather around for a private eulogy, reading, or sermon. (I have a headcanon of Dick's "funeral" having him stop for a moment in the big top of Haly's, with the trapeze replaced by the damaged Wayne family chandelier, to symbolise both his families, but that's just me).
The coffin will then be carried to the hearse by the deceased's closest male relatives (or very close friends) aged 16+. So, to use Dick as an example again, this would probably be Bruce, his brothers, Alfred, the Titans (rip OG Wally during the New 52), and Clark. It's very crucial that in our funerals, the deceased is never carried by employees of the funeral home - it has to be loved ones.
The coffin is carried to the hearse, where it is loaded up and surrounded by funeral flowers purchased by the family. These will normally include a large portrait of the deceased, the names/titles the deceased was known by, a cross if they were religious, and personal inside jokes to represent the deceased. Flowers at my family's funerals include: galloper (carousel) horses, half-eaten pies with frozen dead mice in them, pink vans, etc. It's also not wholly uncommon to place the deceased's hat at the top of the coffin. (I can totally see the Nightwing mask going there).
Traditionally, close female relatives will then get into the funeral cars (we had twelve limousines at my grandmother's funeral), whilst male family members walk behind the hearse to the church. Nowadays, it's more equal, with women choosing to walk alongside their relatives also. This procession is one of the most important parts, and marks their journey from the home (which is also usually the base of their business) to the church. The procession can get absolutely huge - like, a mile long, depending on how many are in attendance - as all able-bodied mourners join the procession along the way. We tend to give notice to the council/local schools/businesses that we will be having a funeral, as the roads become entirely unusable by the number of people.
If the deceased is religious, there will then be a church ceremony. Music is also a big part, and the songs are chosen to be jovial and loving, as a reflection of the person as they were alive. If the person was not religious, there may be a memorial service in a crematorium instead. This is pretty standard, with eulogies given, etc. However, our funerals can also be a bit louder: eulogies often try to be funny, and it's not overly unusual for the family of the deceased to lead mourners in a short dance around the coffin to celebrate the deceased's life (it's not as morbid as it sounds, it's really just swaying to the music and holding hands. This probably happens at 1/5 of funerals.). It is also incredibly popular nowadays to clap the deceased in and out of the church, with a standing ovation.
If the person is being cremated, most mourners will leave the church to make their way to the tea (usually ushered out by a member of the immediate family who leads the way out, so that the rest of the immediate family can say a final goodbye).
If the person is being buried, the close male relatives will again act as pallbearers to carry the deceased to the hearse. The mourners will then process to the cemetery behind the hearse - it is more universal for everyone to be involved in this procession, including women, children, and the elderly as it's usually a shorter walk. The mood of this procession is also far more celebratory. Whilst it's expected that the immediate family will be at the front (spouse, then parents and children, then grandparents and grandchildren, then siblings, then aunts/uncles/cousins/close friends, etc), this is far less enforced during this procession.
The burial site is finally reached. The vicar will say a few words. The family will then usually throw a flower into the grave, watch the first shovel of dirt be placed, then lead the mourners away from the grave. By this point, the funeral directors would have laid out the funeral flowers for viewing by mourners at the graveside. You usually pass by them slowly, say something nice, then move on.
There will then be an afternoon tea service at a local hotel/golf-club/high-end establishment. Tea, coffee, sandwiches, cakes, and a selection of hot food is the standard spread (people will judge you if you don't spend enough). People also tend to enjoy an alcoholic drink at the tea, too, but there's an increasing feeling that it leads to disrespectful behaviour, so alcohol is increasingly being banned at the tea service. There will be photographs displayed around the room, and a guest book for mourners to sign with messages and memories.
Traditionally, the funeral is followed by a period of mourning which lasts until the day after the anniversary of the death. Years ago, this used to be rigorous, with curtains being hung with black, and families closing their doors. Nowadays, it's far less intense, but it would be unusual to attend weddings or parties or holidays abroad for at least the first six months following the death. There's also a modern tradition of changing all of your profile pictures to photos of the deceased until the mourning period is up.
The immediate family will then meet at the grave to mark the first anniversary of the death in some way, by spending the day together.
A headstone usually takes about 18 months after the funeral to be made, and for the grave to be prepped. For Showmen, these tend to be smaller and more typically "classy" - usually marble of some kind, with the name of the deceased, dates of life, and a short bit about them being a 'beloved whatever'. Sometimes they might have a more personal touch: the names of loved ones around the rim, an engraving of a fairground/circus skyline, a favourite flower, but they are far less ostentatious (which isn't a bad thing!) than a lot of Irish traveller graves, for example.
The death certificate will record occupation as âShowmanâ, even if the person was retired or otherwise employed in another career. This is the same for weddings.
It is also common to include the deceased at important events in the future. Common ways to include the deceased include empty chairs at weddings, memorial tables at family events, wearing the deceased's belongings at events they would have attended, or brooches with the deceased's portraits on them to be worn on the lapel at events like graduations or during important milestones (christenings, final exams). It's also not uncommon to include the deceased on things like wedding invites (e.g. Mr. and Mrs. John Grayson invite you to the wedding of their son, Richard John Grayson, to...) even if they are dead at the time of the event (though this isn't exactly standard, either. It depends on what the family feels is right.)
Anyway, that's the basic rundown, from my own experiences. I'm sure others might have different ones, and there may be examples of people burning belongings, but we've never done that in my family. Instead, for us, there's a big emphasis on who inherits what - we were very honoured to be granted my grandmother's ornament collection, which includes ornaments which belonged to her grandmothers, too. My sister was very lucky to inherit my great grandmother's water-can, for example.
Hope this helps!
Movement nudge, hand mobility! đ
X
1) do this even if you're under 40. seriously. I definitely should have been doing something like this for years and I only turned 40 a month and a half ago
2) if you're like me just now trying this going "oh god i've only done 15 and i think my hands are cramping" start lower than 30 and increase by 5 once whatever number you're doing no longer makes your hand cramp up. I can manage about 15 per exercise at the moment.
If you're hypermobile, be especially gentle.
If you do a lot of GRASPING make sure you do the SPREADING WIDE counterstretch. Whenever I crochet or handwrite for a long time I gotta do that one frequently
Meanwhile, via Bluesky...
(See also the video here from ITN.)
i think this captures the defining pathology of the collective social media psyche right now. we are in the thrall of people who are wantonly cruel but who also demand to be coddled at all times in every way
How to weigh baby animals
The process for weighing a baby giraffe is outstanding.

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Emily Wilson has inadvertently created a fascinating new way to categorize basically any visual media ever made
Redwall: top right corner, all the way
The way Superman depicted complicit civilians is gonna stick with me.
Because usually when you have your villain, usually the civilians working for them are gonna be largely faceless or cowed. And then when the hero crashes the scene, only the armed goons are taken out while said civilians flee to remove any questions.
In here though, you can tell they all enjoy working for Luthor. The technicians in his hq have fun plugging in directions to Ultraman. And those in the base camp wear tropical shirts while listening to music and playing games on their downtime. Nobody is working with rigid confirmity nor are there moral reservations (the only objection shown was when his obsession almost got them killed).
So when Mr. Terrific arrived on the scene, it is actually fitting that he wiped out the workers alongside the armed goons.
Also the way Superman's fellow prisoners not only attempted to snitch on him but actually tried to out snitch each other deserves a whole other analysis.
every so often i remember how awesome the modern interconnected multicultural world is. i grew up getting to hear fairy tales from all over the world. africa, asia, europe, america. everywhere in between. i can have bagels for breakfast, curry for lunch, and ramen for dinner without even leaving the city limits. music and art and philosophy and technology that originated thousands of miles and years apart from eachother have come together and interwoven into something greater than the sum of its parts. its hard not fall into despair when thinking about the horrors but god. god the wonders.
you can have friends on the other side of the planet! neither of you even has to travel!!!!! you can just talk to them whenever!!!!!!!!!!!!!!!!!!
"oh, I live in a desert and-"
"wow that must be so terrible" "deserts are so ugly" "I would never want to live in a wasteland like that" "it's just empty nothingness"
wishing 10,000 exploding hammers upon you
behold New Mexico
[ID 1: tall, snowcapped rocky mountains rising above a plain filled with desert scrub
ID 2: brightly colored banded cliff walls of several mesas climbing their way into mountains
ID 3: a desert prairie
ID 4: colorful hoodoos against a twilight sky
ID 5: white sand dunes as far as the eye can see
ID 6: a collection of hoodoos against a stormy sky at sunset
ID 7: a juniper tree standing with a cliff wall in the background
ID 8: several juniper trees on a rocky landscape]
this post and all its wonderful additions (look in the notes) is circulating again. these photos and many of the ones added in the notes come from the US Southwest.
right now the trump administration is attacking the public lands in the Southwestern US. most recently (July 2026), in Utah the Bears Ears and Grand Staircase-Escalante national monuments have been cut by over 90% to allow for mining. these lands are sacred to multiple Native nations in the area and contain irreplaceable archeological sites. additionally, the commission of Native representatives who aided in management of these lands has been dissolved leaving Native people without a voice in caring for the remaining land. (read more here)
here in New Mexico, the 10 mile buffer zone surrounding Chaco Canyon preventing oil and gas drilling is under attack. Chaco Canyon contains incredibly old and incredibly fragile archeological sites sacred to Pueblo people. these sites are threatened by mining and drilling. (read more here)
The attack on the Chaco buffer zone is currently in a public comment period open until July 29. PLEASE leave a public comment to save these irreplaceable places.
âPratchett went back to older throwaway jokes (like dwarves being apparently unisex) and used them as metaphors to discuss social change, racial assimilation, and other complex issues, while reexamining the species heâd thrown in at the margins of his world simply because they existed at the margins of every other fantasy universe. If goblins and orcs and trolls could think, then why were they always just there to be slaughtered by the heroes? And if the heroes slaughtered sentient beings en masse, how heroic exactly were they? It was a long overdue start on redressing issues long swept under the rug by a parade of Tolkien successors who never thought of anyone green and slimy as anything but a notch on the protagonistâs sword, and much of the urgency in Pratchettâs last few books seemed to be related to them. âThereâs only one true evil in the world,â he said through his characters. âAnd thatâs treating people like they were things.â And in the last of his âgrown-upâ Discworld books, that idea is shouted with the ferocity of those who have only a few words left and want to make them count. Goblins are people. Golems are people. Dwarves are people, and they do not become any less people because they decide to go by the gender they know themselves to be instead of the one society forces on them. Even trains might be people, and youâll never know one way or the other unless you ask them, because treating someone like theyâre a person and not a thing should be your default. And the only people who cling to tradition at the expense of real people are sad, angry dwellers in the darkness who donât even understand how pathetic they are, clutching and grasping at the things they remember without ever understanding that the world was never that simple to begin with. The future is bright, it is shining, and it belongs to everyone.â
â John Seavey, The Evolution of the Disc (via liquidlightandrunningtrees)

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I just saw a video title on YouTube that said something like âWhy is glass transparent?â And thatâs an interesting question and Iâm sure itâs great that the video exists but my first thought was like âBecause glass is terrible, obviously.â Because itâs unwieldy and letâs out warmth and needs to be heated to hundreds of degrees to be shaped and turns into hundreds of tiny daggers if you drop it. Why the hell would we bother with that if it didnât have some magical quality like being totally transparent despite being solid? Glass is transparent because if it werenât, weâd use something else.
looking through my âmeâ tag and this is apparently what I was thinking 3 years ago
If youâre still curious we did not start working glass for its transparency. It was most likely started as a sanitary concern. Glass is easy to clean with soap and water, once itâs cleaned out you can use it again for anything and no germs or flavor from the previous meal or drink will remain.
Other materials at the time, namely clay, would absorb flavors and germs meaning that if you ate beef off a clay plate your next meal with that plate could have beef flavor and microbes common on cow meat on it. That would leak out seemingly at random no less. Heck imagine a sick person coughing into their soup bowl and then months later their germs hiding in the clay would pop out to infect whole new people.
Also the earliest human use of glass we know of is for its sharpness. Pre-historic people would use volcanic glass as sharp knives for food preparation. Also beads. Pretty much any new substance humans get their hands on for most of our history we immediately try to make into beads.
The fact that it could become see through was a side benefit.
this is amazing and Iâm really glad I reblogged that old bullshit post because I got to learn this
I made something cursed but hopefully helpful to artists.