#I...I.....DON'T PHRASE IT LIKE THAT

[krysmcscience]

I have some questions about karaoke night, Alex Hirsch. Very Important Questions. Which I will happily scream at a poor hapless baby triangle who can have no answers for me, and possibly also does not have object permanence yet.

Follow-up that is I guess suggestive, but let's be real here, Bill's a fucking triangle:

Dude slipped right into his birthday suit, lmao

this is so stupid :D

Anyway, I don't care what anyone says, this brilliant individual knows what's up - Bill is absolutely way more of a monsterfucker than Ford could or ever will be, full stop.

[protoctist]

i know ryoko kui is a real one because she wrote 97+ chapters of a manga about fantasy ecosystems and food chains and not once did she write the phrase "survival of the fittest" (it's a bad phrase) (it's a social darwinist phrase even) (hated amongst biologists) (doesn't make sense) (darwin didn't use it) (coined by an business major) (one of the worst phrases in pop science) (no good)

[descendant-of-truth]

Shipping is fun and all but I swear every single time someone makes a comment, whether as a joke or in a legitimate analysis, about there being "no other explanation" for a pair's interactions, I lose just a bit more of my sanity

Like, no, you guys don't get it. Romance is not about the Amount of devotion, it's about the COLOR. the FLAVOR of it all. a character can be just as devoted to their platonic friend as they are to their romantic partner, and they don't love either of them more, just differently.

But because the majority of people still have it stuck in their minds that romance exists on the highest tier of love, I'm stuck seeing endless takes that boil down to "these two care about each other too much for it to NOT be romantic" as if that's the core determining factor to how literally any of this works

In conclusion: stop telling me that I don't understand the story if I don't interpret the leads as romantic, I am TIRED

[lazylittledragon]

what if i broke all the bones in your legs actually

[egophiliac]

we were fucking ROBBED

[edwardsdeathcabcd]

i've said it before but it will forever and always make me insane that jacob's ending is to join the cullens for the sake of bella not having to give anything up. they find out jake will be immortal & tied to renesmee forever, so bella gets to smile & say "my family is finally complete! ^-^" but jake already HAS a family. he has a father and 2 sisters. quil, embry, seth and sam are like his brothers. jacob and leah were planning to run away together. he's always been welcome in emily's home, sue has been a family friend since before his birth. bella abandons her mortality by choice because she feels no connection to the people around her, but jacob has really strong bonds. it's clear that every character we meet in la push is like family to him, he's an active member of the community. jake would've graduated high school and been a mechanic, would've grown into a young man. a good friend, a fun uncle, a present son. he's set up to have such a rich life. and he's just magically compelled to give that up. beyond his control, he loses sight of everything, because his high school crush's baby is now the singular most important thing to him. he's perpetually 18 with his perpetually 18 year old girlfriend, running around vancouver or alaska or wherever with the girl who friendzoned him at 16 & her in-laws (who were antagonistic to him for months). and i'm just supposed to say omg yay now he doesn't have to let go of bella! everyone is happy! it's complete madness

[opera-ghost]

[1v31182m5]

On my planet, this is hilarious /starfire ref

Joke explanation in tags

[ministarfruit]

time to head backstage!

[deqncas]

i love Jonathan Sims because he's a sweetheart despite being a cunt. and i love Martin Blackwood because he's a cunt despite being a sweetheart

[ethosiab]

[13] took the opportunity to draw my old favourite guys... mostly because i had no ideas for joel on his own

DONATE TO THE HADM FUNDRAISER FOR GAMER'S OUTREACH AND ENTER THE RAFFLE TO WIN A COMIC FROM ME!!!! YOU KNOW YOU WANT TO!!! WE'VE RAISED OVER $600 DOLLARS SO FAR AND I KNOW WE CAN DO EVEN MORE BY THE END OF THE MONTH!!!!

[mlobsters]

jared padalecki and jensen ackles boston con 2025 - gold panel

cheerleading and (allegedly non-existent) short shorts

[library-windows]

Kiersau is an old abbey, Andreas, and sometimes even I wonder if it - if we - have outlived our purpose here. . . . Sometimes I wonder if we were meant to change and we just... forgot to.

So here's something I thought was interesting.

Between Act I and Act II, the townspeople of Tassing age and change. Some of them begin going gray (or go grayer). Some grow longer beards or hair. Some have cheekbones become more prominent, or have lines on their face that develop or deepen, even subtly. And of course it's especially obvious with the kids of Tassing, who are growing from babies into children, and children into teenagers.

Even those characters who don't have visual changes to their faces or hair have differences to their clothing to show that time has passed. They've changed, even if it's only replacing or restyling old clothes, or growing out their hair. People have died, been born, gotten married, moved into town, built new businesses, taken up new ideas - the growth and change is often modest, but it's visible.

But at Kiersau Abbey...

... nobody changes - so much so that most of the monks and nuns don't even have different portraits between Act I and Act II, despite the passage of seven years.

For those that do, the only change is to the color of their habit (the seven years between Act I and Act II would encompass the entire period between entering the abbey and solemn profession, so anyone who was a novice when Andreas was there in Act I would have necessarily professed by Act II). The only other one who changes is Aedoc, whose "image" becomes more worn - but even he doesn't change facially. (Compare him to the visible aging of Ill Peter, another elderly male character.) None of the members of Kiersau physically change, visually, in those seven years. No lines on their faces, no gray hair, no wrinkles, no beard growth, no drooping, no aging, nothing.

The only ones who change regardless of the outcome of Act I are Cecilia, who was far more worldly and savvy than her counterpart, more proactive and less caught up in Kiersau as a bubble; and Piero, who understood and accepted that change was inevitable and didn't fear it. And the only way that they could change was to die, and disappear altogether.

And for all that there's been at least one major change to Kiersau with the closure of the scriptorium (and possibly more, depending on Ferenc and Matilda's fates in Act I), almost nothing has changed in terms of how Andreas/the player sees and experiences the abbey. Of those characters in the abbey who have "grown up", Zdena is still half-heartedly tending to the remains of the library under Illuminata's supervision (and Illuminata herself, though she's now Mother Superior, is still in the library sorting books). Lukas is still in the kitchen, and still can't quite figure out what to do without Wojslav directing him. Volkbert is still doing the menial, grubby work nobody else wants to do. He even lampshades how taking his vows hasn't really changed anything except the color of his habit:

I'm a monk now. . . . I still do the same work, but now I have the same robes as the other brothers.

One expects the abbey to change more slowly than the town, given that the monks and nuns aren't likely to be getting married or having children (one presumes, at least); but even those characters who have, in name, taken on new roles are still functionally doing mostly the same things they were doing seven years ago.

The only members of Kiersau that we see change, grow, take on visibly different roles, and age are the ones we see in Act III, after the abbey has been destroyed and they've moved on elsewhere.

Obviously Kiersau Abbey is not some kind of actual pocket dimension where time doesn't move (unless . . . ?). But it's posited even within the text of the game as a deliberate anachronism, a medieval holdover in the early modern age; and it's set against the inescapable presence of the Church's inertia versus the looming Reformation, and the growing social unrest against the feudal status quo. A major theme of the game is the inevitability of change and loss, and how being able to accept it and move on is essential for growth/survival. And it's clear that the stagnation has reached such a point that there can be no lasting change on a social scale in Tassing until Kiersau burns.

So all that said, I don't think the visual contrast between the clear progression of time in Tassing, and the lack of it in Kiersau, is a coincidence.

This is Kiersau, Andreas. You should know by now, nothing here changes.

[starlitmeadows]

huge artdump of almost everything i never posted

*disappears into the night*

(spoilers ahead)

[galvanisticinhuman]

as happy as i am about the popularity that willmark is getting (even if the 'mark' in question is from a different universe), i wish ppl would realize that you can ship a villain with a regular guy Without making the villain a yandere cornball