#but probably nothing good for her

[thegreatyin]

it's angela's dress??? that fits so much

https://youtu.be/dI42zYVgjzc?si=5_FIjz-NECXhzTRi

^ yearner and lark i feel.

so true and real actually.

[chloesimaginationthings]

The day FNAF Charlie Emily was shut out..

[clumsypuppy]

who is your favorite AA character? 👁️👁️

ziska… I hope capcom brings her back someday

[astronnova]

proposition: danny's hair turns white in random patches when he's used too much power, he just dyes it back to all black when he gets home

[baejax-the-great]

I am always thinking about how Meryl Streep was in her mid fifties when she was in Mamma Mia, and Sophie is canonically 20 years old, which means that Meryl Streep went to Greece for a summer to perform disco music and fuck a bunch of other tourists, ended up getting pregnant, and then stayed in Greece to open a hotel and be a single mother, and how fucking rad literally everyone I know would think that sequence of events is for a single woman in her mid thirties

[cozylittleartblog]

is this the tragic clown the sims warned me about

[ganondoodle]

did a little sketch yesterday that i really liked and tried to get it done today just so i got literally anything to post- but i fell into the trap of 'making sketches to elaborate and thus really stiff and non fun' (for me), ... soooooo .. im redoing the whole thing

but the idea was a mummy ganondorf for my (yes still existing) totk rewrite; i wanted to make him more scary looking and also emphasize just how horrid it must be to be kept in between life and death by having your heart grabbed by a cold and vengeful magical hand for thousands of years (in this case the ancient queen .. which i also tried to sketch despite not showing up aside from her dissolving hand)

the spell starting to fail and his body being more damaged in some parts (jaw being only the bones left for example) and his chest open from being slowly eaten up by the queens magic, the ribs contorting around it like its a gravitational pull- sounds cooler than it looks bc this sketch did not work out, so im saving the details for the .. hopefully, better version

[bastart13]

Okay so this might be a bit random but theres so few L&L fans remaining to tell this thought to and ADHD is kicking in but-

Hunter by Paris Paloma is very Altea, and Helena coded to me. I've always loved how, although most of the generals are opposites to the retainers, altea and helena have always felt more like parallels. If you swapped them around from each other, i think its totally plausible that altea would end up in pretty much the exact same situation as helena did. And i lowkey wish the og game used that dynamic more when writing them interacting.

Thank you for getting me obsessed with a concept. If I made animatics, this song would be perfect for it

Helena and Altea are by far the most fascinating general-retainer pairing. They could have easily become each other if they'd just met someone else and they both know it. Helena needs to kill Altea to prove that she has no escape and Altea needs to kill Helena to prove that she never would have caved, but neither of them have the power to do it no matter how hard they try

You also get the sense that neither would be satisfied with it

It's weird trying to imagine them in their different roles, though, and WAY creepier given Altea only turned 18 as the war ended. I feel like I'd have to bump up the ages just to avoid that can of worms with her relationship to the Witch Queen. But aside from that, Altea's a lot flashier than Helena and less martial, so I feel like she'd fully lean into the evil witch aesthetic vs Helena who'd probably stick with simple robes and armour.

Helena focuses a lot on support and building up the domains, repairing homes, helping fields grow, putting up wards, etc. and Altea is an explosion of force tearing it all down. As a result, her magical corruption is less a decay and more fractures in her skin with magic desperate to escape

[thats-the-biz-babe]

this is just kinda an amalgamation of thoughts with no point to it but. i've been thinking about how the show would explain it if they had buck move on to another love interest next season. and idk how to word this correctly but the thought i'm having is like... if the only given explanation for bucktommy being over and the relationship not being the right one for buck is that tommy was his first boyfriend, for me what that's doing is legitimising the "i'm not your last, i'm your first" which was a statement born out of insecurity! to me the point of that should be tommy was wrong. i need him to be proved wrong.

otherwise... so the moral of the story here is that tommy was right and that buck doesn't understand his own feeings? that he mistook the excitement of the "novelty" of having a boyfriend for having real feelings for someone? that tommy was just a starter boyfriend and buck needs to "try out" other people (because his relationships with women don't count, obviously). biphobia? on the show that won't even let buck say the word bisexual? surprise! but not just that, i'm kinda sick of the whole treating buck like he's not an almost 34 year old man and is instead an impulsive teenage boy who we can't possibly take seriously when he says something about how he's feeling.

ALSO we know that abby was buck's most transformative relationship up until tommy. that i don't disagree with, buck said it himself. but i don't think we should look at it as tommy is only his most transformative relationship because he's a man and he made buck realise he liked men. is that part of it? definitely. but i don't think this was comparable to his other relationships in so many ways. Buck was, as he said, just so comfortable with him. he let tommy look after him and was never made to feel guilty about it. he wanted to move in with him, and while perhaps it was impulsive it wasn't like with taylor where he asked her to avoid telling her something else. he even brought up marriage unprompted! whereas the whole idea of getting engaged to taylor weirded him out. i don't want this relationship to be reduced to the fact that tommy was a man or that he helped buck "figure himself out".

personally i would like it to be made clear that tommy said what he said purely because he was scared of getting his heart broken, not because there was any truth to it. i can't have this end with buck going "yeah, guess he was right". the important points are, 1, he's not his first, and 2, it doesn't fucking matter if he was. I'm not even saying he HAS to end up with tommy. do i think he should? yes. do i think it would be a massively wasted opportunity and a stupid decision if not? yes. but the point is that if he decides to move on all of a sudden after holding on to these feelings for so long, i want to be given a better reason it couldn't work out 🤷‍♂️

(oh, and just adding that as a tommy enjoyer, i don't like leaving him believing that he isn't good enough, and then having that confirmed when buck moves on with someone "better". but whatever.)

[briony-tallis]

i changed my mind, disregard previous posts. girldad lawrence clears actually.

[quibbs126]

So I tried to do some practice of TF One Optimus and Megatron, starting yesterday

It was because I was thinking about Lux and how I really should have tried to draw these two more beforehand, since I haven’t drawn them properly in a good while (not counting my more simple drawings of them), and I figured my old colors for them probably weren’t accurate anymore

First I just lined and colored the head sketches I had made on that initial Lux idea thing, and I ended up quite liking them in all honesty

But then I realized I probably need to do more so I can figure out all their colors (like for example, Optimus’ red is nowhere on his head). But I didn’t have premade sketches to draw and color over, so I had to draw new ones

I’m gone be honest, while I think yesterday’s Optimus turned out pretty well, Megatron on the other hand, not so much. His head’s fine, but the rest of his body, eh

I think it’s because while I have drawn Optimus before, and with actual screenshots from the movie, I’ve drawn Megatron far less, and I’m usually using this concept art that while generally accurate, has a bunch of details off from the final version. It’s probably also why I constantly forget his cannon, because it’s not here

Also my perspective generally isn’t the best, and it keeps changing from the initial rough shapes to the final. I was able to tweak for Optimus, but Megatron I couldn’t save much

Also my god, these designs are so complicated, they take so long to draw, it’s a whole ordeal. I’m probably spoiled by my own incredibly simple AU designs, but still. Doesn’t help I’m not very good/experienced at 3D. Apparently these two alone took a collective 3 and a half hours, while my normal drawings probably won’t be longer than 2

I’ve half a mind to simplify them more, maybe resemble the Animated style more, but I’m not sure. I’m trying to adhere to the movie’s style more at least in the eyes, and I don’t know if I want to change everything else while keeping that. Or maybe I should, especially since I already don’t make the plates look 3D enough, like they’re sheets rather than plates

I don’t know how people do this, it’s so difficult. But again, I’m probably just inexperienced and spoiled on oversimplification

My anatomy’s also off I think, I still need to figure out how the arms are supposed to work

But yeah, take these I suppose. They aren’t terrible, but they’re nowhere near the quality of someone who’s good at drawing these bots, particularly from TF One

[caligvlasaqvarivm]

I had sort of thought Kanaya's teasing and bullying towards Eridan for wanting to get back together with Vriska may have been an extension of her jealousy towards him that even someone like Eridan could get Vriska's attention, albeit in pitch feelings. As Kanaya was desperate to have a flushed relationship with her. She even cuts of Tavros' legs just AFTER she had seen him kiss Vriska. However, it was Vriska who initiated the kiss, not the bronzeblood himself. Kanaya puts Vriska that high up that she would overlook any behaviors. Only mediating if it means she could have a chance to get close to Vriska while not being open about her real feelings towards her. Which was something Eridan called Kanaya out in their first pesterlog together.

i personally don't read THAT much petty malice in her actions; i think she's mostly just a bit of a doormat, as Space players tend to be. while her retaliation against tavros (basically cutting him out despite being friends with him) IS unwarranted and motivated by jealousy, cutting off his legs is framed as a misguided attempt to be helpful (in fact, one of the potential reasons hussie throws out for why kanaya does this is to enable vriska one last time, by "erasing" one of her biggest asshole moves). as hussie points out, it's not ever really made clear whether or not tavros WANTED the help, so it still doesn't reflect very well on kanaya, but given she goes to Actual Murder when she wants revenge, i don't think "revenge" was quite her motive with "helping" tavros walk again.

let's remember that kanaya's core defining character flaw is "enabler," which ties in with both her Sylph class AND Space aspect, for a double whammy of enabling. even though she clearly has nothing but disdain towards eridan, she never just blocks him and moves on (which is what nearly everyone else on the meteor does), and even ultimately makes him his wand.

while she grapples with this tendency of hers, outright admitting it to be a flaw to rose and eventually getting fed up with eridan, gamzee, and even rose herself, she never fully resolves or confronts this tendency head-on, nor takes any accountability for the people she's helped fuck over. just another character in a long list who never fully completed their arcs.

[el-bellanaris]

Veilguard’s lack of identity as a game and Rook’s lack of an ownership over their own story is so interesting and insulting for the latter part.

With the lack of identity as a game it comes from the devs focusing more on giving all of that to the factions then to our actual faction that we spend the entire game working in which is the veilguard. They get symbols and unique armour and we get to spend the entire time getting lore drops about Solas. When back to Origins it was about your character becoming a grey warden and that united the games identity, 2 is about Kirkwall so the symbol of the city is meaningful and iconic representing your hawke’s journey and obviously the Inquisition has its own symbol for an organisation your character is the head of.

Rook doesn’t get some uniting motif to attach to their story because they don’t really get to connect to their world. Now a big reason that is because the game is all visuals and cool moments and no world building that requires depth or complexity. Another reason is that the game was born out of the ashes of another so the world doesn’t actually belong to what the actual game we got is about. As a result there’s no actual world for Rook to connect to except the factions but again the factions aren’t Rook’s story they’re their past and the story of their companions. I find this interesting because it's a pretty basic concept that you want your game to have an identity. And all three other games focused on creating one so Veilguard not having this strong identity makes it feel like its very actively missing something.

Rooks journey then is also both disconnected from the actual game that is happening and also actively written to discredit Rook’s ownership over the game. This intentional feature is what makes it feel insulting at times.

There has to be some reason the main character of a game is you and not someone else and with a game this uniqueness needs to carry your whole gameplay. In Origins it lies in your character being a grey warden, you and Alistair are the last available wardens to fight the current blight and fix the political issues using the blight as a scapegoat cos it serves to help your cause continue its operations. Now you or Alistair could be the leader of your group however Alistair by design takes a backseat he doesn’t want to be a leader which is something that ties deeply into his character and character growth. It’s a very deliberate choice that both makes Alistair pretty interesting and makes sure your character doesn’t get undermined. This choice is a narrative choice that allows your character to feel important through out the choices you make and in the finale as without you or Alistair no one else can actually end the blight and having both people allows for a variety of endings.

Rook’s uniqueness in the narrative plot lies in your little blurb at the beginning of the game but it’s not particularly powerful or holds its weight over the game. Getting plucked out by Varric for having a good heart doesn’t really correlate to having the ability to kill a god and any of this stops mattering once the opening of the game is over. This is another miss by just selecting different plot points from previous games to make up Veilguard without considering how it actually correlates to actual game you’re making. Like Varric loving Hawke and defending them to Cassandra works as a narrative point because the stakes aren’t high. But when the stakes are literally fighting gods being good pals with a guy doesn’t really cut it.

The other side of video game main characters being unique and standing out is not always but often a power only they can wield. Other characters can have similar powers but theirs must be unique and is what you’ll use in fights. Inquisition did it really well having the anchor, no one else can use it as it’s literally implanted into the Inquisitor’s body and it ties directly into the overall narrative and used often when exploring. The inquisitor also gets to claim ownership over this power through having it the entire game and only finding out its source right at the end since it was belonging to someone in their inner circle. Again by design your companions weren’t written to overshadow your Inquisitor with what made them unique as a main character.

But Rook gets a dagger that belonged to Solas and is introduced by showing him using it to begin the plot of the game. Now this dagger is a regular dagger, Rook keeps it attached to their body and goes about their days and it doesn’t necessarily need to be wielded by them. The real crime here is that all we get from it is to summon our companions powers to help ur character jump up onto rocks. Both overshadowing our character and ruining the daggers ownership to Rook. It’s no longer something only Rook can wield rather it’s just a reason to call over someone more helpful. We as the main character have to literally take a back seat regularly cos the game couldn’t even give us a unique power in a game where everyone else gets nonsensical abilities. Intentionally designing the game the insult your character for considering themselves as important.

And if that doesn’t help Rook feel less important another aspect of the game is it literally saying the squad needs to work through their personal issues before fighting the gods cos their problems are causing infighting. But Rook doesn’t get to have any personal issues, so once again they take the backseat for some epic moments that belong to their companions and they get a thanks for the help sticker. Several aspects of the game are intentionally made to feel like your character is just a camera to watch other people do stuff because Rook wasn’t written to actually fit into the game they exist in.

Which is so baffling, I don’t think I’ve ever played a narrative game where this happens. Where I’ve spent 60 hours playing just for my own character to feel like the odd one out and for the game to actively make me feel like I should feel grateful I’m even here just to be pitied with a dagger that calls better people to my rescue. The contempt BioWare has for its own title, the devs who made dragon age exist and for people who spend money on it for them to have profits is crazy.

[anghraine]

I got my doctor's appointment and prescriptions (the doctor decided the best solution to my asthma misery was to nuke it from orbit with steroids lmao) and also wrote some more of the femslash K/S AU for WIP Wednesday!

This section is set quite late in the fic, a few months after the five-year mission, and more than usually spoilery (though no great surprises for K/S fans), so the excerpt and more detailed context are below the cut. However, this phase of the story is essentially a follow-up to the cut lines from "The City on the Edge of Forever" about Kirk recuperating on Vulcan.

Basically, after the string of horrors Jess goes through in S3 and after, S'paak invites her to take her mandatory leave on Vulcan and, now on better terms with her parents, asks Sarek and Amanda to host them. She explains her logic: "leave" for a Starfleet officer as extremely competent and dedicated as Captain Kirk is likely to be little more than nominal if she's easily accessible on Earth (especially if she's in San Francisco itself), and thus Earth seems ill-suited to recuperation from the strains of the mission, all the more as Captain Kirk is prone to handling the emotional excesses of those around her. On the other hand, if their superiors have to go through Sarek to trouble Kirk, disruptions seem less probable.

Amanda is like, "oh sweetie we'd love to have you and your best friend with us for—several months, you said? That would be wonderful! It's been so long! And yes, I'm sure you'll both find it so much more restful at home than back on Earth. And your father does owe Captain Kirk his life...what's her favorite food?" and Sarek's like "no intelligent being owes their life to another and Kirk did no more than her duty, but S'paak's rationales are sound, and the captain has a reputation for honor and reason; if her temperament inclines her to find greater peace and sanctuary in Shi'Kahr than San Francisco, logic suggests she will make a suitable guest."

And a couple months into the recuperation on Vulcan with the silver birds etc, this happens:

-

Throughout the nearly forty years of her daughter’s life, Amanda had almost never heard S’paak raise her voice. She had been a quiet baby, and took readily to Vulcan disciplines in early childhood. And neither Amanda nor Sarek had witnessed her first pon farr three years earlier.

So when Amanda passed Sarek’s study, where she knew he and S’paak were meeting with several elders for their own purposes, she started violently enough to just about dislodge her hair pins when she heard S’paak shouting.

“No! I do not accept—I won’t let you take—”

Regaining some semblance of composure, Amanda hesitated outside the door, catching the sounds of what sounded unmistakably like a physical struggle. The others within the study didn’t cry out, didn’t say anything audible enough to reach Amanda’s ears, but she would not expect them to; despite S’paak’s youth and strength, Amanda couldn’t imagine her capable of overpowering four other Vulcans. But she also couldn’t imagine what would have angered S’paak to such a degree that she would lose all command of herself in such company. It must be a misunderstanding, somehow.

Amanda certainly had not been invited to whatever Vulcan conclave was occurring within the study, nor received any explanation of its purpose. In general, she preferred not to disrupt Vulcan matters or to interfere in Sarek’s and S’paak’s relationship, however strong or disastrously estranged it might be at any given time. But after a few seconds’ consideration, she decided that she couldn’t leave S’paak there, alone with Sarek and the elders and openly upset, without knowing what could have possibly caused it. 

She reached a hand towards the door—but before she could push it forwards, Sarek himself opened it from the other side, his figure blocking Amanda’s attempts to see S’paak. He closed the door behind him before she could peer around him. His face showed no more emotion than usual, but Amanda thought she detected lines of physical weariness.

“Sarek, what’s wrong?” she demanded. “Is S’paak—”

“Plak tow,” he said succinctly, glancing down the hall, as if searching for some change to its usual state. Nothing had changed, not outside the study, not even the placement of the ancient stone vases.

Amanda’s eyes widened. “Plak tow? But pon farr is only every seven years, isn’t it? It’s only been three—”

He just looked at her.

“I thought there’d be more time,” Amanda said, flushing. “Time enough to arrange a different betrothal, at the least. She’ll still die without a bond mate?”

Her voice trembled, but she didn’t cry, which she supposed was an achievement of sorts. Forty years on Vulcan at war with every instinct in her red-blooded veins.

“Yes,” he said. “She was already showing traces of the irrationality that mark the early plak tow, and we had hoped that assuring her of an arrangement to save her life would calm her. The opposite occurred. She turned angry and violent.”

“At the idea of being bonded again?” Amanda said, puzzled. “But she has to!”

“Indeed,” he said, his voice even more neutral than usual. He glanced around again. “Where is Captain Kirk?”

“What?” She could hear S’paak’s voice rise sharply again, though not the words. “What does that—is S’paak safe?”

Sarek raised an eyebrow, looking particularly intractable. He’d always had a remarkable ability to convey an impression of fraying patience without enduring the shame of actually losing his composure. Amanda sighed and relented.

“I’d imagine Jessica is in her room,” she said. “We talked a few hours ago. She’d had a bad migraine and I gave her some human medication for it so she could try to get some sleep. Should I keep her away when she wakes up? She might make the situation more difficult—she cares for S’paak, of course, but…”

Sarek, without saying anything or moving more than a few facial muscles, seemed satisfied.

“No,” he said. “Amanda, go wake her now and bring her here to us. I must remain with Elder Stavak to ensure appropriate arrangements are made.”

Amanda blinked.

“Kirk is the person most familiar with S’paak, and thus more likely to successfully communicate with her in her current state,” he added, which was more explanation than she had expected, if still rather puzzling. After an almost absent-minded ozh’esta, he turned back to the study, then glanced over his shoulder. “Hurry, but be discreet. S’paak may not be capable of shame in this moment, but she will register it later.”

[inkperch]

Okay but real talk where the fuck are Zoey's parents lmao-

Like. Rumi, we know the full story, Mira, the main thing we know about her parents is that she doesn't get along with them, but Zoey all we know is that they're probably divorced, and like. Did Celine tell them she was being recruited to be a demon hunter or do they just think she's kpop star. How come they didn't get even an offhand mention during the entire like, roughly a month span of the film-

[moldy-flowers]

Sakura and her comically oversized axes