#it's complex but this is it in a nutshell

[lcftyambiticns]

Everyone and their mom hates Lorroakan. I mean, I GET IT (though there are much worse characters in terms of morality, just saying adfdsdf).

BUT. I have a scientifically proven list of why he is kinda cool >:c *slams down my papers*

his hair. HIS HAIR.

In my opinion, his face model is one of the best. He is so very expressive, and his lil imperfections make him look like an actual person. His freckles and beauty marks?? Also, his eye color? I use a mod to have it in my character creator. <3

Yeah, I love how expressive he is overall, especially with all the gesturing. Adds so much to his character.

I think his backstory offers a lot of room for interpretation, and as someone who likes a bit of creative flexibility with canon characters, I really enjoy that. How was his life like in Athkatla? Why is he such a grandiose prick in the first place? It's mentioned multiple times he is a charlatan and he has 16 CHA - fairly high for a wizard -, so that's also interesting. I love dissecting characters like him. Check out my HCs, bish.

Lorroakan is a capable mage, but he is nowhere near as powerful as he likes to pretend. I feel like there is a lot of insecurity underneath it all (I mean, seriously, he can't even admit in death that Rolan is be more powerful than him?? DUh). Yet another interesting aspect worth exploring imo...

BUT HE STILL MADE IT?? He is Master of Ramazith's Tower, a business owner, he holds a lot of political sway according to Rolan, and he is a recognized name in Baldur's Gate and beyond (Rolan is from Elturel and has been "admiring him for years"). Despite many people knowing Lorroakan is a braggart and a charlatan, plenty still believe in his reputation! Fake it till you make it haha XD

He rarely leaves his tower (they call him "Recluse of Ramazith's Tower") and I'm having a lot of thoughts about that as well!!

Okay, that's it for now. I like talking about the mean wizard. :p

[densetsu-rokku]

[mpregfanatic197]

I will defend Ganta Igarashi till the day I die. Ganta is honestly my comfort character 😭

Plus Ganta can be a badass too, have you read the manga? Even in the anime he does fight back when push comes to shove, and he did save Shiro's life in episode fuckin' 2! And beat Senji/Crow in a fight at Carnival Corpse, and beat Yoh's bitchy as fuck sister humming bird or whatever.

Ganta haters just piss me off.

[thegreatyin]

@peepersotherstuff sorry i didn't process anything beyond your 4th tag because i heard "fallen london OCs but tgwdlm" and went so insane i blacked out. i mean what

[happygirl2oo2]

[bumblingbabooshka]

In which Tom puts 10x more thought into his interactions with Tuvok than Tuvok does

[auris-debris]

Posting about this again:

Alright so after talking to my best friend about my whole dilemma I've been having from the past 2 weeks (I thought it was just a week phase but I've underestimated how much of an impact it is) and the details about it, I'm gonna go for reaching out to my once-former close friend and keep the message simple (thank goodness I got my friend's opinion about it, it was still a lil' too much when I trimmed it down before).

I just need to figure out when the best time and day would be for this initiation within the next 2-3 weeks and also mentally prepare for the worse (which I do hope it does not come boiling down to and know it's not exactly healthy to always think that, but I need to be on my guard).

[sthilarions]

Hmm. Thinking about Edwin and Learned Helplessness

To rapidly summarize a complex psychological concept (and skipping over some nuance we’ve discovered recently), Learned Helplessness is basically when an animal internalizes the idea that they have no way to escape/control an unpleasant stimulus or situation, and stops trying to do so.

The classic example is with an electrified floor and two rats. The floor shocks the rats periodically. One of the rats has a way to escape or end the shock: by jumping over a barrier, pushing a lever, etc. The other does not. The rat that has a way to escape will keep trying to do so, even if it doesn’t always work. However, the rat that reliably has no way to avoid the shocks will stop trying. They’ll eventually stop looking for ways to get away and just lie down and let it happen.

And here’s the key part: the rat that gives up will stay given up even if you later present them with a clear way to escape. Once a rat has accepted that there’s no way to avoid the shocks, you can give them a lever, let them jump over a barrier, or just straight up open the cage, and they’ll just keep lying there.

Experiments have shown it’s possible to retrain animals who have acquired learned helplessness to believe they have control, but it requires active work from an external source. Something like physically lifting them out of the cage repeatedly to show them that they can leave and that leaving stops the shocks. If you leave them alone, the rats will keep just sitting there getting shocked right next to an open door forever.

So where does this rather depressing and fairly unethical concept relate to Edwin, you ask

Well - remarkably enough, Edwin doesn’t seem to have fully 100% acquired what one might call generalized learned helplessness. He keeps trying to escape, eventually succeeding after 73 years. But! There are two sources of nuance here

One: he clearly does canonically experience some form of learned helplessness, because that’s exactly what he expresses to Charles when huddled against the wall in Hell. There’s no use trying, I run and it catches me, over and over, you should leave without me because there is no point in me trying to escape. That’s learned helplessness in a nutshell.

How he was able to get past that to escape in 1989, I’m not sure, but it seems to fluctuate for him from moment to moment. (He has it badly in that scene, but the previous scene, when he first sees Charles before getting eaten, he seems to have hope).

Two, and this is less canonical and more me spinning off canon-compliant thoughts, he might have a more specific learned helplessness response going on, as opposed to just a generalized one. Because running, trying to escape, can delay the pain. But fighting? Fighting does nothing but make things worse.

We talk a lot about him freezing, but I’m imagining him, in the first while after Hell, when a threat gets too close, just… going limp. Because he’s had 73 years of continuous torture conditioning him that running may help delay being caught but once he’s caught, there’s nothing he can do. Flailing around just gets him more pain, gets a slower death instead of a quick one. Relaxing his muscles makes it hurt less when they’re torn off his bones. He’s just loosening into the fall, is all.

Charles figures this out pretty quickly. It’s hard to miss your partner just… flopping down on the ground every time he’s about to get injured.

He starts finding ways to accommodate it. First by keeping an eye out and jumping in whenever Edwin goes into Accept Death Mode, but then trying to pre-empt it. Keeping Edwin back, at the edge of the fight, so Edwin never gets close enough to the threat for his learned instincts to kick in, which over time turns into a fixed dynamic of “Charles as brawn”, and over more time Edwin picks up offensive magic so he can stay at the back but still fight.

Charles realizes at some point that Edwin won’t fight for himself but will, occasionally, fight for Charles, and starts trying to leverage that, putting himself in danger to make Edwin start fighting so Edwin will learn he can fight. Edwin puts a very harsh stop to that, once he figures out it’s happening, but it remains true, that Edwin will fight for Charles but not himself. (We see him try to throw a punch at Esther after Esther tosses Charles, in canon, but not, at any Post-Hell point that I can recall, when anyone tries to hurt him.)

Edwin stops collapsing, eventually, after a lot of work from him and Charles, starts just freezing instead, and to other people that freezing would be Bad but it’s a step up, for Edwin. Eventually he starts even being able to still move a bit, and talk - like when he puts a hand over Crystal’s mouth and mutters an explanation to her before freezing, with the Misery Wraith, and… and when he just stands there and keeps talking when the Cat King rocks up to him and puts him in a binding spell. He still doesn’t try to stop the threat, doesn’t fight or even run, once it’s already close, but he doesn’t become completely incapacitated, either.

And that’s about where he’s at, by 2024. Charles is still trying to work on him, but they’re still at a point where Edwin physically can not defend himself from a nearby threat: hence the failed boxing lesson. Charles wants him to be able to physically fight, and he may even want that himself, but he can’t, can only throw a punch to protect Charles. He can’t even properly swing at Charles with boxing gloves, because either Charles isn’t a threat, in which case Edwin doesn’t want to attack him, or he is, in which case Edwin can’t attack him. (There’s no in-between space in his head for “putting force behind a hit without either of you being in danger”.)

Anyway. Yeah. That’s my thought, I guess, is the boys developing their role-division because of Edwin’s learned helplessness, and Charles working with him to both accommodate it and try to decondition it over time, but only able to get so far, even after 35 years, because it was conditioned into him over more than twice that time and a lot more forcefully than Charles can do.

But it’s progress.

[emeraldcity1900]

the history of animation in a nutshell

Early 1900s: hey what if comic strips could like move?

Late 1910s early 1920s hey what if we mashed this up with live action people?

late 1920s: hey what if this thing had sound?

Early to mid 1930s: hey what if this had people actually talking and also color?

late 1930s: hey you know that super cool movie that one lady animated with paper cut out silhouettes? What if we did that with painted cells? Would people even pay to see that? Never mind it turns out the answer is yes.

1940s: ah shit most of our animators got drafted and/or hate us now cause we weren’t paying them. IT’S PROPAGANDA TIME BABY. Also haha hitler got hit with a mallet and also the most racist depictions of Japanese people ever.

1950s to 1960s : oh what’s this newfangled thing? Television? What if you could air cartoons on it? Oh fuck no I ain’t paying that much to get the charecters to have different backgrounds and for the charecters to like, move fluidly. Also manga and anime are steadily growing more popular.

1970s: (Ralph Bakshi walks into a comics store and finds a furry comic) X rated animated movie? *cue the screams of mothers and their unsuspecting children now being introduced to the revolutionary idea that cartoons don’t equal kids stuff? WHAT IS THE WORLD COMING TO?

1980s to 1990s: we can have full on animated Broadway musicals? Wait, what do you mean animated movies can count for the Oscar’s? What do you mean now they get their own catagory because the academy still thinks their for babies? Anime and manga are taking off in the west. SWEET JESUS WHAT DRUGS ARE THE JAPANESE ON SHOWING THIS SHIT TO KIDS. But also why is it so fucking good. Maybe some of these aren’t even meant for kids? Wait We can sell toys to kids with cartoons? Wait we can actually put effort into these cartoons on television? The fuck to you mean we can animate in 3D now? What do you mean we can have well animated, well written sitcom shows like the simpsons? What do you mean you can make cartoon charecters say fuck? What drugs are creators at Nickelodeon on? Do I even want to know?

2000s: oh my god, there is this one show that I really like cause it’s really well written and genuinely funny but I can’t talk about it because it’s animated and we all know cartoons are for babies right? Oh look it’s the transformers movie, look how far CGI has evolved so we can make the transformers in a movie.

2010s: holy shit I know these shows are for kids but they’re just well written and have so much meaningful things to say about the world. Wait, it’s cool to like cartoons now? They they have fandoms for this? Fuck yeah I’m in. (Enters one of the most notoriously toxic fandoms of all time) THEY HAVE GAY PEOPLE IN THESE SHOWS NOW? AND COMPLEX EMOTIONAL STORYTELLING? AND ADULT ANIMATED SHOWS CAN BE MORE THAN JUST SITCOMS WITH THE SAME JOKES AND STYLE? WHY IS IT THAT EVERY DISNEY CARTOON SINCE GRAVITY FALLS INCLUDE THINGS THAT GET MORE AND MORE FUCKED UP? WHY DO I FUCKING LOVE IT? WHY THE FUCK DID DISNEY DO THE OWL HOUSE DIRTY LIKE THAT?

2020s: I got this show I wanna pitch but it dosen’t fit into any box that the networks want and also I’m afraid that they’ll just randomly cancel it before I can finish the story I want to tell. Wait, I can just post the pilot on my YouTube channel, see if anybody actually likes this thing I made and just make the show independently? FUCK THE NETWORK! I AM THE NETWORK

[prokopetz]

Unsure if you are aware of this update, but apparently someone got into the Twit api and believes that the "rate limiting" is actually a cover up by Elon bc they accidenlty pushed an update DDOSing their own site, which is why he says its "temporary" in his tweet. Not sure if Elon is actually trying to cover-up, or if the DDOS is an unintended side effect of the change

(With reference to this post here.)

As far as I can tell, the folks advancing that theory have it perfectly backwards. The rate limit isn't an effort to address the self-DDoS situation: the rate limit is causing the self-DDoS situation.

In a nutshell, when you load up Twitter in your browser, two things are happening:

In response to your initial request, Twitter's server sends your browser the information it needs to construct the website's user interface (UI).

Once the UI has been constructed within your browser, it instructs your browser to dispatch a separate request, via the Twitter API, requesting content (i.e., tweets and ads) to fill itself with.

(It's actually a little more complex than that, because the response to the initial request may come pre-filled with a portion of the required content in order to speed things up the first time you visit your dashboard, but that's the gist of it, anyway.)

So, what happens now that the rate limit is in place?

Well, the rate limit doesn't affect the first request – it's not using the API, so your browser is able to construct the Twitter UI just fine. The moment you try to scroll your Twitter dashboard, however, that triggers the Twitter UI that's been constructed within your browser to ask the Twitter API for more content so you can keep scrolling – and that request is subject to the rate limit.

If you happen already to have exceeded your rate limit, that request is going to receive a response along the lines of "Error 429 – Rate Limit Exceeded". Here's the trick: while Twitter did update the UI to reflect the addition of a rate limit (i.e., they're not complete idiots), it turns out they did an incomplete job, and certain dashboard widgets don't know what to do with an error 429.

Now, the fun part: apparently, what the affected Twitter dashboard widgets are coded to do when they receive a response they don't recognise is simply to ignore it and try again. Further, nobody thought to impose a delay between attempts, so they retry immediately upon receiving the unrecognised error 429. For users with snappy Internet service, this can result in their browser making multiple attempts per second to retrieve content for the affected Twitter dashboard widgets, receiving (and ignoring) the same error code each time.

And that's how Twitter ended up accidentally ordering its own users to DDoS its API.

[drdemonprince]

Regarding morality, i cant help it but feel like it is being used as a tool to maintain west exceptionalism/white hegemony (in the english speaking society), and Im in a phase where I just cant take it seriously anymore. Im S Korean and i felt frustrated at how the "west" painted the rise of anti feminism in south korea, as if koreans are "more sexist", as if painting the country as "morally inferior" helps women in s korea when korean feminists already go through such discrimination and prejudice. I saw some western online medias interviewing anti feminist korean men instead of, yknow, interviewing feminist women. Similar thing happened when kpop became popular; there were ppl criticizing the slave contract (it's an outdated law), plastic surgery (many western celebs also go through that), the industry being inhumane and uncanny (just blatant racism regarding Asians as "robotic, non-human") etc. None of these claims and views help to fix the issues in kpop industry. Being exposed to these types of comments really made me insecure about being korean at that time cause i would believe that my culture was "inherently morally inhumane". It sucked.

But it's not just western folks who think their "culture" is "less immoral"; while the relationship w western hegemony and koreans is really really complex, koreans tend to believe that west is "morally superior". The term westernized in korean basically means progressive, and for a long time until recently, koreans vyed (and somewhat still vyes) for western approval of their culture. I complained about how ppl viewed west as progressive and korea as more conservative and my cousin said "yeah, cause of history, that's just how it is".

It's not just korea though obviously. Zionists claim that israel's existence is justified because it is "lgbt friendly and respects women's rights". Even though what israel is doing to lgbt palestinians and palestinian women are horrifying and disgusting, but since zionists will believe that their morality is "better" therefore "inferior" palestine "deserve it". Thank god for terms like pinkwashing and purplewashing, otherwise i might have gone insane.

In a nutshell, i started to believe that current idea of morality is deeply colonial, racist and sexist. There are so many examples (like how violence done by individual black folks are heavily demonized, but a larger, more vicious and genocidal systemic violence done by white society at large is ignored or at least "thats just how it is-fied", mocking "unlikable" female celebs online etc.), like too many. Its so ingrained within our world. Believing this has been eye opening for me, and i feel more empowered due to it. Thank you for the space for me to talk about this.

wow anon you just said a whole word!!!! please keep talking and writing about this. I think you're really on to something important here

[evesfate]

ADMIT IT, YOU WISH I WAS HERE.

✶ SPY REALITY

SUBJECT PROFILE

NAME: COOPER, MIKAELA ASTRID ALIAS(ES): MAC DOB: [REDACTED] (Est. Age: EARLY 20s) NATIONALITY: DUAL CITIZEN – FRANCE / UK FORMER AFFILIATIONS: MI6 (DISAVOWED), JOINT TASK FORCE ECHO (BLACK OPS) CURRENT STATUS: INDEPEDENT INTELLIGENCE CONTRACTOR – CONDITIONALLY CLEARED BY S.H.I.E.L.D.

FIELD SKILLS

LINGUISTICS — fluent in 6, passes for native in SPECIALIZATIONS— high value asset extraction, black-tie infiltration & surveillance WEAPONS SPECIALIZATIONS — compact firearms, bladed weapons, disguised weapons.

𝓚ATIE + 𝓜IKEY ᥫ᭡

Kate Bishop (disaster bisexual archer™ and actual menace) & Mikaela Cooper (spy with a god complex) weren’t supposed to meet. but the universe has her ways—and maybe she’s a little bit gay.

us in a nutshell:

· flirting mid-mission

· saving each other’s lives like it’s second nature

· nicknames galore except it gets progressively worse: coop, her royal spyness, hawkeye jr, trust fund baby

[sliceoflove]

I don’t see a lot of people talk about how Eugene, Nick and Maui are almost the same characters.

*this post is only within their first movies for a fair comparison i’m not including anything from sequels/spinoffs/series etc, but you’re welcome to reblog and add your own 2 cents of course

Well not basically the same but there’s more similarities than differences,

*i’m bad at explaining will probably edit later cause the wording is so awkward

• Older guy, trickster/thieves, deadpan snarkers, with superiority inferiority/inferiority superiority complexes and troubled past forms an unlikely bond/friendship with young, cute, all loving, badass princess heroine.

• Heroine drags/threatens/blackmails them to take them on their mission

• They gave in, on their way they take them to a possibly dangerous place in hopes to intimidate them

• They gave them special nicknames:

- Rapunzel “Blondie”

- Judy “Carrots”

- Moana “Curly”

• Their relationship grow, they become more vulnerable around the heroine, enough to tell them about their unfortunate backstories

• They grow closer. They become the better versions of themselves

*With Tangled (Eugene/Rapunzel) being the only one to end up together romantically

In a nutshell:

Eugene/Nick/Maui, in the beginning of their movies: I need to get this brat off my back. Maybe i can smooth talk my way out of this, or just trick her.

Eugene/Nick/Maui: * takes advantage of their naivety, belittles them, ditches them *

Rapunzel/Judy/Moana: * persisted *

Eugene/Nick/Maui: UGH she’s so annoying, but she’s so brave/she saved my ass/inspired me, now I’m vulnerable enough to tell her my whole sad backstory

Rapunzel/Judy/Moana: * are understanding and gentle *

Eugene/Nick/Maui, at the end their movies: I would die for her 🥺❤️

Edit: i just learned that all 3 of them fall in under the “Trickster” archetype

[happygirl2oo2]

[intuitive-revelations]

Headcanon: one of the reasons why Gallifreyan is a) so complex, and b) so inconsistent, is because it's less one language and more a complex mishmash of thousands of languages and dialects.

Think about how one of the reasons English can be complex to learn is because of the mix of Germanic and romance language roots, and now take it up to 11.

While one might expect Gallifrey to be monolingual, given its age and class structure, this probably isn't technically the case. After all, why limit your culture to one language when the average citizen is effectively panlingual (to the point that TARDIS translation circuits are actually dependent on their pilots' knowledge, rather than the other way round)?

Thus, if there once were distinct languages on Gallifrey, they probably have all been merged at this point into modern Gallifrey's super-Esperanto. Add in loan words from notable civilisations across all of spacetime (but likely primarily from Gallifreyan colonies and allies like Dronid, Minyos, Cartego etc.), and it quickly becomes quite unwieldy.

It's also likely that there's a lot of overlap between these sub-languages, which can make distinguishing meaning hard to an outsider. Gallifreyans likely get around this courtesy of their telepathic connections.

TBH, given Time Lord sensibilities, it's likely that every single word variation has its own delicate meanings, derived not just from their societal uses but also from the etymology and history of each one. Canonically (though I don't have a source) we know that there are 30 different words meaning "culture shock", for example, which likely have very minor distinctions in meaning. We also know, unsurprisingly, that there's at least 208 tenses to help in describing time travel.

As an example - imagine being a Sunari ambassador at an embassy gathering and accidentally offending every Time Lord in the room because you accidentally used a definite article derived from the memeovored Old High Tersuran colony dialect, now considered low-brow by association with modern Tersuran, when you intended to use a nearly identical form of the word originating from the Founding Conflict, a triumphant post-Rassilonian intervention, distinguished by a near-imperceptible glottal stop.

It's likely that some of these Gallifreyan sub-languages/dialects may still be spoken with increased frequency under certain conditions, such as in one's own House or when visiting other city complexes. We know, for example, that Arcadia seems to be associated with a "Northern English" accent (which Nine picked up subconsciously post-regeneration, with the Fall of Arcadia being one of the last things the War Doctor remembered before DOTD's multi-Doctor event - hence "lots of planets have a north") when translated, which may indicate some dialect differences in the original language. I suspect there is a societal expectation for Gallifreyans to code-switch depending on the situation, with Citadel business generally expecting the Gallifreyan equivalent of RP, though it's relatively common for Time Lords less concerned with respectability and politicking to not comply.

One nice benefit of all this complexity, and the reason I made this post, is that there's a good argument to be made that every fan attempt to construct a Gallifreyan language can be 'canon', contradictions and all.

Greencook Gallifreyan? A formal evolution of Pythian prophecy scripture into the post-Intuitive Revelation era (based on its similarities with the Visionary's scrawling in The End of Time).

Sherman Gallifreyan? A modern katakana-like phonetic alphabet for the rapid-onslaught of new loan words following President Romana's open academy policies. Recently adopted by the Fifteenth Doctor for writing human proverbs.

Teegarden Gallifreyan? An archaic but recognisable near-Capitolian dialect from the Prydonian mountains, once spoken by Oldblood houses like Lungbarrow and Blyledge.

Or, in a nutshell, the state of Gallifreyan conlangs (and maybe in-universe Gallifreyan dialects):

I guess the dream project would be to accept the complexity and create some sort of grand modular "meta-Gallifreyan" conlang, merging as many fan interpretations as possible with their own distinctions and overlaps, that can continue to be updated as new ideas come up and new stories are released...

[auris-debris]

Been thinking a lot from the past week about life in general. I wasn't sure if I wanted reach out again to a certain friend whom I used to be close with a decade+ ago, but after giving extra thought to his perspective (assuming he hasn't changed too much from the past decade+) and from mine, I'm going to make the attempt...eventually.

I'm usually the one who reaches out. I was debating whether or not I should fully put it on him this time for good, but I thought more about our last interaction, being from 5 years ago that ended on an awkward note (long story short, he emotionally hurted and insulted me in the process during a conversation we had, but he apologised after I called him out on it) so, I could understand why he might be hesitant in reaching out to me and decided I should make the initiative again myself. But at the same time, he isn't the type to be hung up on the past (at least from what I could tell from the last time anyway), and he should already know it's water under the bridge by now. It's kinda hard to tell. And yet at the same time...a part of me says not to because Idk if I'm comfortable enough to share any aspects of my life in the present day with him again anymore like we used to (even if it's something really small) after that. I know, it's a lil' hypocritical on my end, but the damage was pretty bad.

I have an idea of what to write to him, and I'll probably regret it if I don't. No idea how often he checks his messages in general anymore these days. But should he not respond and is interested enough to follow up with me to catch up again, at least he'll know the message I want to convey to him and I'll leave it as that with me getting 100% closure about him as a person for real this time, even though I'll need to potentially face even more pain to be inflicted on me (I need to mentally prepare for this hence the eventually part lol). The main thing is, I hope he's just doing well in life.

(Should mention that he actually used to be my first serious love and he liked me back, but we never dated. And just as a disclaimer, I've no clue if he's single now or not but even if he happens to be, I definitely don't see us working out in the present day and the opportunities are also long gone by now. In a nutshell, his friendship meant the world to me and I wish we hadn't drifted apart;; I won't actually say this to him since it's too awkward siuefhiesfuise)