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inevitable anders dragon age qifrey wha cover redraw

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sorry i cant stop watching this

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【-The Mysterious Demons-】 Ouji Wa Lolita Cape, Blouse and Wide-Leg Trousers

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hungry,,,

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NO ONE knows how to use thou/thee/thy/thine and i need to see that change if ur going to keep making “talking like a medieval peasant” jokes. /lh

They play the same roles as I/me/my/mine. In modern english, we use “you” for both the subject and the direct object/object of preposition/etc, so it’s difficult to compare “thou” to “you”.

So the trick is this: if you are trying to turn something Olde, first turn every “you” into first-person and then replace it like so:

“I” →  “thou”

“Me” →  “thee”

“My” →  “thy”

“Mine” →  “thine”

Let’s suppose we had the sentences “You have a cow. He gave it to you. It is your cow. The cow is yours”.

We could first imagine it in the first person-

“I have a cow. He gave it to me. It is my cow. The cow is mine”.

And then replace it-

“Thou hast a cow. He gave it to thee. It is thy cow. The cow is thine.”

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Just thinking about potential paths through the upper city reputation quests in BG3...

That the Baldur's Mouth Gazette running bad press about you doesn't really hit until you get into the upper city, and then it is extremely difficult to gain access anywhere. Guards know your reputation, people won't be seen to do business with you, building reputation is extremely hard and the work arounds mean you have to ally with questionable sources.

Unless!

You can get the remaining Jannath's onside. This reputable house's remaining child is having issues with her husband who you hopefully happened to rescue, and if you can solve them, you get a powerful ally.

You can sort out who is and isn't in the pocket of Gortash in House Ravengard, and restore unity to the household through saving Ulder and reuniting him with his son. This takes a good amount of detective work, as Gortash has been getting his agents into house Ravengard for DECADES. You learn LOADS about Wyll and the family during this quest, including more about Ulder's role in the last Bhaalspawn crisis and the impact of his reform on the city, and his relationship with his own father and his wife.

You get your ally in Ramazith's tower (which is now correctly in the Upper City where it belongs) who blesses you with an aura of charm, which helps.

Cazador is trailing you everywhere, and can also be a way to find favour if you give him Astarion. Failing to do so will mean that his people are also on your tail, until you deal with him. But you can't deal with him until after...

The inauguration ball! An exclusive event for the finest of Baldur's Gate. Gortash has invited you specifically, how wonderful. There's dancing, there's even a bit of time for finding out secrets about Gortash and the Banite cult and even stealing a dance with either your love interest or the man himself. If you agree to ally with him, you're taken to his private quarters in his estate... to avoid the bloodshed. The patriars are massacred in an unholy alliance between steel watchers and vampires... and you realise Astarion is missing. You then have to rescue him before the ritual can take place (which makes more sense for the doors being locked in the Cazador estate...) And if you don't? Cazador will support you in the final fight.

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dont sneeze ever again OK?

EASY 👍

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[WIP] what if we were character foils…and we kissed???

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When I think about Gale and Mystra, I'm reminded of the Greek myth of the moon goddess who fell in love with a shepherd and asked Zeus to place him in an enchanted sleep, so that he would never change. So he would be beautiful and hers forever.

There are different versions of the myth, but this is the one I knew as a kid - and it always made me so fucking sad. And now I see why, because Selene loves Endymion - and her love takes his life from him. A god could not love Endymion as a mortal loves a mortal; she wants his presence to gaze on, to soak in, his body to hold. Perhaps he's a balm to her immortal existence; perhaps his beauty is an inspiration to her - but she does not want him, not all of him, not really. She doesn't want his sheep flock, the evenings where his fingers burn from the cold. She doesn't want his voice, or the lines and experience he'll gather as he ages. She doesn't want to live a life alongisde his.

Selene would say she loves Endymion, and perhaps, yes, Mystra would say she loved Gale. But how can a god love a mortal in a way that a mortal can recognise as love? You soak up his company, you laugh with him, you value his mind and his talent and his deftness with words. His presence is a spot of bright difference in your endless existence. But will you change with him? Will you be vulnerable with him? Will you look him in the eye, as an equal? Will you stroke his cat and put a blanket over his shoulder when he falls asleep reading, make soup for him when he's sick? Would you love him as a person, not a treasure? You can't.

Gale wanted to be loved with a devotion to match his own. Mystra wanted him to live in the enchanted sleep of being hers, something to smile at and hold but never, never to live beside. And she knew - she must have known - how unequal their desires were. She kept him anyway, until she didn't. Until he woke up.

A god's love ruins mortals.

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"The studios thought they could handle a strike. They might end up sparking a revolution"

by Mary McNamara

"If you want to start a revolution, tell your workers you’d rather see them lose their homes than offer them fair wages. Then lecture them about how their “unrealistic” demands are “disruptive” to the industry, not to mention disturbing your revels at Versailles, er, Sun Valley.

Honestly, watching the studios turn one strike into two makes you wonder whether any of their executives have ever seen a movie or watched a television show. Scenes of rich overlords sipping Champagne and acting irritated while the crowd howls for bread rarely end well for the Champagne sippers.

This spring, it sometimes seemed like the Hollywood studios represented by the Alliance of Motion Picture and Television Producers were actively itching for a writers’ strike. Speculations about why, exactly, ran the gamut: Perhaps it would save a little money in the short run and show the Writers Guild of America (perceived as cocky after its recent ability to force agents out of the packaging business) who’s boss.

More obviously, it might secure the least costly compromise on issues like residuals payments and transparency about viewership.

But the 20,000 members of the WGA are not the only people who, having had their lives and livelihoods upended by the streaming model, want fair pay and assurances about the use of artificial intelligence, among other sticking points. The 160,000 members of the Screen Actors Guild-American Federation of Television and Radio Artists share many of the writers’ concerns. And recent unforced errors by studio executives, named and anonymous, have suddenly transformed a fight the studios were spoiling for into a public relations war they cannot win.

Even as SAG-AFTRA representatives were seeing a majority of their demands rejected despite a nearly unanimous strike vote, a Deadline story quoted unnamed executives detailing a strategy to bleed striking writers until they come crawling back.

Days later, when an actors’ strike seemed imminent, Disney Chief Executive Bob Iger took time away from the Sun Valley Conference in Idaho not to offer compromise but to lecture. He told CNBC’s David Faber that the unions’ refusal to help out the studios by taking a lesser deal is “very disturbing to me.”

“There’s a level of expectation that they have that is just not realistic,” Iger said. “And they are adding to the set of the challenges that this business is already facing that is, quite frankly, very disruptive.”

If Iger thought his attempt to exec-splain the situation would make actors think twice about walking out, he was very much mistaken. Instead, he handed SAG-AFTRA President Fran Drescher the perfect opportunity for the kind of speech usually shouted atop the barricades.

“We are the victims here,” she said Thursday, marking the start of the actors’ strike. “We are being victimized by a very greedy entity. I am shocked by the way the people that we have been in business with are treating us. I cannot believe it, quite frankly: How far apart we are on so many things. How they plead poverty, that they’re losing money left and right, when giving hundreds of millions of dollars to their CEOs. It is disgusting. Shame on them. They stand on the wrong side of history at this very moment.”

Cue the cascading strings of “Les Mis,” bolstered by images of the most famous people on the planet walking out in solidarity: the cast of “Oppenheimer” leaving the film’s London premiere; the writers and cast of “The X-Files” reuniting on the picket line.

A few days later, Barry Diller, chairman and senior executive of IAC and Expedia Group and a former Hollywood studio chief, suggested that studio executives and top-earning actors take a 25% pay cut to bring a quick end to the strikes and help prevent “the collapse of the entire industry.”

When Diller is telling executives to take a pay cut to avoid destroying their industry, it is no longer a strike, or even two strikes. It is a last-ditch attempt to prevent le déluge.

Yes, during the 2007-08 writers’ strike, picketers yelled noncomplimentary things at executives as they entered their respective lots. (“What you earnin’, Chernin?” was popular at Fox, where Peter Chernin was chairman and chief executive.) But that was before social media made everything more immediate, incendiary and personal. (Even if they have never seen a movie or TV show, one would think that people heading up media companies would understand how media actually work.)

Even at the most heated moments of the last writers’ strike, executives like Chernin and Iger were seen as people who could be reasoned with — in part because most of the executives were running studios, not conglomerations, but mostly because the pay gap between executives and workers, in Hollywood and across the country, had not yet widened to the reprehensible chasm it has since.

Now, the massive eight- and nine-figure salaries of studio heads alongside photos of pitiably small residual checks are paraded across legacy and social media like historical illustrations of monarchs growing fat as their people starve. Proof that, no matter how loudly the studios claim otherwise, there is plenty of money to go around.

Topping that list is Warner Bros. Discovery Chief Executive Davd Zaslav. Having re-named HBO Max just Max and made cuts to the beloved Turner Classic Movies, among other unpopular moves, Zaslav has become a symbol of the cold-hearted, highly compensated executive that the writers and actors are railing against.

The ferocious criticism of individual executives’ salaries has placed Hollywood’s labor conflict at the center of the conversation about growing wealth disparities in the U.S., which stokes, if not causes, much of this country’s political divisions. It also strengthens the solidarity among the WGA and SAG-AFTRA and with other groups, from hotel workers to UPS employees, in the midst of disputes during what’s been called a “hot labor summer.”

Unfortunately, the heightened antagonism between studio executives and union members also appears to leave little room for the kind of one-on-one negotiation that helped end the 2007-08 writers’ strike. Iger’s provocative statement, and the backlash it provoked, would seem to eliminate him as a potential elder statesman who could work with both sides to help broker a deal.

Absent Diller and his “cut your damn salaries” plan, there are few Hollywood figures with the kind of experience, reputation and relationships to fill the vacuum.

At this point, the only real solution has been offered by actor Mark Ruffalo, who recently suggested that workers seize the means of production by getting back into the indie business, which is difficult to imagine and not much help for those working in television.

It’s the AMPTP that needs to heed Iger’s admonishment. At a time when the entertainment industry is going through so much disruption, two strikes is the last thing anyone needs, especially when the solution is so simple. If the studios don’t want a full-blown revolution on their hands, they’d be smart to give members of the WGA and SAG-AFTRA contracts they can live with."

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you want it, i got it 😎 it’s c*mmission time!

click through for more information! reblogs are appreciated! ❤️

current queue: (10 available!)

i will draw: fanart, mild gore, pg-15 content

i will gladly draw: your ocs, people in love, dnd characters!!!

i will not draw: anything explicit, problematic, etc.

i will consider: furry/mecha, depending on complexity

all transactions will be handled through paypal, with payment upfront! the process will go as follows:

we discuss style, details, characters.

i send a quote and a rough sketch for your approval.

i send over an invoice.

once payment is complete, you'll get a better quality sketch.

with your ok on the sketch, i get to work, and the finished piece is sent your way!

interested? feel free to dm me over tumblr, twitter (@tcryla), or email me at tcrylart@gmail.com! thanks so much for your support! :)

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Men shalt pay 150 yen in silence

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Various ignoct draws

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when two musicians sing into the same microphone and lean in very close to each other… like omg are you guys gonna kiss now to relieve the homoerotic tension?😳

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The Medieval Building Map Assets

Everything you need to create your own medieval building map in the 2-Minute Tabletop hand-drawn style. 

→ Find them on 2-Minute Tabletop