#I'm getting thoughts...

[meri-meri-mwah]

I spent 40 minutes gathering Luis screenshots and got this glorious shot of his thighs.

[canisalbus]

Today's tumblr experience.

[beif0ngs]

everyone on tumblr @Buggy the 🤡 right now 

[egophiliac]

roll out the red carpet guys we're going to the SHAFTLANDS

[paxopalotls]

The fanfictions are infecting me with brainrot oh my god have some au doodles before I explode

[floccinaucinihilipilificationa]

[qcomicsy]

I think a thing that people get wrong about Jason's anger is that it's not explosive.

It's cold. Jason isn't the type of person who storms off at every little thing or goes throwing tantrums and setting things on fire blindfully.

He's the type of person who's very practical. He keeps to himself, always. You rarely see issues where Jason's anger is reactive at the moment where the trigger happens to him. If you see his character up close, most of the time when he's triggered his reaction is calm. Even cold.

He gets triggered -> He keeps to himself → He makes a plan → And then he reacts.

Jason's anger being something explosive and out of character and out of place is actually how other people (characters) see it, because they have no idea on how it's playing out on Jason's head.

And that's a thing you can see operating since he was a child.

Where the only exceptions about this effect is either when someone he believes needs his help is involved.

See Nightwing Annual (2021)

But In Batman #411 when Jason learns the fact that Two-Face was responsible for his father's death and Bruce was keeping that from him as a secret his first reaction isn't to blow up on him.

Was to seethe.

Bruce goes up home after dealing with a Two-Face case (in my field we call that poetic irony) and asks Alfred where Jason is, Alfred's answer is that he's been sleeping all day (which is a conclusion that Alfred drew probably after going to check on Jason and seeing him in fact on his bed all day).

But when you see the next panel, even though he is on the bed, He's fully awake and both his expression and his body language shows that he's in fact angry.

This is the first time he appears again in the comics after learning that Two Face killed his dad.

Jason doesn't go towards Bruce immediately to demand an explanation or ask why he did this, or even to throw the truth on his face.

(Which could be debatable that that's something the Dick would usually do, but I'm not that literate on Dick's comics)

His reaction wasn't immediate.

His reaction was to go to his bed and stay quiet. Jason stayed calm and collected the whole trip until meeting Two Face again.

But the moment Jason as Robin has the opportunity to get his hands on Two-Face he does this

From Bruce, and maybe Alfred's perspective it could be interpreted as out of place or him storming off.

But it isn't. Jason was able to keep his cool (even though he shut off), until he was face a face to Two Face.

Does that mean he planned that to happen?

That's debatable, in any moment of this issue it is shown that Jason was actually planning to get to Two Face and do this. I my personal opinion, other and much more plausible explanation is: That he was in fact trying to keep to himself but couldn't hold back the moment that he saw his dad's murder.

You can see the same thing happening as Jason learns that Batman got another Robin in Red Hood: Lost Days.

Talia asks "You all right?" and Jason's first answer is "Sure Why Wouldn't I Be Alright?"

When he's alone he finally has the moment to break down.

(Actually both Red Hood: The lost days and Batman: Under the Red Hood are great case studies on how that usually play out on Jason's head.)

Jason is way more in control of his emotions than people ever give him credit for. The thing is that Jason holds it back until he either blows off or is capable to throw it back in someone's face.

[birdmenmanga]

I think there's no greater indication that disco elysium is sympathetic towards communism when it literally says "communism is failure" and then the literal gameplay itself rewards trying and failing. The most obvious one being the Shivers check at the FELD mural, which is an Impossible 20 check BUT opens itself up again and again the longer you spend in the world doing things, but even just looking at sheer probabilities, for any given white check, rolling first and THEN putting a point into that skill upon failure is more likely to grant you success than putting a point first and then rolling, but that would require failing first.

Other things too: Precarious world saying you'll 100% fail red checks no matter what (not necessarily a bad thing, btw!! throwing the boule into the sea is a success but like. in some other ways one would want a perfect petanque throw instead. but people wouldn't typically assume that failure is desirable sometimes from the start) persuading you to accept that you'll fail some things that is irrevocable, for a world where everything is just a tiny bit easier.

The faux game over screen when you faint after reading Dora's letter— emulating a sense of failure on the scale of the entire game. When it rolls up most people go "What?? Game over?? No way, what did I do wrong!!" and waking up after that, with no huge or lasting impact on Harry's health or morale really tells the player, "Sometimes things will seem so bad that it all seems like it's coming to an end, but it's not the end, it's really not the end, go drink so water, you can still go on despite this failure"

I'm sure there are other things as well that are eluding me but like. The literal gameplay rewards failing and succeeding far more so than simply succeeding every single time, and I think you get a fuller experience of Elysium that way too

[madamemiz]

sad: falling out of a hyperfixation

tragic: watching your beloved friends and mutuals fall out of the hyperfixation while you're still in it

[aeide-thea]

on principle opposed to describing art i dislike as 'masturbatory' because even though it's an alluringly contemptuous word to sneer it's impossible to reconcile with my pro-masturbation stance

[mayasaura]

It really dawned on me watching episode 17, just how important this sequence of events is to Kabru and Laios' relationship, and how. Well. That's for a different post. I want to keep this one free of spoilers. (Certified Safe For Anime Only™)(There are spoilers for episode 17, tho. Obviously.)

Kabru's main concern has been, at least in part, revealed. He wants to figure out if Laios is capable of defeating the dungeon, and, if so, if Laios can be trusted with the power that might confer. The answer to his first question is simple. Yes. If anyone can defeat the dungeon, it's Laios.

The second question is where things get interesting. Can Laios be trusted with power?

In the aftermath of Laios' first fight with Toshiro, Kabru learns that while Laios has no particular respect for the law or conventional wisdom, he does have the humility to consider that his judgment might be flawed if he encounters conflict with someone he respects.

That is the face of a man taking notes, and I think he's making a cautious mark in Laios' favor. Laios doesn't really understand Toshiro's opinion, but he's listening.

Then, in the fight with the Falin-Dragon chimera, Kabru voices dissent—disgust, even—with Laios and Marcille's priorities.

You can practically see the Dragon Age style approval rating drop. Kabru disapproves. Minus fifteen hearts. If it had ended like this, I think Kabru would have lost all interest in Laios. Someone who would sacrifice a dozen lives out of sentiment can't be trusted.

Laios' response, and the way it builds on Kabru's earlier observation, is crucial.

He listened. And even better, he didn't listen blindly. He applied critical thought to Kabru's argument. What Kabru hears from him isn't just "I'm sorry, you were right," but also, "I understand and respect your position and priorities, and here's a very good argument for why killing what I still consider to be my sister is not in our best interest."

He processed Kabru's criticism and came to his own conclusions, and he did it fast. Not only that, but he's right. Kabru hadn't considered the potential consequences of killing the chimera.

Laios proved in this one exchange that he 1) isn't blinded by either his pride or his prejudice, 2) has the strength of character to not just fall back and surrender to someone else's judgment when he's uncertain, and 3) is smart enough to tactically outhink Kabru.

This is why Kabru is so invested in Laios liking him that he forces himself to eat the harpy omlette. This is why Kabru takes Laios' hand and makes sure he knows he wants to see him again. He doesn't understand Laios, and he still has strong reservations about him. Laios' interest in monsters scares him. But Laios has proved to Kabru that he might be capable of being the person Kabru needs him to be.

Top Ten Pictures Of The Moment He Won You Over (Taken Just Before Disaster).

[somnimagus]

My page for @sheikahzine; about Impaz's duty to her village, empty of people and full of memories.

[id in alt text]

[canisalbus]

[cookinguptales]

Now that the post is over 10k and my notes are straight-up unusable...

One thing I wish I'd spelled out more explicitly in the original post because I see this point getting lost on a lot of rebloggers who don't understand why the healthcare thing was such a big deal is like

The subtext I thought would be understood bc I lived back then but apparently has been lost today is that making sure queer employees and their partners had healthcare in the early 90s meant Disney was paying for a lot of AIDS treatment.

This is one reason fundie Christians were so upset and queer employees were so grateful. It's one reason why it was such a controversial decision. It was a major talking point amongst my family, who believed back then that AIDS was a punishment from God.

(Some still do, I think. We don't talk.)

I keep seeing people saying that Disney only chose that option "because of their bottom line" and it's like??? Were you listening??? Disney has been paying for that decision for literally decades, but they've stood by it.

Like... the 90s weren't like now! It wasn't profitable to cater to the queer population of the country back then. They weren't raking in money with this.

It's in no way a perfect company but I fully believe in criticizing people for the specific things they do wrong and praising them for the specific things they do right. Disney has fucked copyright, monopoly, and labor laws and I'm not about to defend that. But they are well known in FL for being friendly to both queer people and disabled people, and that is unambiguously a good thing.

(Like side note, I could talk about Disney and accessibility for days. I have traveled extensively while disabled and no one does it like Disney.)

I've had people reblogging the post like "I straight-up don't believe Disney is an industry leader in equal protections for queer employees" and it's like ??? do you think I just pulled this out of my ass? If you want more information, go look it up! You'll see that this is well-established history. It's not my fault y'all don't read! :|

[hailsatanacab]

A Persuasive Argument - dpxdc

"Great!" Danny says, clapping his hands together to get everyone's attention. The dinner table falls silent as everyone looks towards him. It's a full house today and, honestly, Danny's a little nervous. "I'm sure you're all wondering why I gathered you here today."

"It's dinnertime. In our house." Duke mutters, while doing a very bad job of concealing his yawn. He holds his fork poised over the braised beef, but, just like everyone else, still looks towards Danny before tucking in. It's intriguing enough to wait.

"Yeah, no one misses Alfie's dinner." Dick says, with a brilliant smile that Danny can't help but return.

"Precisely! What better time to talk to you all than when you're all actually here!"

"Wait, I thought you came round to work on our English essays?" Tim asks, blinking owlishly.

"I'm afraid I've lured you here under false pretences, Tim."

"This is where I live."

"I would still really appreciate help on that essay though, I mean, what the hell is Hamlet even about? I just don't get that old time-y language, like 'Hark! A ghost hath killed me!' - absolute rubbish, what does that even mean?"

"The ghost never kills anyone in Hamlet, he's there to tell Hamlet that he was murdered. Have you actually read it?"

"No, but it sounds like you have. Tim, I want this guy to help me with my essay instead. I know for a fact that you haven't read Hamlet, either."

"So? We don't need Jason, I've read the Sparknotes."

"Hi Jason, I'm Danny, pleasure to meet you, summarise Hamlet in three sentences or less."

"Am I auditioning to help you write your essays? I can't believe you’ve gone through your whole school life without reading it, it’s good!"

"Hamlet, along with a number of other classics, was banned in our house because it portrayed ghosts as intelligent and sympathetic beings rather than evil, animalistic beasts. I didn’t even get to see The Muppet's Christmas Carol until last year with Tim! It was surprisingly good, and I hate Christmas because everyone always argued and it sucked. But we're getting off topic. I—"

"No, no, please go back to that, because what the fu—"

"Boys, please." Bruce interrupts, looking to the world as if he wants to hang his head in his hands. "Danny, you were about to say something?"

"Oh, yeah, Mr. Wayne! Thanks!"

"Please, call me Bruce."

"Well, that very succinctly brings me to my point, because I'd actually really like to call you dad."

Nobody says a word. Nobody even blinks, all as shocked as the other, watching open-mouthed as Danny pulls his laptop out from beside his chair. Bruce can definitely feel a headache coming on.

"Before you say anything, I've prepared a 69 slide PowerPoint presentation on why you, Bruce Wayne, should adopt me, Danny Last-Name-Pending. Please save your questions, comments, and verdict until the end, thank you."

[sabertoothwalrus]

wait I'm trying to gauge something