#Work prioritization

[sunderwight]

What if the peak lords concluded that the most likely answer to the mystery of Shen Qingqiu's behavior is not that he's possessed now (because they checked and all the tests came out negative), but that he must have actually been possessed before?

No one thought to check him before, after all. They just figured he was an asshole. But then he suffers a qi deviation, almost dies, but comes back nicer. Only slightly lacking in context for his own past behavior and lifestyle, too.

It fits remarkably well, doesn't it? All this time the real Shen Qingqiu must have been trying to free himself from a demonic spirit that took possession of him in his youth! It was the demon who was the asshole, dragging his poor host to brothels, alienating his sect siblings so that they wouldn't investigate him too closely, abusing his disciples and probably weakening the sect from within as part of some nefarious plot!

But then the real Shen Qingqiu finally managed to beat back the demon himself, even being gracious enough not to point out what happened to his martial siblings and so save the sect's face. What a guy.

[illambinati]

[babu-2022]

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[nerdinsandals]

I drew a May to test the new SAI 1 update 💚🧡

[bacchuschucklefuck]

while teen while goblin while aroace while injured while doing your best

[qourmet]

priorities...

[julykings]

planning on quitting my job tomorrow wish me luck.....

[chimerafeathers]

i know we love to rag on Siffrin for feeling so miserably guilty and manipulative for the crime of [checks notes] “doing nice things for their friends so that they’ll be happy and care about him even if it’s not perfectly sincere on his end”

but like. in context i don’t think that thought process is anywhere near as nonsensical as it always sounds written out like that

i’m sure i’m just stating the obvious here but it’s not really about the “crime” of making people happy. it’s about what he’s not doing, which is anything that would allow their friends to have any real knowledge or agency over the situation they’re all in.

it’s about never acting according to his real feelings in the moment and letting them see the messier version of him that exists now, never allowing their relationships to evolve or develop meaningfully beyond the “safest” iteration, the thing that is Known and produces the Correct Results, because anything else has the possibility of leading to negative emotions towards Siffrin.

Siffrin knows he’s not really doing all this for their benefit, not entirely, because the “right” thing to do would give them the full context to choose how they feel and what to do about it. they’re happy, but in a way they don’t get to keep. they’re happy, but in a way that keeps Siffrin safe from anything more complex and real. they’re happy, but only because some Siffrin in the past said the right things once, and this new, bitter, lonely, desperate version wouldn’t know how to get the “correct result” without a script to follow. they’re happy, and it was real once, it meant something once, but not anymore.

they cared about that Siffrin, yes, but would they still care about this one, if they knew? if Siffrin ever allowed them to know? (he won’t, he can’t, he refuses.)

and there’s something that could have been said in favor of Siffrin allowing himself this “selfishness” if it made him happy anyway, if it could be a genuine source of comfort in a difficult situation—but it doesn’t! not really! because that guilt is there, because that fear is there, because of how flimsy it all inevitably feels.

so they’re not doing it for their family’s benefit, because that happiness is predicated on lies and ignorance. he’s barely doing it for his own benefit, because they’re torturing themself by revealing things they no longer want to reveal, concealing things they no longer want to conceal, acting out of fear of rejection rather than genuine desire for connection. who benefits from this hollow “kindness,” really?

that’s why the last loop had to be the ugliest one. Siffrin had to see that the worst could happen and there could still be love and connection on the other side. that even when the party sees the worst of him, when they have the agency he’s been knowingly denying them, they will still choose to love him.

[ambriel-angstwitch]

Tim: *calls Dick* Hey, are you busy right now?

Dick: A little bit. Why?

Tim: Oh, no worries. Nothing important.

*5 hours later*

Dick: You were in jail?! Why didn't you say

anything?!

Tim: You were busy!

[fjordfolk]

i know i'll never get spart out of stealing anything within reach the moment I'm out of sight, but i know that i can keep her separation anxiety/fomo at bay by giving her something else to think about right when i go to put my shoes on. so now i leave secret very off-limits totally not-for-spart treats on the chair seats (just within reach) before i go. each time I've come home to a pretty calm dog but also terribly and tragically robbed of all secret chair snacks.

[sunlight-shunlight]

thinking about veilguard and bioware in general, i think we are reaching a point where people need to grapple with the inherent limits of what stories can be told in our Current Society and in AAA gaming companies.

on a labour level: mass layoffs, tons of developers leaving despite previously talking about how passionate and happy they were to be involved, not even paying severance, and crunching employees to the point of burnout. this is unfortunately pretty standard for AAA game companies.

on a cultural level: it is SO white and SO centrist-ly Canadian. i wrote up these asks outlining how. it is a repeated pattern of writing in which they go into tortured racial oppression allegories at best, while constantly peppering in a "but BOTH SIDES were wrong and made mistakes :( :( :(", in between their fictional atrocities that are clearly mirroring irl genocides and enslavement. or at worst, it's "the qunari are radical islamic borg" which has even less nuance. i personally thought, since dai came out in 2014, and a lot has changed since then about the world and in public awareness, that this would have filtered into the narrative and resulted in more satisfying and historically grounded writing. unfortunately not the case. it's shocking if you compare it to how sharp and aware and unflinching something like disco elysium is.

so what does this mean?

under these conditions, it is unavoidable that we get development by people who are rapidly cycled out of the company or demoralized into burnout. we get digestible, easy little soundbites of lore without much substance, because any complexity needs more time and coordination rather than the process of "quick, we have these assets, a lot of people involved in making them just got laid off, we need to make Something by next quarter to show the CEO". we get very little cohesion between games, despite the clear intent from dai to have so many plot points set up to follow through in a sequel, because the team and development are so chaotic that they can't hold onto a vision and complete it.

we also get this inherent caution and "conservatism" from the narrative, because on an ideological level, they're largely white people who want cops to be included in pride. so any major change to even a fictional society is Bad and Scary, and shouldn't be done without making sure that every character finger-wags appropriately at non-state violence. there is clearly not much ideological or even ethnic diversity within the leadership; or at least not enough that anyone there felt comfortable even speaking up on minor issues like the Incredibly Orientalist Isabela Outfit, let alone anything larger.

i don't personally think there's too much value in trying to analyze veilguard's plot or lore at this point. the final product is chaotically developed and does not seem to reflect the goals of the creators as set up in prior games, it's basically a ship of theseus in terms of the people and ideas involved in making it. this is sad for all of us, who were interested in the story, and attached to the characters, and were creatively fulfilled by engaging in the fandom. it's probably worse for the developers who have lost their jobs, burnt out, or feel unhappy with the game that they spent years of their life working on. it's certainly miserable as an indictment of The Industry, as well as the general societal climate of white Canadian centrism.

the solution is to create a society where people can develop games in peace and prosperity and stay on projects for longer, rather than constantly getting turfed out without severance pay. and to get some genuine leftists, poc, and indigenous people on staff who can weigh in and provide significant input, rather than a Council Of Liberal White Edmontonians every time.

in the meantime, at the very least, let's please stop preordering AAA games and supporting companies who notably abuse their employees.

[zeldalizzy]

Oo how about the chain with wolfie? Maybe using him as a pillow, petting the pupper? Idk

(maybe with wind)

the best pillow ever ✨ wind is cozy, and twi is too, but wars is not happy that his scarf got swiped and will now smell like dog for the next few days 😂

@bat-in-disguise thank you so much for your ask!! this popped into my head first thing when i read your ask so i hope you like it!!

i apologize that it took me so long to answer this! life has been crazy and college keeps me ridiculously busy 😅 i hope you are well!! have a wonderful day/night! 🩵

[forecast0ctopus]

couple more recent comms!

my slots are full at the moment, but my commissions page is here

[julijbee]

girlbossing too close to the sun.

[henry-fox-biggest-stan]

Dead Poets Society: standing/sitting down

Look at this.

It’s a bit hard to notice on the film (there aren’t many scenes where the angle is just right to show it) but the space in front of the board (where teachers teach) is elevated from the rest of the classroom.

My teacher told me some days ago than that used to be common when she was younger but that it’s not done as often now. It wasn’t so long ago (she’s young) so maybe some of you also met it. I haven’t. When she told us this, it got me thinking and I had an epiphany in the middle of my ancient greek class.

They stand in Keating’s class, a lot.

His first class is literally them getting up from their desks, getting out of the class (this already has been analyzed a lot), and stand in front of the photographs.

Keating continues these classes, outside of class and while standing. Giving them freedom, by taking them away from the oppressive Welton environment, and also by making them stand, making them equal.

When two people are standing, they’re equal, regardless of height. When a teacher is standing but a student is sitting, they’re not equal, the teacher is higher and the student is forbidden from getting up. The teacher is meant to be listened to and paid attention to.

Keating is making them equal to him, but also empowering them too, giving them power (like the power teachers have over students, because it’s the teacher’s role to be standing, and Keating is sharing that role with them).

Even when they’re not all standing, Keating almost always puts himself on his students’ level, or even below them (we’ll get there)

If they’re on the same level (all sitting or all standing) then they’re seeing face to face, they’re equals. This is part of what was new about Keating’s teaching (since the boys are used to the rest of the teacher’s traditional, strict, and disconnected teaching), he treats them as equals.

It’s no surprise than the first scene with Keating and the boys outside of class is with all of them standing.

When Keating is there emotionally for Neil, they’re both sitting, so they’re both equals.

Height = power. The higher you are (standing) the more power you have. If they’re all standing/sitting then they’re equal (if they’re all sitting it doesn’t mean anything regarding power).

However, he isn’t always on their level. He is, after all, their teacher, and so he stands and teaches and they sit and listen. This is also a tiny proof of how he doesn’t actually abuse his power, unlike what mr Perry says.

But even when he is in a typical teacher position (standing in a room full of sitting people) he still deviates from this because he gets close to the students. He’s standing but he’s also in the middle of the class, between their tables, leaning towards them, not in the front.

There’s more height=power scenes in the movie. You’ll understand it better with examples.

Like Charlie getting up to actively challenge Nolan (and then lowering himself when he was getting punished)

And then Charlie sitting down when Keating (who is standing) goes to reprimand him (to act like a teacher, to teach him and scold him)

Or also Knox kissing Chris (who is laying down, with no power over Knox kissing her cause she’s asleep and unaware) in the party. During this moment, Chet is also sitting down, until he realizes what happens, and then gets up, punches Knox (Chet has the power), and continues standing while Knox is laying on the ground.

Or McAllister leading his students outside. It means he learnt from Keating, than Keating helped him aswell, and now he’s treating his students more equally too, and giving them more freedom and power.

Maybe the football scene where they lift Keating up, too. Not so sold on that one but maybe.

Or Charlie and Cameron. Cameron standing vs the immediate inversion than comes after Charlie punches him. Cameron falls momentarily, Charlie has the power. Then he recovers and gets up and starts talking to them about how “if you’re smart you’ll do exactly as I did and cooperate” and the thing is, he’s right. He’s standing, you know what that means? That he has influence, power. Perhaps some of them (certainly not Charlie, and maybe not Todd, but some of them) agree with him. After all, they can’t do anything else. Cameron had the power in his hands by confessing everything and the rest of them are helpless to do anything. Can they bring Neil back to life? Make Nolan forget what Cameron told him? Give Keating his job back? No, they’re helpless. That’s why they’re sitting at the start of the scene.

Of course, there’s also the standing on the desk scene. Keating stands first, and then they follow his example. He gives them a bit of power. While they’re standing, Keating is also standing, but below them.

I would also say standing=confidence (sometimes). With Todd, mostly.

Obviously not every single scene with a sitting/standing character symbolizes something, sometimes they’re just standing, but if I really try I can make it become something.

Like the fact than in this scene the only sitting characters are Cameron and (pre-confidence) Todd (a scene with Todd refusing to go the study group, most likely because of insecurity and anxiousness) (+ Cameron is very visible during this scene, even tho he has no reason to be, nor a reason to be seated in the first place. He was standing before, I checked, and only sat right before the camera panned to this scene).

Or Todd sitting down while writing (and then crumbling) Carpe Diem on a piece of paper, thinking he couldn’t possibly do it. Or Todd sitting when telling Neil he doesn’t wanna read at the meeting.

Or Todd sitting when he’s writing a poem before he made his Whitman poem with Keating (and got a bit more confident), and post-poem he’s standing up while writing another poem. (Also the lightning, pre-poem he’s wrapped by shadows, post-poem he’s under the light)

Or Todd sitting (initially) during the desk set scene, but then after Neil makes him feel better, makes him feel more confident (less insecure), he stands up. He has the power and throws the desk set.

Or Todd reading his poem in the deleted scene in the cave while standing, or Todd being forced to sign after Keating’s death while sitting, or even Todd being seated when the poets (who he just met) tell him there’s a study group, if he wants to go (he definitely didn’t go).

Or Todd sitting when telling Keating he didn’t write a poem (lies, he just doesn’t wanna read cause he’s insecure) but then standing to make up a poem (which makes him more confident).

Keating lowers himself, while Todd stands. Gives the “stage”, the power, to Todd for a few minutes.

This scene also has a lot of movement.

Starts with (pre-poem) Todd sitting, and Neil appears, super excited, and lowers himself to Todd’s level, they’re friends, they’re equals. Neil gets up and begins talking about the play and carpe diem, he’s standing, he’s confident, he’s deciding to do the play regardless of what his dad wants, he’s in power. Todd is still sitting, and he becomes the voice of reason, what if you father knows? Neil continues talking about how he won’t know while standing, but eventually his excitement wears away after remembering his father is in power, not him, and so he sits down.

Then the “no” scene, a sitting, unconfident, Todd and a standing Neil (who recovered from what happened before). The “I’m being chased by Walt Whitman” scene, they’re both standing.

Todd sits a lot. Like, a lot. He’s basically always sitting. Well, at first. Towards the end of the movie not as much.

Like in the final scene. Todd is sitting in class but then stands up on his desk. He’s confident, he has the power.

But, we can mainly see the standing/sitting dichotomy with Neil. God, Neil. So, so, so many scenes with Neil and standing vs sitting.

One of the first scenes with Neil and his dad and boy is it a ride.

Neil is “talking back” to his dad, that’s why he’s standing, because he has got a bit of power, he dares to argue and try to keep the school annual.

The poets are sitting, powerless to help or intervene, after all, it’s not their place. (Don’t ask why Todd is standing)

Mr Perry is standing, obviously, as he’s in charge. When they get outside, same thing. Neil continues “talking back”, trying to explain himself. He’s standing.

But then, in the deleted scene, he gets back inside after, and he sits. He accepted he has no power in front of the situation, he accepted he can’t do anything about it.

Another scene with Neil and his dad. Mr Perry is sitting before confronting Neil about the play (he was powerless regarding Neil joining the play, he didn’t know about it and Neil joined despite his opinion) and then getting up to tell him to quit the play (he’s getting his power back, forcing Neil to quit. However, Neil is still standing, he’s still going through with the play, he’s in control)

When he goes to talk with Keating (as I mentioned earlier) he’s sitting. One, because Keating and him are equals in that moment, and two, cause he feels powerless.

During the play the poets (+ Keating) are sitting down. They’re powerless to do anything but watch. Watch as Neil acts, watch as Neil’s dad takes him away.

Neil is standing. He’s in control, he’s doing this against his father. Mr Perry is standing. He still has power, and he’ll show Neil exactly how much power over him he actually has later.

(Also, Neil gets told to go see his father while he’s sitting)

After the play, Neil is forced into the car (powerless to leave), and he sits.

And

Does this ring a bell?

The discussion starts with Neil sitting down, his mother ALSO sitting down, and his dad standing. He has the power, he makes the decisions.

His mother is also completely in the middle of mr Perry and Neil, so she agrees with both sides (or can’t choose who to support)

Then Neil stands up, ready to protest. His mom stands up too, to tell him she they were worried about him, and, following the standing/sitting motif, probably to back him up, if he spoke.

But Neil decides against it. He’s convinced his father won’t listen, what’s the point? He loses his power. Gives it away. He sits back down.

His mother then gets near, and pulls herself to his level, lower, even. Ready to comfort him, but then stands up and leaves.

Neil’s death sequence is so interesting because there’s so much movement and yet it still manages to be slow and quiet.

Neil is standing (he has control over his life now, he can choose whether to end it or not).

Then, Neil is sitting down, in front of the gun (he’s not powerful, actually, he’s powerless in front of his father and the only thing left for him is the gun in front of him. Remember, Neil didn’t wanna die, he just wanted to be free. He has no other choice if he wants freedom, he’s actually powerless).

Then, his body is laying on the ground. No power left at all.

Regarding his father, he’s laying down, sleeping (powerless in front of Neil’s decision that he’s taking in that very moment, he can do nothing about Neil wanting and deciding to kill himself).

Then, he gets up, ready to get mad at him, but when he sees neil’s body and realizes, both neil’s mom and him sit on the ground, powerless to do anything about their son’s death, because there’s nothing to be done now.

Then, Todd

And of course, the most iconic scene in the movie.

They’re all standing, Keating included, but Keating is visibly lower than them. He has influence, but he doesn’t have power anymore (he got fired). The students, tho, they got power, they’re standing up. Also Nolan is visibly lower than them aswell, and very clearly powerless to make them get down. Does Nolan have power? Sure, he’s standing and he’s the principal, but he’s also lower than them, powerless under them.

Not every student is standing, only those Keating helped, only those Keating made more confident, only those Keating gave power to. The ones who Keating changed their perspective (standing up in a desk was to see things from a different perspective).

tags: @neil-perrys-glasses @gay-mooshrooms @si-nemo-me-reminiscetur @make-much-of-time @autumnbookworm81 @neil-perrys-suicidal-tendencies (so many people omg)

[outbreakperfected]