#it's fascinating truly

[ninicaise]

what's so refreshing about will as a character is that he doesn't throw a denial tantrum about it at any point like most characters with Darkness Within Them do. he's not a moral paragon, his angst and secretkeeping don't get annoying at any point. and i think it's because there's no contrast between who will Really Is, which is Good and True, and the dark king as his shadow or his dark self.

will is the dark king. he behaves like the dark king. he lies and he manipulates and he's a "sneak" and he's scaringly charming and he's possessive over james and a ton of other messed up shit and he tells himself it's for a good reason, and maybe it is!! and will is clearly you know. a Good Person. while his methods are sneaky, he does not actually do anything wrong. but those are his methods still, and they are cool moments and badass and also kind of eerie.

with the way he's written, i would argue will doesn't have or even need a corruption arc, he's just like that from the get-go and he's not gonna change. and i don't mean he was born evil or whatever other bullshit i mean that he was born a full person, including the dark king and will both, and there's complexity, but no clear line separates them.

[yfere]

Not Alastor making sure to first point at Husk with a warning expression before turning back to Charlie for his welcome home. This guy REALLY doesn't want Husk to say shit huh.

And Husk is obviously annoyed as hell (or judgmental? resigned? what is this expression exactly) but he joins the group hug anyway. Never change, Husk.

[imaybeabear]

Anna Williams did not run through miles of forest nor face off with an infected with literally only a switchblade and sheer desperation all while fucking IN LABOR, then cut her daughter's umbilical cord with her own hands, clean her up, name her, love her, and hold her for hours even as she knew and felt that she was dying, prepared to stab herself with that same switchblade to save her baby, then beg her lifelong friend to take her girl somewhere safe where she could grow up happy and protected only for Marlene to fuckin sacrifice that girl, that baby she swore to her dying friend to take care of, for a shoddy at best chance to save an already irrevocably shattered world. Both the Williams ladies deserved better than that.

[beaulesbian]

every time i think zoro and luffy's sense of no-direction couldn't get any funnier a new scene like this appears to prove me wrong

and it's the robin's "we are heading south, so chopper, could you actually point them the correct way before we lose them here forever?" that makes it so hilarious this time

[poorly-drawn-mdzs]

The girls are plottinggggg

[First] Prev <–-> Next

[bellamysgriffin]

ULTIMATE SHIPS CHALLENGE - Deaths  [3/4]

[carnivalcarriondiscarded]

saw @chez-cinnamon's absolutely BANGER butterfly!Howdy design and couldn't resist! two fluffy flutterbyes <3 solidarity

[fipindustries]

i already mentioned in the past that a friend of mine trained an AI on my drawings so that it could replicate my artstyle, a fun thing is that it fed it a bunch of drawings i made of myself so most of the things it creates look like self portraits i could have done

other just look like random cool guys i could have come up with

(i fucking love the guy with short hair and lipstick, he looks fucking sick, i am 100% using that design)

first of all, i cannot begin to descrive how mindfucky and trippy is to see drawing that *could have been done by me* but werent. every time i see them i have to catch my self for a few seconds wondering "wait, did i do these and forgot????"

second, because i didnt do these they are not worn on my eyes like a drawing i would have made, these are fresh images to my brain. i dont have a memory of having done every line and curve and having observed it a million times as i was doing them, thus the illusion of life is a lot more stronger for me.

so with all this is mind, this little excercise is allowing me to do something i always craved for but that i could never get. to see my own art from an outsider's perspective. to be able to appreciate my work from the point of view of someone else. how does my drawings look to others. i can do that now with these.

and let me tell you, not to sound too conceited but, damn, i really like what i see. i can now see what everyone else sees in my artstyle, its fun! its dinamic! its really expressive in a way i never noticed! and yes, the noses! oh my god the noses! and the way the lips curl and tighten.

on top of that, as i said, a lot of the overfitting in the model is directed towards self portraits that i made of myself, so the AI will tend to use many of the faces and features i use to depict myself. now you have to understand i identify quite strongly with my own drawings. i said often that i see more of my self in my drawings than i do in a mirror.

with this in mind its also super trippy that my friend basically has a fip generator.

every time i see things like this i cant help but go "OMG, THATS ME! THAT IS ME!"

(this final piece was actually done by me, lol)

so yeah, this has been all very illuminating

[clitfisto]

i think the common issue that creates boring dnd player characters is like. the fixation on backstory over character conflict. like if you think abt the typical "heres my super cool guy with a super cool design and a dark tragic backstory they dont want to talk about theyre so tortured and mysterious" its like. sure that might be an interesting secondary character for an animated series but thats not what this is.

like 1. nobody is going to see that cool design unless you painted a mini so youre just gonna be that guy who spends 5 minutes of session 1 describing your outfit; 2. none of the other players want to spend ages trying to interrogate backstory out of someone who seems like they dont want to share, they want to find a fight and flex their awesome build, so unless your dm pulls your 15 page backstory document into the main quest its all gonna be irrelevant anyway; and 3. trauma does not an interesting character make! not unless you can roleplay the effects of that trauma in a compelling manner!

imo its a wayyyy better method to come up with a Fucked Up Kinda Guy, complete with quirks and flaws and affectations and sure maybe a voice if thats your vibe, they dont need to be special or unique just fucking engaging to play beside, and THEN reverse engineer the backstory based on what would make someone be like that and usually its something fucked up and traumatic anyway bc thats how existing works. like dont get me wrong theres definitely merit to establishing your place in the setting but like. in taz balance absolutely no part of their written backstories did as much for the early group dynamic as "magnus rushes in" and "taako is good out here"

^ actually new different point based on that. if you show up with a blank slate guy then play off against the other characters! if you have a whole guy do it anyway! if someone is playing it safe then play impulsive or vice versa, if someone else has the same highest stat as you then get weirdly competitive, if someone plays dubious morals then be the ethical voice calling them out on it, there is no reason for your party to always be in agreement and if they are then disagree! be a dick about it! stories thrive on conflict so fucking make some, just please for the love of god do Anything that makes them behave differently than you with an ability

[nellasbookplanet]

Okay but I'm going a bit insane about the growing disconnect of "maybe we're meant to harness it"/"maybe we're meant to fight it". They both thought they were on the same page when they said it, when actually they were on polar opposite ends of the same spectrum. Imogen meant "I never plan to give in to this power even if part of me wants to, I will continue fighting it, but it’s a comfort knowing there’s someone who understands the temptation and who I know won't judge and will still love me and understand if I ultimately fail and give in". Meanwhile to Laudna it meant "I've been in this struggle for longer than I can remember and I don’t know if I can do it much longer. I don’t know if I want to. I don’t know if I even should, or if giving in would be better for all of us because I'm a lost cause. You understand this about me and won't judge as I inevitably am doomed by the narrative, and you won't demand of me that I fight an inherent part of myself, even if it’s destroying me". And Imogen is finally catching on to this disconnect, is realizing that to Laudna their connection isn’t just understanding but an excuse, not too different from Lilliana. And, desperate of losing Laudna to power just like she did her mother, she says, 'if you let me go, I'm gone', meanwhile Laudna is going 'all I can do for you is die and let you go to lift you up' and both of them are going 'why are you so upset about this. i love you'.

[lizluzz]

Okay, since a lot of people have been asking for this, and I'm a big believer in sharing this experience with everyone, here are the director's commentaries for Boy (2010).

have fun, share, and feel free to come and scream to me about it afterwards!

[cirillo-10]

[harrowharkwife]

thinking thoughts about how nona was so obsessed with crown, and crown specifically- not coronabeth. crown, with her boots and her cargo pants and her guns and her hair tied back, with all her charm and strength, all her rage and determination.

was that really just nona? or, walk with me here- is there a chance that that was actually alecto, too, bleeding through and rising to the surface?

alecto, seeing a kind of kinship in crown- in this big, tall, strong blonde with a sword strapped to her back, hot and lovely and kind and awful and powerful and perfect. this woman who refuses to give up- on her sister, on saving jody, on BOE's resistance. who's unafraid to throw one hell of a tantrum, if it means being listened to, for once. crown, who everyone thinks of as dumb, who everyone underestimates, who no one ever takes as seriously as they should, even though she's clearly capable of plenty of atrocities in her own right. this woman who's been described over and over again as someone who positively radiates life, and energy, and vitality, and strength. this woman who wanted nothing more than the chance to be herself, to be free, to serve as cavalier and guardian and protector, but was instead sentenced at birth to a life of being a princess and wearing dresses and looking pretty and loving less and staying out of the way and keeping her mouth shut and playing second fiddle to a necromancer obsessed with power and glory. familiar, no? this woman who was betrayed, left behind, left alone, and left utterly in the dark by the one person who's supposed to love her the most- only to then be told that being abandoned was in her best interest, really, for her own safety.

thinking about all the times we've seen ianthe insult crown's intelligence and praise her beauty in the same breath. you big dumb bimbo, what can you do? of all the times we've seen ianthe fussing over crown's appearance. thinking of the sister-lyctor makeover-montage ahead of dios apate minor, and how harrow hated every second of it, and how ianthe treated it like nostalgic second nature. thinking about the third house: fucked-up planet gossip-girl with all its betrayal and espionage and flesh magic and debauchery, three for the gleam of a jewel or a smile. thinking about the pressure that must have come with keeping up the double-necromancer ruse, about ianthe having successfully played the part of two necromancers from the age of six. exactly how much practice must that have taken? thinking about the casual, automatic, possessive, offhanded, violating nature of ianthe playing god and giving harrow a full head of fast-growing hair without asking, without even telling her, just to make harrow prettier, just to piss her off, just because she could. how she did it so easily, and without hesitation, almost as though she's maybe done that sort of thing before.

thinking about preservation. about a perfect body frozen in ice for a myriad, about ianthe spending all her downtime on the mithraeum figuring out how long she can keep an apple core in perfect stasis before the rot sets in.

thinking about corpse puppeting: a deceased world leader here, a trusted cavalier and friend you've known from the cradle there. about i picked you to change, and this is how you repay me? about she took babs. and who even cares about babs? babs! she could have taken me!

thinking about alecto, and hollywood hair barbie, and you have made me a hideousness.

thinking about crown, who's by her own admission boobs and hair and talk and a hell of a swordhand.

thinking about something as simple as stud earrings, and about how much grief ianthe gave her for daring to wear them.

nona loved crown.

something tells me that alecto might, too.

[catadromously]

my piece for TLHoD Secret Santa 2023, organized by the inimitable Anjael! You know when you're on your way to do a radio interview and you end up walking at the back of the entourage with the alien who just showed up in your city, and he starts trying to tell you that vertebrates on his planet have evolved flight? What a day huh

[poorly-drawn-mdzs]

Hi! I hope this is okay but I would love to hear more of ur thoughts about the Yunmeng siblings because they are important to me and your tummy hurt comic hasn't left my brain as just,,, such good immediate characterization! ^^ Thanks!

I have too many thoughts on the Yunmeng siblings to fit into a succinct post, but I can offer you a Jiang Yanli addendum to the tummy hurt alignment.

[sourkitsch]

Critics have found that many of the Yiddish proverbs draw similarities with Kafka’s narratives, including, “What will become of the sheep if the wolf is judge?” and, “The hat is fine but the head is too small” (Furman). Through the Yiddish language, Kafka discovered how he could use words to fill his writings with the irony, paradoxes, and symbolism that characterized Jewish literary culture and the plays that he loved. With the motivation to create, and the influence of what he considered to be authentic Judaism, he wrote, eventually developing a style that was so distinctive the term Kafkaesque was coined to describe it. Despite the abundant evidence to support the influence that Jewish culture had on Kafka, several literary scholars have questioned the role that it takes in his writing due to the “virtual absence of direct allusions” (Scott 7). Unfortunately, such statements arise from a lack of understanding of Jewish culture, and more importantly Jewish literary devices. These critics fail to recognize the multifaceted nature of the literary technique that Kafka employs. It is for this reason that much of Kafka’s work is shrouded in debate and mystery.

Illuminating Kafka: An Analysis of Jewish Literary Culture in Kafka’s Work by Joseph F. Allen