"katniss didn't like peeta in the first book!" girly literally called him dazzling within the first 70 pages...
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"Arguing online is bad" I tell myself as I write my third essay about why Nico Rosberg is actually one of the best modern drivers and why people should love him.
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KYLE "GAZ" GARRICK
call of duty: modern warfare — piccadilly
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The reason Linc's favorite meal is brunch is because his dads are gay and gay people LOVE brunch so he probably went to brunch ALL THE TIME growing up
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Everyone calling Charlie a twink shut up shut up shut up. He’s a hunk you don’t know anything, he’s a hunk, he has muscles and shit bro what do you think twink means. Twinks are things you break over your leg because they’re skinny as shit and have no musculature to them that’s the whole point
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/crash, bang, crash, cat yowl, thud/
So how's it goin'?
OH IT'S SO GOOD TO BE BACK! I missed you lot so much!!
I decided to work on their redesigns first before moving on with other stuff! Nothing else changed except for some accessories and hairstyle, but other than that the rest of their design follow their first one :]
Explenations for the doodles are in tags! They're not very serious but they give a little background about the thought behind them ^^
/THUD/
What -
.. Oh yeah the serious stuff ^^;
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one of the wild things about people’s stubborn insistence on misunderstanding The Ones Who Walk Away From Omelas is that the narrator anticipates an audience that won’t engage with the text, just in the opposite direction. Throughout the story are little asides asking what the reader is willing to believe in. Can you believe in a utopia? What if I told you this? What about this? Can you believe in the festivals? The towers by the sea? Can we believe that they have no king? Can we believe that they are joyful? Does your utopia have technology, luxury, sex, temples, drugs? The story is consulting you as it’s being told, framed as a dialogue. It literally asks you directly: do you only believe joy is possible with suffering? And, implicitly, why?
the question isn’t just “what would you personally do about the kid.” It isn’t just an intricate trolley problem. It’s an interrogation of the limits of imagination. How do we make suffering compulsory? Why? What futures (or pasts) are we capable of imagining? How do we rationalize suffering as necessary? And so on. In all of the conversations I’ve seen or had about this story, no one has mentioned the fact that it’s actively breaking the fourth wall. The narrator is building a world in front of your eyes and challenging you to participate. “I would free the kid” and then what? What does the Omelas you’ve constructed look like, and why? And what does that say about the worlds you’re building in real life?
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my sonas ! ! i hope you like them. . .
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intersex and genderfluid valentino save me... save me intersex and genderfluid valentino...save me
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