#long

[pinkiestmeatpie]

IS THAT..IS THAT A HOMO SAPIEN?!?

(please please pleaseee pretty please be the final design)

SPECIAL THANKS : @goldenstrwbrry

LOVE YAAA

[mrchill]

Léa, ally goes on © Chill · +

[poisonfireleafs]

SClub hairs!

Original meshes by @sclub-privee converted by @nightospheresims, @xxbomixx & @vmsims23

Don’t reupload or claim as your own.

If you like my retextures, please consider buying me a coffee.

@pis3update @simfluencer-network

Claire | Jone | Marie | Val | Alternative

[k-eke]

Behold the biggest baguette ever created 🥖

Not a gif but wanted to post it there since it's really long lol

(Seems Tumblr can't handle the power of this baguette!)

[princesssarisa]

In the past I've shared other people's musings about the different interpretations of the myth of Orpheus and Eurydice. Namely, why Orpheus looks back at Eurydice, even though he knows it means he'll lose her forever. So many people seem to think they've found the one true explanation of the myth. But to me, the beauty of myths is that they have many possible meanings.

So I thought I would share a list of every interpretation I know, from every serious adaptation of the story and every analysis I've ever heard or read, of why Orpheus looks back.

One interpretation – advocated by Monteverdi's opera, for example – is that the backward glance represents excessive passion and a fatal lack of self-control. Orpheus loves Eurydice to such excess that he tries to defy the laws of nature by bringing her back from the dead, yet that very same passion dooms his quest fo fail, because he can't resist the temptation to look back at her.

He can also be seen as succumbing to that classic "tragic flaw" of hubris, excessive pride. Because his music and his love conquer the Underworld, it might be that he makes the mistake of thinking he's entirely above divine law, and fatally allows himself to break the one rule that Hades and Persephone set for him.

Then there are the versions where his flaw is his lack of faith, because he looks back out of doubt that Eurydice is really there. I think there are three possible interpretations of this scenario, which can each work alone or else co-exist with each other. From what I've read about Hadestown, it sounds as if it combines all three.

In one interpretation, he doubts Hades and Persephone's promise. Will they really give Eurydice back to him, or is it all a cruel trick? In this case, the message seems to be a warning to trust in the gods; if you doubt their blessings, you might lose them.

Another perspective is that he doubts Eurydice. Does she love him enough to follow him? In this case, the warning is that romantic love can't survive unless the lovers trust each other. I'm thinking of Moulin Rouge!, which is ostensibly based on the Orpheus myth, and which uses Christian's jealousy as its equivalent of Orpheus's fatal doubt and explicitly states "Where there is no trust, there is no love."

The third variation is that he doubts himself. Could his music really have the power to sway the Underworld? The message in this version would be that self-doubt can sabotage all our best efforts.

But all of the above interpretations revolve around the concept that Orpheus looks back because of a tragic flaw, which wasn't necessarily the view of Virgil, the earliest known recorder of the myth. Virgil wrote that Orpheus's backward glance was "A pardonable offense, if the spirits knew how to pardon."

In some versions, when the upper world comes into Orpheus's view, he thinks his journey is over. In this moment, he's so ecstatic and so eager to finally see Eurydice that he unthinkingly turns around an instant too soon, either just before he reaches the threshold or when he's already crossed it but Eurydice is still a few steps behind him. In this scenario, it isn't a personal flaw that makes him look back, but just a moment of passion-fueled carelessness, and the fact that it costs him Eurydice shows the pitilessness of the Underworld.

In other versions, concern for Eurydice makes him look back. Sometimes he looks back because the upward path is steep and rocky, and Eurydice is still limping from her snakebite, so he knows she must be struggling, in some versions he even hears her stumble, and he finally can't resist turning around to help her. Or more cruelly, in other versions – for example, in Gluck's opera – Eurydice doesn't know that Orpheus is forbidden to look back at her, and Orpheus is also forbidden to tell her. So she's distraught that her husband seems to be coldly ignoring her and begs him to look at her until he can't bear her anguish anymore.

These versions highlight the harshness of the Underworld's law, and Orpheus's failure to comply with it seems natural and even inevitable. The message here seems to be that death is pitiless and irreversible: a demigod hero might come close to conquering it, but through little or no fault of his own, he's bound to fail in the end.

Another interpretation I've read is that Orpheus's backward glance represents the nature of grief. We can't help but look back on our memories of our dead loved ones, even though it means feeling the pain of loss all over again.

Then there's the interpretation that Orpheus chooses his memory of Eurydice, represented by the backward glance, rather than a future with a living Eurydice. "The poet's choice," as Portrait of a Lady on Fire puts it. In this reading, Orpheus looks back because he realizes he would rather preserve his memory of their youthful, blissful love, just as it was when she died, than face a future of growing older, the difficulties of married life, and the possibility that their love will fade. That's the slightly more sympathetic version. In the version that makes Orpheus more egotistical, he prefers the idealized memory to the real woman because the memory is entirely his possession, in a way that a living wife with her own will could never be, and will never distract him from his music, but can only inspire it.

Then there are the modern feminist interpretations, also alluded to in Portrait of a Lady on Fire but seen in several female-authored adaptations of the myth too, where Eurydice provokes Orpheus into looking back because she wants to stay in the Underworld. The viewpoint kinder to Orpheus is that Eurydice also wants to preserve their love just as it was, youthful, passionate, and blissful, rather than subject it to the ravages of time and the hardships of life. The variation less sympathetic to Orpheus is that Euyridice was at peace in death, in some versions she drank from the river Lethe and doesn't even remember Orpheus, his attempt to take her back is selfish, and she prefers to be her own free woman than be bound to him forever and literally only live for his sake.

With that interpretation in mind, I'm surprised I've never read yet another variation. I can imagine a version where, as Orpheus walks up the path toward the living world, he realizes he's being selfish: Eurydice was happy and at peace in the Elysian Fields, she doesn't even remember him because she drank from Lethe, and she's only following him now because Hades and Persephone have forced her to do so. So he finally looks back out of selfless love, to let her go. Maybe I should write this retelling myself.

Are any of these interpretations – or any others – the "true" or "definitive" reason why Orpheus looks back? I don't think so at all. The fact that they all exist and can all ring true says something valuable about the nature of mythology.

[bedupolker]

Half Life

lyrics source

[aladdin-the-simmer]

Hazel Hair

Base Game Compatible

Hat compatible

All EA swatches

All LODS/maps

3 versions :

Download (Patreon) | SimFileShare

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Hope you like it! 💖

[staff]

tumblr tuesday: "hi"

Good day to everyone whose heads and hearts haven't left the Truham-Higgs vicinity since Thursday. Season 2 has us all in a tizzy, and luckily, the fandom's artists are right there with us.

(This is another one that goes out to everyone who has seen the second season. SPOILERS AHEAD. MILD BUT STILL SPOILERY. PLEASE BE WARNED.)

@sleepyraywrites:

@idkchatie:

@darkshadowswhitelight:

@oliverhangout:

@pixelated3d:

@indecisive-blob:

@artbean:

@stringcage:

@brbrbeatrice:

@lyxchen:

@smileyrice:

@letraspal:

@bernard-the-rabbit:

@carvifox:

@pitiplush:

[pansear-doodles]

this made me sad for some reason

[masterhallmark]

Rant incoming

I feel like the problem with a lot of Disney's live action remakes (and arguably Wish) is they're trying to appeal to a crowd that no longer exists, namely the people who used to claim that the Disney Princesses were sexist.

All the interviews tend to include, "Well she's not chasing a MAN anymore" which...almost no one sees the princesses like that, anymore. Virtually NO ONE still believes the princesses are man-chasing sexist caricatures of women.

Cinderella is now hailed as an abuse victim who stayed strong long enough to get help to get out of her situation. Anyone who says she should have saved herself is basically regarded as a victim blamer. And it's very clear in the film she wasn't looking to marry the prince, she just wanted a night off. She was the only one who wasn't in line to meet him. She didn't find out she met the prince until he went looking for her!

Snow White is now hailed for her negotiation skills, ability to calm down after extreme stress (she had a moment of panic and had to cry for a bit, but who wouldn't after finding out The Queen hired someone to kill you?), and ability to take charge of a house of adult men. And again, she was an abuse victim, this time trying to escape ASSASSINATION ATTEMPTS. While she dreamed of her prince, it was secondary to her main goal of SURVIVAL. There are also entire video essays about how Snow White gave hope to people during The Great Depression.

Everyone acknowledges that Ariel wanted to be human BEFORE meeting Eric. We all know she was a nerd hyperfixating on humans, and also standing up to her prejudiced father.

We understand Sleeping Beauty wasn't the main character, the Three Good Fairies were, AND PHILLIP WOULD NEVER HAVE BEATEN MALEFICENT WITHOUT THEM! He literally depended on them! WOMEN SAVED THE DAY! But even then, is it really such a sin for a girl to fantasize about romance and fall for someone with corny pickup lines?

We all understand Jasmine just wanted someone to treat her LIKE A PERSON. She rejected every Prince before Aladdin because they treated her like a prize. So why did they need her to want to be Sultan? How did that make her more feminist when she already wanted to be treated like an equal and have a say in her future? Is it only empowering if you want a career in politics?

We admire that Belle, despite living in a judgemental village, was kind to everyone (even though she found the village life dull), and her story teaches girls that the guy everyone else loves isn't always a good guy. What's sexist about teaching girls about red flags? And she didn't start being nice to The Beast until he started treating her with respect and kindness.

Do I really NEED to defend Mulan or Tiana? I think they speak for themselves.

Rapunzel was yet another abuse victim who just needed a little help to get out of her bad situation. In this case, she also needed to learn that she was an abuse victim, and that what Mother Gothel did WASN'T normal, much like many victims of gaslighting.

And don't get me started on the non-princess animals.

Perdita had a healthy relationship with Pongo to the point she was open to express her pregnancy fears to him, and was ready to TEAR APART Cruella's goons for daring to touch her puppies as well as adopting the other puppies. Like, she was so ferocious the goons mistook her for a hyena! She's basically that "I AM THAT GIRL'S MOTHER!" scene from SpyXFamily if Yor were a dog. She and her husband were a TEAM.....but they made a Cruella live action to turn her into a girlboss?! The literal animal abuser!? THAT'S the woman you wanted to put on a pedestal when Perdita was RIGHT THERE!?

Duchess kept her kittens calm after they had been catnapped and was classy as heck. Nice to everyone regardless of social class during a time period where that was uncommon.

Lady stood up to Tramp when she believed he had abandoned her and didn't really care about her. She found out he was a heartbreaker and was like, "Nuh uh. No. You are not doing that to me! You put me through enough."

Miss Bianca from The Rescuers was IN CHARGE the whole movie, and was willing to risk life and limb to save an innocent child. THAT TINY MOUSE TOOK ON ALLIGATORS! And she picked Bernard to accompany her because he was the only one who wasn't ogling her. And then in the sequel SHE DID IT ALL AGAIN! I wish I were as brave as her.

Like, the public haven't accused these ladies of being sexist caricatures since 2014 (Actresses and actors don't count, they're out of touch like the rest of Hollywood) yet Disney is operating under the assumption that the public still thinks that way, hence all the "sHe'S nOt AfTeR a MaN iN ThIs VeRsIOn" talk.

The live action remakes are trying to attract an audience that doesn't really exist much, anymore, and back when it did exist, was comprised mainly of people who didn't actually watch the films. The Disney princesses are no longer seen as sexist, and feminine qualities are no longer seen as weak or undesirable.

[shpepyao]

A gift for my partner

[s-eokie]

꒰ ♡🧷 : かわいい ！

your love is prettier with me.

shh! zZz . . carrd.co

⠀ ⠀⠀⠀ ⠀

⠀ 诺 . ♥︎ idol !

⠀rules byf ੭ carrd.co

⠀ ⠀⠀⠀ ⠀

me + u = (っˆ ³(ˊ ᵕ ˋ )

here to the eternity with you.

ᘍ 꽃 ᘊ — carrd.co ¡

⠀ ⠀⠀⠀ ⠀

part one.

[herzspalter]

Chainsaw Man Sticker sheet

I love CSM a lot and decided to make a lil sticker sheet this year! I hope you like it! I tried to put as many characters on it as I can, I'm sorry if your favourite didn't make it!

[tkingfisher]

So I write all sorts of things (fiction, fanfic, screenplays) and my mind is cluttered garden of flowers and weeds and shiny ideas, and I'm wondering how to form a writing practice to clear it into tidy rows? Is it possible to shepherd untamed ideas into order?

How do you manage all your wonderful worlds, characters and inspiration and not feel haunted by the story bits and pieces in your head? Any practical tips beyond dark magic?

Thank you, you are such a constant inspiration for me, both prose and just your presence. <3

*laugh* Oh god, Nonny, if I ever find out, I’ll tell you! When you read books, you’re getting the Instagram-filtered view of a writer’s brain, all the flowers that grew out of the compost heap, carefully composed and shot in optimal lighting. The real inside of my skull is a magpie nest of Neat Shit I Read/Saw/Thought Up While Lying Awake At 2 AM. There are characters and ideas in there that I’ve been trying to get into a manuscript since I was twelve and typing on an Amiga 500.

But, that said…really, I think it’s okay. Creativity is inherently untidy. The compost heap can be corralled into a very pretty box made of sustainably harvested materials, hand-stained by traditional artisans being paid a living wage by an employee-owned company, but as soon as you lift the lid, it’s all worms and coffee grounds and old potting soil and cow shit and the vegetables you swore you were gonna eat this time before they went bad. That’s what compost is.

Nevertheless, having been in the business for…uh…fifteen years now? (@dduane is snickering at me, I can feel it) and having written nearly forty books, I can offer three bits of something less than advice. It’s what I do. It may not work for anyone else, but it’s what I do.

Un-Advice The First: If you get a shiny idea and you are super excited by it? Go ahead and chase it. Pull up a new page in Word or whatever and slap down a couple thousand words while it’s exciting. I know that this absolutely flies in the face of common wisdom, but quite frankly, my enthusiasm is a much rarer commodity than my time, so if I’m excited about something, I write it down until I’ve taken the edge off.

Then I usually save it into a big folder called “Fragments” and go back to work on whatever I’ve got a deadline on. (Usually. Sometimes the edge doesn’t wear off, and I wind up with another book. Which, y’know, darn.)

There are vast numbers of people who will tell you that a shiny idea is a sign that something is wrong with your current project and the solution is to knuckle down and work! through! it! And those people are probably right for them, and I trust they know how their own brains work. Me, though, I got ADHD like a bat has wings. My hard drive is a vast swamp of story beginnings, neat ideas, random scenes. And that’s okay because I still get books finished.

In fact, it’s better than okay. Not that long ago, my agent sent a novella to a publisher and they said “We’ll take that novella and three more novels. What’ve you got?” And I ended up plundering my hard drive and sending the editor a good dozen random beginnings until we found one that we both liked, and then I wrote the rest of that book. And then another one. If I hadn’t had all those fragments lying around, though, it would have been a miserable experience of writing book pitches and trying to think of stuff I could get excited about. (This may not be how some editors work, but it’s how my editor and I work, anyhow.)

Un-Advice The Second: Trust that everything will find a home eventually.

This one is easy to say and hard to do because sometimes you get that overload that if you’re writing the book about, say, werebear nuns, you aren’t writing the one about the alien crustaceans. Or worse, you feel guilty. If you don’t use that one cool thing, was all that time you spent on it wasted?

Breathe. Be easy. Every single cool thing does not need to go into a single book. There is no sell-by date on the neat character. You will probably write many books in your life and all those random characters will find a home. (Seriously, the werebear nuns were lurking for like a decade.)

For me, at least, when I find the spot where something fits, it often snaps into place like a Lego. Easton’s backstory as a soldier from a society where soldiers were a third sex had been kicking around in my head for a few years, derived from about three different sources, and then I wrote the opening to What Moves The Dead and all of a sudden Easton was there and alive and they had strong opinions about everything and I had ten thousand words practically before I turned around.

You can also stave off guilt by writing some of your ideas in as highly personal Easter Eggs. A couple of my books have references to a white deer woman, a heroic deed done by a saint and the ghost of a bird, and a woman with dozens of hummingbirds on tiny jeweled leashes. Those are all characters and stories I’ve had vague notions about, but haven’t managed to work in anywhere or learn much more about. Still, the passing reference is enough to make me feel like I haven’t abandoned them.

(The advantage to this is that once you DO write those in, the readers are all “oh my god, she foreshadowed this a decade ago, she must have planned this all out in advance!” Then you look really clever and well-organized and no one has to know that you have no idea what you’re doing.)

Un-Advice The Third: Write the kitchen sink book.

At one point, I had so many stray ideas that hadn’t gotten into a book yet—the tree of frogs, the dog-soldiers, the stained glass saint, the albatross and the shadow of the sun, and also I wanted to write something with Baba Yaga—that I hauled off and wrote a book where I just put in everything and the kitchen sink. It’s called Summer in Orcus. There are bits in there that I had been cooking in the mental compost heap for decades, but that weren’t enough on their own to sustain a whole book. The phrase “antelope women are not to be trusted” showed up in my head some time in college. It’s a fun little book and I’m proud of it, but it’s very much a patchwork quilt of weirdness. But it’s also written so that if later on, an antelope woman shows up in another book in another context, that just adds to their mythology, it doesn’t break canon or whatever.

(Pretty sure I’m not the only one who has done this, either. China Mieville has said that he wrote Perdido Street Station because what he really enjoyed was writing all the weird monsters.)

So yeah, that’s my advice, for what it’s worth. Some days I just tell all the fragments and ideas that I promise that I’ll get them a home eventually but I need to write this thing here now. Sometimes I throw down enough words to get the story stabilized and then I’m okay to move on. Sometimes I write multiple books simultaneously.

Any method you use to write the book, so long as it doesn’t hurt you or anyone else, is a perfectly valid method. If anyone tells you different, you send them to me.

(…god, I hope that was the question you were actually asking, Nonny, and that I didn’t go off on a completely different tangent when you just wanted to know how I keep track of a plot or something.)

[pupmona]

Look at mh cta

[bixels]

Splatoon 3: Side Order is good, but not great. I still highly recommend it, but if you care about the story, you're going to be disappointed. Quick review: spoilers ahead.

Side Order was the devs experimenting with Splatoon's gameplay loop. The campaign is a rogue-like, and it works amazingly well. Super fun, super challenging, building my deck and fighting through challenges with the stakes of resetting really scratched an itch in my brain. They did a great job with it.

Unfortunately, I feel like priority went to game design rather than story. Much of the mysterious artwork we saw in the first teaser trailer was completely unused; turns out, all of that was just concept art that never made it into the final product. Side Order failed to make me care about what was happening. I don't know why the protagonist had to be Agent 8; it could've been anyone else and the story would've worked the same.

Octo Expansion was the absolute peak of meshing story and gameplay. The campaign's hook is insanely strong; we immediately empathize with Agent 8 because we know from previous lore that octolings like her have been trapped underground for all their lives. We care about her fight to the surface because it's a fundamentally ideological fight for freedom. The plot stuff about Tartar and the Thangs is just nice set dressing; 8's fight for freedom is the real story.

There's none of that in Side Order. I don't particularly care about Marina's metaverse, even if it's tied to Octo Expansion's story. I don't know why Acht is there other than backstory stuff. It really feels like 8 is just told to do something and she does it because she's the protagonist; she has zero personal stakes or motivations in the conflict. This is a story blunder the devs did in Splatoon 3's default campaign––forgetting to give the protagonist a personal reason to fight––that I hoped would be fixed here, but alas.

What makes it worse is that the gameplay and story progression are completely out of sync. I beat the entire game on my third run in 4 hours. With each run, you get up to two keys to potentially unlock bits of story. That means you'll get about one piece of the story every two runs. There are twelve pieces of the story; I got the first and then beat the whole damn game. Now I have to go back and grind to see the remaining story when I've already beaten the final boss and resolved the conflict. I missed the entire story because I never had to reset because I blazed through the gameplay! It's just a real shame that I experienced everything without knowing... why it's happening. The final boss had me asking myself what the hell is going on because I don't know the backstory at all.

Again, I still really recommend. The devs did a great job, but Side Order remains in the shadow of Octo Expansion's incredible success. Like the default singleplayer campaign, there's just a lot of lost story potential here that, while not necessary, would have really elevated this DLC into something amazing.