melis has been throwing us for a bit of a loop because growling is so at the top of her communication repertoire, and we've had very standard dogs when it comes to growling ('back the fuck off')
so when this piranha-marshmallow crossbreed makes the devil's noise her spontaneous go-to reaction to any type of poke or prod but seemingly without seriousness or malice or intent to actually create distance, you eventually end up with the whole family council gathered around her in a circle analyzing her every move scratching our heads going "idfk, maybe she just does that"
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tw noose
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oh wow look its a jashling!! the before aka Icarus (good job angelo u are so creative)
some notes because i cant sleep:
- hole in chest for "pit."
- heart pupils for "backlit by moonlight"
- kinda made of wax but not really? he melts the worse he gets mentally which makes it hard for him to move, this is for "wings of wax" and "every ounce of energy." (aka the best song in the album... i will fight you on this)
- no wings because... because.
- i wanted to make him look sketchy and not clean...if that makes sense. sort of like dissociation
- grayscale color scheme
- sufferer of the "flat affect" (just like me fr)
- terrible memory. dude does not remember (...just like me fr)
- mostly wears sweatpants, socks, and tshirt cause they are top tier clothing for when you are too tired for anything else (also crocs)(i am a croc defender☝🏽)
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God Bless Our Native Land
Okay, so this may just be news to me a proud Scot and staunch anti-monarchist who's made a point of never actually knowing the words to the British national anthem, but it's just come to my attention that Hickey's actually singing quite a specific version of it.
The lyrics heard within the show are credited to William Edward Hickson, a British educational writer, and they first appear in his book The Singing Master, published in 1836.
This is very interesting to me for two reasons.
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Firstly, while Hickson's lyrics do still have a strong religiosity to them, they are also far less stridently imperialistic and sycophantic in their praise of the divinely-appointed monarch. In fact, they don't make specific mention of a monarch at all.
Compare a verse of the more popular, traditional version of the national anthem:
O Lord our God, arise,
Scatter her enemies,
And make them fall,
Confound their politics;
Frustrate their knavish tricks;
On Thee our hopes we fix;
God save us all.
To a verse from Hickson's:
Not on this land alone
But be God's mercies known
From shore to shore.
Lord, make the nations see
That men should brothers be,
And from one family
The wide world o'er.
It makes perfect sense to me that Hickey would espouse one version over the other. Not only would he likely have been in the formative years of his youth/young adulthood when first exposed to Hickson's lyrics, given what we know about Hickey's politics it follows perfectly that he might identify far more with those less imperialistic, less monarchical words.
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Secondly, it's very important to me and a tiny bit funny to discover the specific point at which Hickey's rendition in the show is cut off by Tuunbaq's impending arrival.
Hickson's lyrics continue:
God bless our native land,
May heaven's protecting hand
Still guard our shore;
May peace her power extend
Foe be transformed to friend
And suffice it to say, a foe being transformed into a friend is certainly not what happens next!
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Star Trek - The Wrath of Khan
During the review meeting for the Kobiashi Maru, Kirk needles Saavik hard with another impossible situation, with interesting results
I must note: spock wonders afterwards if Kirk intentionally gave this scenario due to saavik's past, but it also echos Kirk's struggle with the Tarsus IV massacre
Both of these can be described as "lifeboat ethics," which is a real thing!
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Going buckwild at the way Hilda The Series portrays adulthood and loneliness. Kaisa has no one to go to to ask for help getting the due book back, even though all it would take was someone she could minimally ask to knock on an elderly lady’s door and ask for a favour; she’s in the library after hours, is shown to have no allies aside from the woman who raised her and who she lost contact with. Johanna is only ever seen working or caring for Hilda, and her lack of a life aside from those two activities is pointed out by her own daughter when she thinks that this is going so far as to affect their relationship. The bell keeper lives alone in a small cabin on the edge of town, barely within city limits and away from everyone, a house barely even inhabitable and clearly only a place to sleep and eat. He works a solitary job and he’s the only one in the town still working it, meaning he’s probably overworked and forced to pull inhumanly long shifts. Victoria hyperfocused so hard on her projects that whatever friends she had before - and she must have had some from college time at least - lost contact with her, and she never made any other connections in Trolberg, anything that would tie her to the city and it’s inhabitants and make it so it wasn’t worth it to live by herself at the top of a hill. Even when that was over, she still chose to isolate herself somewhere abandoned and keep what was essentially another machine she’d built as her source of company, something she could understand and control instead of an unpredictable human being. Gerda works a job she likes but is shown to be disregarded by the person she works the most around, her abilities and intellect thrown aside for the good of someone she has to bear because of a hierarchy she was forced to accept in order to keep working. She’s appreciated by the town, but other than the main characters, we don’t see anyone paying her any mind when they don’t need something from her.
Meanwhile no kid has ever been alone in Trolberg. The mean kids are a group, the good kids are a group, even the gloomy teenage girls are a group. One of nightmare inducing entities, but a group nonetheless. All children in that world seem to operate on a ‘no man left behind’ code, looking out for each other even if they aren’t exactly fans of one another, helping even grown ups without asking why and working together. And this logic seems to extend to the adults who work around children too; especially the Raven Leader, who we see that through the children works as a vital part of the community and a way through which it comes together.
This isn’t very articulate but do you see the point? Do you see how clever that is? That a show about growing up has these themes? You can be magical, kind, strong, intelligent, competent, but none of that will make you truly happy if you don’t keep the most important thing from childhood? If you don’t keep your friendships, your bonds, something to tie you down to your reality and your community? The adults in the show all made their choices, and it’s okay to want to be alone, we all need it and some more than others (this is coming from someone who needs it a lot), but isolating yourself completely is the one thing that will make growing pains truly painful. I’m just so emotional over it. It’s so subtle and so clever considering the whole Mountain King plot that Hilda is willing to change species because she feels detached from her main relationships and surroundings. I love this show so much.
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