#this is important. it needs to be shared

[bulbabutt]

sometimes you just need somebody else to point out the obvious. thank goodness for mikey and her gender collecting habit!

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[cakemadeofbacon]

IMPORTANT UPDATE

Hello everyone. As you know the situation in Gaza is getting more dangerous every day.

You have probably heard me or someone else talking about a Gazan mother on tumblr @life-111 raising money to save her baby, but I really don’t know how to plead to you hard enough. Please please please donate to her. Her baby needs urgent medical attention.

You don’t need to buy a coffee every day. Use that money and actually help someone who needs it. Please.

She is now raising $7,640 to treat her baby abroad.

PLEASE HELP AND SHARE!!!

Gfm takes too long please dnate to this p*yp*l

https://www.paypal.com/paypalme/ofkt637

Vetted by @gazavetters (line 576)

90-ghost

And Bilal-Salah

[miyamiyano]

HakuKai wip im working on ✏️

It's from the Dessert Rendezvous fic I made for a con~

If anyone have suggestions or criticism for the background, UI and/or fonts etc please tell me cuz im struggling really hard in those part 😭

[heatlightning-mp3]

hey. gonna try and make this short. i am finally out of arizona and with my boyfriend which is VERY exciting. health is still pretty bad, though - just got discharged from hospital this afternoon. i couldnt bring any of my meds with me and medicaid wont cover out of state rxes so i need to get as many as i can afford out of pocket until i can in to establish w/ a new pcp. also only have my walker with me - gonna have to save up for a used folding electric wheelchair so i can stop being housebound because my previous is broken and still in az lol

please help 🙏🏽 need to get my meds filled tomorrow, ive been off them way too long now and it feels pretty shitty ngl

pypal | vnmo | cshapp | kof1

[poorly-drawn-mdzs]

The Quest Continues...

(part 1- part 2)

[morganbritton132]

Thinking about Bruce learning the hard way that kids are painfully honest and you have to be specific with them because he only told Dick not to tell people that he’s Batman. He didn’t say not to tell them anything else about his identity.

Batman is about to battle it out with some of Black Mask’s men when Robin blurts out, “You better stop what you’re doing ‘cause Batman is in a bad mood. He got a haircut and it looks bad.”

It was a good distraction but, “You don’t like my haircut?”

Batman brought Robin to his first and (probably not) last impromptu JLA meeting because Alfred was running down a time sensitive lead and he didn’t have a babysitter. He unprompted tells everybody, “Be nice to Batman. His girlfriend broke up with him and he fell in a fountain yesterday, and he doesn’t want to be here.”

Bats shows up at the Watchtower with Robin another time and Green Arrow makes a comment about Bruce’s new cape. He replies, “My other one is in the laundry.”

Robin side eyes him and says, “He doesn’t know how to do laundry. He took the washer apart and put it back together, and it caught on fire.”

[shadesofmauve]

Mass Effect galaxy map

(For the Rhi Shepard universe)

I've been writing, if by 'writing' one means 'making a new galaxy map to use as a reference, because I'm too picky.'

I copied some symbology from Droot1986's excellent galaxy map. I also used Engorn's map as a reference, but ultimately the clusters and connections are based on the wiki. All systems within a cluster are listed, with inhabited planets in parentheses.

(...yeah, I should probably make a legend, but I only made it for my reference, so).

Features/changes

The relay in the Sol system only connects to Arcturus. This is how it's supposed to work in canon lore; Arcturus is important because it's a gateway system, while Sol is a dead end.

(Also, Sol is now in basically the right place compared to the underlying artist's impression of the milky way. Thank you NASA.)

Batarian's now have some space of their own, because lumping all batarian space into the human Systems Alliance was just BEGGING for a war. Like, WTF. Their government is flat out evil but that doesn't mean we just get to say their planets are ours now.

Combined inner and outer council space because idgaf.

There's a new, boringly named relay between Kite's Nest, Petra, and Exodus, because I needed one in chapter 14.

If a cluster had written lore about where it was in the galaxy, I tried to reflect that — so Styx Theta, Hawking Eta, and the Pangea Expanse are all close to the galactic core, Sentry Omega is on a political border, etc. Otherwise, I adjusted location to make the relay routes clearer. (Also I wanted the giant hub that is Omega to be almost opposite the Serpent Nebula and the Citadel)..

I imagine that there are actually a LOT more mapped clusters in Council Space than we see; they were just never relevant to the game. If not, the vaunted 'all relays lead to the Citadel' reaper web is just flat out wrong. Omega has more connections, and quite a few other clusters have as many. If there are more inhabited clusters in Citadel Space it also makes the veritable explosion of humanity look a little less ridiculous. (Seriously, humans have been on the galactic scene for thirty years. LOOK at how far we've gone. Council races are right to be freakin' terrified, the Sol system was like one of those plants with exploding seed pods where you bump it and POOF now they're EVERYWHERE). So let's assume the rest of the galaxy is as cluttered as Systems Alliance space, it's just not been relevant to our anthropocentric bag of dicks worldview.

Anyway. What the fuck is even up with the Attican Traverse?

[cakemadeofbacon]

Hello everyone.

As you know the situation in Gaza is rapidly decreasing right now. People are experiencing such pain and unbearable difficulties

The campaign I’ve been helping STILL needs urgent help. I’d like to remind you that this is for a mother seeking help for her baby who needs an urgent operation. Without it he cannot survive.

The situation in Gaza is growing more and more difficult and dangerous. Please do everything you can to help.

https://paypal.me/ofkt637

Vetted by gazavetters (line 576)

90-ghost

And Bilal-Salah

Please share

[serpentface]

how do you come up with the ways cultures in your setting stylize people/animals/the world in general in their artwork, i.e. jewlery, rock carvings, statues, etc? Each culture in your world seems to have a very unique "art style" and I love it a lot - makes them seem that much more 'real'. This is something I struggle with a lot in my own worldbuilding and I'd love to pick your brain if possible 😁

I think a starting point is to have a research process based in the material realities of the culture you're designing for. Ask yourself questions like:

Where do they live? What's the climate/ecosystem(s) they are based in? What geographic features are present/absent?

What is their main subsistence method? (hunter gatherer, seasonal pastoralist, nomadic pastoralist, settled agriculturalist, a mix, etc)

What access to broader trade networks do they have and to whom? Are there foreign materials that will be easily accessible in trade and common in use, or valuable trade materials used sparingly in limited capacities?

Etc

And then do some research based on the answers, in order to get a sense of what materials they would have routine access to (ie dyes, metal, textiles, etc) and other possible variables that would shape how the art is made and what it's used for. This is just a foundational step and won't likely play much into designing a Style.

If you narrow these questions down very specifically, (ie in the context of the Korya post- grassland based mounted nomads, pastoralist and hunter-gatherer subsistence, access to wider trade networks and metals), you can direct your research to specific real world instances that fit this general idea. This is not to lift culturally specific concepts from the real world and slap them into your own setting, but to notice commonalities this lifestyle enforces - (ie in the previous example- mounted nomadic peoples are highly mobile and need to easily carry their wealth (often on clothing and tack) therefore small, elaborate decorative artwork that can easily be carried from place to place is a very likely feature)

For the details of the art itself, I come up with loose 'style guides' (usually just in my head) and go from there.

Here's some example questions for forming a style (some are more baseline than others)

Are geometric patterns favored? Organic patterns? Representative patterns (flowers, animals, stars, etc)? Abstract patterns?

Is there favored material(s)? Beads, bone, clay, metals, stones, etc.

When depicting people/animals, is realism favored? Heavy stylization? The emotional impression of an animal? Are key features accentuated?

How perspective typically executed? Does art attempt to capture 3d depth? Does it favor showing the whole body in 2 dimensions (ie much of Ancient Egyptian art, with the body shown in a mix of profile and forward facing perspective so all key attributes are shown)? Will limbs overlap? Are bodies shown static? In motion?

Does artwork of people attempt to beautify them? Does it favor the culture's conception of the ideal body?

Are there common visual motifs? Important symbols? Key subject matters?

What is the art used for? Are its functions aesthetic, tutelary, spiritual, magical? (Will often exist in combination, or have different examples for each purpose)

Who is represented? Is there interest in everyday people? Does art focus on glorifying warriors, heroes, kings?

Are there conventions for representing important figures? (IE gods/kings/etc being depicted larger than culturally lesser subjects)

Is there visual shorthand to depict objects/concepts that are difficult to execute with clarity (the sun, moon, water), or are invisible (wind, the soul), or have no physical component (speech)?

Etc

Deciding on answers to any of these questions will at least give you a unique baseline, and you can fill in the rest of the gaps and specify a style further until it is distinct. Many of these questions are not mutually exclusive, both in the sense of elements being combined (patterns with both geometric and organic elements) or a culture having multiple visual styles (3d art objects having unique features, religious artwork having its own conventions, etc).

Also when you're getting in depth, you should have cultural syncretism in mind. Cultures that routinely interact (whether this interaction is exchange or exploitation) inevitably exchange ideas, which can be especially visible in art. Doing research on how this synthesizing of ideas works in practice is very helpful- what is adopted or left out from an external influence, what is retained from an internal influence, what is unique to this synthesis, AND WHY. (I find Greco-Buddhist art really interesting, that's one of many such examples)

Looking at real world examples that fit your parameters can be helpful (ie if I've decided on geometric patterns in my 'style guide', I'll look at actual geometric patterns). And I strongly encourage trying to actually LEARN about what you're seeing. All art exists in a context, and having an understanding of how the context shapes art, how art does and doesn't relate to broader aspects of a society, etc, can help you when synthesizing your own.

[son-of-avraham]

I've been doing a lot of reflection as of late, especially after this past class.

This past class was about the Torah and Tanakh in general, and the way the rabbi talked about the commandments (specifically the ten commandments) has made me really reflect on how I interpret them, specifically the fifth commandment, or honoring your mother and father.

This is a commandment I have wrestled with for a long time - in fact, it brought me away from g-d at multiple times. I was severely abused when I was incredibly young by my mother, and I used to feel insulted at the implication that I were to honor her while she got to live a better life. It was hypocritical, in my eyes.

But this rabbi surmised that this particular commandment was because parenthood is an act of creation, something that is like the g-d from which we come from. My realization is this: I don't think we're necessarily meant to take even these commandments literally.

I this particular commandment is more of a call to honor creation - creation is a gift, and like any gift, many people simply will not like it and will discard it. The person who abused me created me, but she did not honor creation. She didn't honor me, but I can still honor it.

I have started to honor creation much more. I'm too young, too unstable, not mature enough to be a father (though I fantasize about it), but I create all the time. I create relationships, I create with my hands through crochet. I create memories, I create my world. And I can honor who I am and where I came from that made me who I am. I've been learning one of the mother tongues of my family (Italian, since part of my family originates there) and it was judaism that inspired me to do this.

I don't think g-d wants me to honor my abuser. I think He wants me to remember the Holy action of creation. When I am a father, that act of creation will be Holy, and indeed, I am already joyful about the thought.

I have seen many people struggle with this particular commandment, but I think this perspective helps me personally. I don't think I ever have to forgive my abusers (plural), and I don't think I am commanded to simply because they happened to be family. I am commanded to recognize the holy, to elevate the mundane. In doing so, I will remember g-d. Through creation, I honor g-d and everything he has done for us, for me, and for our collective people.

[alltimefail]

Okay gang, I noticed something super intriguing in my recent weekend rewatch of Dead Boy Detectives!

In Episode 4 when the night nurse goes into Charles' mind there's a consistent detail in his memories that I haven't seen anyone point out: not all of Charles' five schoolmates throw stones at him when he's in the lake.

Two boys are positioned slightly off to the left side of the screen, watching and making no move to stop the others, but they do not directly harm Charles at any point.

I know this doesn't seem particularly interesting in and of itself, but it quickly becomes more interesting when the Night Nurse asks Charles "What could possibly have made [his] friends turn on [him] like this," and we flash forward to the next memory, a visual response to her question. In this memory, we see Charles standing up to all of his so-called "friends" who are senselessly beating up on a boy from Pakistan and...

Wait - actually, no - not all of his friends...

Yet again, two boys have been intentionally set apart from the group and yes, it is the same two boys who stood off to the side and watched Charles be harmed (ultimately killed) in the previous scene. The juxtaposition of these scenes begins to feel even more intentional when the perspective flips and we see the scene how Charles was seeing it, with the passive boys on the left and the boys engaging in violence on the right.

This scene is much brighter so we get a really good look at their faces here, but both of them go through a myriad of facial expressions/reactions in quick succession that are challenging to discern with 100% certainty. But with the blocking for the group being the same in both shots and the roles the boys play being the same in both shots, I feel like this had to be an intentional choice made to convey something implicitly to the audience.

That leaves me to wonder - did these boys know, deep down, that what was happening was wrong? Did they want to resist, walk away, or try to stop the violence like Charles did earlier but felt powerless to do so? It would be remiss of me not to acknowledge how one of the two "passive" boys was black: did that otherness, the same otherness that Charles felt and that boy from Pakistan surely felt, keep him from speaking up out of fear for his own safety (a valid fear, considering what we know).

Whatever the purpose, it's a really sad detail to me. Heartbreaking, actually. Edwin is 100% right when he says that the living are messy, and Crystal is right when she says that she and the boys lost their lives to boys who went too far (hers temporarily in the form of her memories, the boys completely in the form of their literal lives) because that's just it, isn't it? This show is full of moral and ethical conversations surrounding the limitations of labels like "good" and "bad" people; about capability and willingness to change; and about how our actions, whether rooted in good or bad intentions, can lead to unintended or undesired outcomes. Perhaps none of Charles' "friends" believed they would kill Charles that night; perhaps they just wanted to "rough him up" or "teach him a lesson." Perhaps none of Edwin's bullies could have anticipated that the ritual sacrifice "prank" would do anything more than scare a boy they perceived as different, effeminate ("Mary Ann"), and they certainly couldn't have known it would lead to years of torture and suffering in hell for not just Edwin, but for themselves as well. But it doesn't matter, and it doesn't excuse what they did. The boys who stood to the side and watched Charles die, and who watched their fellow "mates" beat on another boy prior to that, may not have thrown a single punch, but it didn't matter - the damage was done. They still were complicit in that violence, and therefore played just as much a role in Charles' death as the boys who were throwing stones and punches. To be alive is to deal with mess, complications, baggage...to insinuate otherwise is to diminish the nuance and intention put into every choice not only in this show, but in some ways, the world at large as well. It may be a small moment, but it struck me as something that said so much without having to explicitly say anything at all. Art is a good mirror on society in this way; it makes us face the reflections of messy, complex characters and situations that we could just as likely find ourselves a part of (maybe as the "good" guy, the vicim; maybe as the "bad" guy, the bully; or maybe as the guys who just... did nothing at all. The ones who watched, who were complicit in the suffering of others for what could be a multitude of selfish or self-preserving reasons).

All that being said, the TLDR here is: considering it's the same two boys who behave the same way in both instances it feels like an intentional detail. I wonder if there's potential for one (or both) of these boys to reappear in Charles' (after)life in the future? They are likely both still alive today, in their 50s, just as Charles would be had he not been murdered. Perhaps one of these boys could die and come to the agency with regrets or unfinished business (directly involving Charles or regarding something unrelated). Maybe Charles will run into them, alive, through a different case or just on the streets of London and be overwhelmed with a sense of "That should be me, too. I should have gotten to live." I imagine he would recognize them, even in older bodies, and it would understandably affect him to have to face anyone who played a role in his death, whether they threw stones or just watched.

Orrrrrrer it could be a totally pointless detail! 😂 I'm always open-minded to the fact that after 30+ rewatches I could be overanalyzing at this point. Either way, it confounds me nonetheless and I so desperately hope we will get to explore Charles' trauma more in season 2 (🤞)... so I thought I would share my thoughts! 🖤

(Last note: please excuse the bad photo quality!! I searched meticulously for the exact screencaps I needed but couldn't find anything, so I just took pictures of my tv screen with my phone lol.)

[andoutofharm]

lion’s teeth (the mountain goats) // ds9 5x12: in purgatory’s shadow // pale green things (the mountain goats) // hast thou considered the tetrapod? (the mountain goats) // ds9 7x3: afterimage

[iamfuckingsorry]

So I've recently realized that murderbot's been translated into my native language and it's apparently a he in the translation (which admittedly makes sense, because it's a heavily gendered language and 1. gender-neutral language doesn't really exist in general and 2. "bot" and all the related words - I believe they use "droid" for mb in the translation - are grammatically masculine).

It made me curious how it's been handled in other translations though!

*e.g. being referred to by multiple gendered nouns/pronouns depending on the context, like both "bot" (masculine) and "machine" (feminine).

[gojoest]

[sarilolla]

Trolls headcanon

So, we all know how babies and young kids often hide or stick around in an adults hair (I’m guessing most often a parent or parent figure)? I think that’s a remnant from when the adults had to carry them around like that for safety reasons (pre-sound era). It calmed the kiddo down, as they felt safe and protected, and kept them in a safe spot for the adult. It also probably comes from how an egg incubates in hair

Now, Pop Trolls literally depended on this calming feature for their kiddos while living in the Troll Tree. While adults and teens could be quiet when necessary, babies and young kids struggled. So hair time was when the tiny one knew they should be calm and many used it as a nap spot. It’s a thing heavily associated with protection

That protection and calming feeling continues when the kid is too old to stay in their protector/guardian’s hair. That means that if a parent grabbed their kid with their hair (like we have seen the Pop Trolls do many times), the kid will instinctively calm down a bit. It’s the sense of family and protection, and that instinct can carry on long until adulthood. The longer the older carries you around in their hair, the longer that instinct of safety lasts

Branch was carried around a lot by his brothers, but mostly JD as he was the oldest and could easier carry him around (they’re sitting on your head after all, you need a certain strength). All four of them were protective of their tiny baby brother, so they all carried him a lot, meaning that if any of them grabbed him with their hair now… he would instantly calm down and nearly rag doll, much to his embarrassment

[melaninnpink]

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