#well technically it is a book

[transbookoftheday]

Yazeba’s Bed & Breakfast by Possum Creek Games

Our story begins in a sprawling old house outside time and space, where it’s always September 15th and there’s always room for a new visitor. A teen girl sits on the windowsill, reading a well-worn paperback and listening to the splashy-crashy rain come down. She's alone in the world, but soon enough the strangers who reside here will become her closest friends, family, and mentors.

If you love slice-of-life fantasy, queer found family, and cutting-edge game mechanics, then read on!

Yazeba’s Bed & Breakfast is many things. It’s a bed and breakfast, of course, but it’s also this book. And this book is a book, of course, but it’s also a role-playing game—the sort of game we can play with our friends around a table, or on a voice call while hanging out, or even very, very slowly by mail.

Yazeba’s Bed & Breakfast is played over the course of 48 chapters, each of which is a 1 to 2-hour scenario with its own unique but quick-to-learn rules. Players can take control of one of the 7 long-term residents of the B&B or choose from a cast of 50 quirky guests, each of whom has their own ongoing storylines.

The adventures contained within each chapter include lazy afternoons, frightful nights, insurmountable chores, and zany competitions, so every play session is full of surprises. There are bespoke game rules for overcoming mountains of laundry, picking berries, surviving a trip to the scary basement, naming constellations, and everything else that matters in a slice-of-life story. These mechanics are simple and modular, meaning you only need to know the rules for the chapter in front of you. It can take as little as 15 minutes to start playing.

After each chapter, we’ll be able to make changes to our characters and to the book—unlocking new guests and chapters and advancing the individual storylines of each character who played. Whether they've traded their heart away for magic powers or are just doing the everyday business of growing up, everything about a character can change through play, including their core identities. Over time, your copy of Yazeba’s Bed & Breakfast will become a unique artifact of your group's play experience, a treasure that you can revisit and replay for decades.

Yazeba's unusual blend of premade characters, modular rules, and legacy mechanics makes it a perfect game for pick-up play: busy players can drop in and out without ever feeling lost, and anyone who wants to jump in can make a long-term impact without a long-term commitment. We’ve spent months playtesting and working with our developmental consultant Avery Alder to make sure the game is as easy as possible for new players to step into, while still offering incredible depth for the more experienced player.

[cholvoq]

My Bill Cipher Design!! He’s so shapes…..

+ my inspo board bc a LOT inspired this design 😭😭

[benevolenterrancy]

honestly. if you decided to create giant fucking corpse-head-spiders to populate your world with then this is exactly what you deserve.

[peteytheparrot]

Why is no one talking about the fact that Bill is probably back as a bird? The last two pages in the book of bill show the statues eye not glowing, and the last page the eye is glowing with that looks like a bird on his hand. I would show pictures but I don’t have the book on me atm! Anyways bird bill…. I must draw him….

[buttercupshands]

never say never I guess

had a sudden "I want to draw them"

Lyrics from "The Last Goodbye" by Billy Boyd

also a warm up that led to this, wanted to try drawing them again and somehow got inspired a bit

[lesliemeyers]

doing Mysterion art inspired by a Batman cover just seemed... right

+ closeups under the cut ↴

[doctorsiren]

Maybe you could call it Reunited Stans AU?

Also, how do you think the gravity falls locals would see those two? I think Ford would end up getting out of the cabin much more because of Stan. Maybe you could draw them going to town for drinks? I don't know.

I like to think the town locals would either be horrified of them and talk about them as cryptids in their own right, or just be annoyed by their shenanigans

I just remembered they’d be in their early 20s when coming to Gravity Falls haha

But yes they’d definitely start out as “those weird twins that live in the forest” but once Stanley starts feeling like he’s actually safe from that old life Ford pulled him out of, he starts going into the town, which then leads to him dragging Ford along

It’s probably a mix of both, where the town sees them as those odd guys and then also get annoyed by what they do, but also I think they’d think of them as a new endearing staple of their town once the whole “newcomer / stranger” title fades from them. It’d be sort of the same way Stan is in canon with the Mystery Shack, where even though people find him annoying, they also always come to the events.

Also Stanley 😭 your brother does not wanna be in that bar, let him go do nerd things

[wtfforged]

redraw again i couldnt help myself this one was so cute

[spilycoris]

*pushes bowl off* fuck you (flirting)

bonus nari gifs i made to honour this comic

[blackhholes]

Monstrosity in Teen Wolf

Hybridity Is the New Metamorphosis by Harvey L. Hix / Skin Shows: Gothic Horror and the Technology of Monsters by Judith Halberstam / Monstrosity: The Human Monster in Visual Culture by Alexa Wright

Written for @teenwolf-meta‘s Meta May Monday theme: beast

Monstrosity and what, precisely, makes a monster is a topic that is discussed both within the text and the larger narrative of Teen Wolf. The most direct mention of monsters vs monstrosity is in *Monstrous* when Lydia tells Meredith “Not all monsters do monstrous things” referring here to Scott, which Meredith then flips back onto Lydia herself. It’s obvious to see here that the show makes a clear differentiation between what it means to be a monster and what it means to be monstrous. To be a monster means to be something unnatural it’s particularly about the outward facing part of a person, this is mainly seen with the shapeshifters who undergo a physical transformation which marks them as something different than humans, but Meredith referring to Lydia as a monster means that it’s not only the physical attributes which makes someone a monster. Being a monster is less about what you are and more about what you aren’t. Once you’re no longer able to be comfortably placed within the category of human you are a monster. This form of monster isn’t a negative attribute though, it’s a neutral one. It simply describes that the person is not a human. 

Acting monstrous is a negative attribute within the show, humans and monsters alike can act monstrous. Monstrosity is therefore not a description of person but instead a description of character. One of the most potent examples of this is in *Fury* where the viewer sees three different factions of characters. Matt is a human so he is per definition not a monster but he is a monstrous human, he stalks Allison and has spent the season carrying out his revenge plan by taking away Jackson’s autonomy and forcing him to kill people. The werewolves on the other hand are monsters who aren’t monstrous, at least to the viewer, they, particularly Scott, are trying to find a way to catch Matt without having to kill him or Jackson. It’s interesting to consider that the Argents, hunters who have always equated monster to monstrosity, have become even more radical after the death of Victoria, despite Matt’s actions he isn’t their primary target when they enter the police station, Derek is. Because, to them Derek killed Victoria by biting her and turning her into a monster just as he is. Matt is an afterthought, he’s the loose end they will deal with afterwards. The Argents therefore has the opposite understanding of the situation than the viewer does.

Humanity is also an important topic within the show, humanity is something fallible. In *Lies of Omission* the scene at the end with Scott and Stiles in the rain serves as an important look into the characters’ and particularly Stiles’ understanding of what it means to be human. When he says to Scott “Some of us are human” it’s a vocalization of the idea that to be human is to make mistakes and that humanity makes a person incapable of always doing right. As opposed to the in-humanity that comes from being incapable of erring. It is preceded by Stiles saying “Not all of us can be true alphas”, throughout this conversation, and even the entire season, Stiles has started categorizing Scott as something other than human capable of humanity, it’s not the monstrous monster previously mentioned either, it’s a third category of non-human. The true alpha isn’t monstrous but he isn’t human either. To Stiles Scott has become a sort of mythologized character who always does the right thing instead of being a real person who’s standing in front of him. 

[do-you-know-this-queer-character]

Do you know this queer character?

Murderbot is Agender, Aromantic, and Asexual and uses it/its pronouns!

[lily4731]

Everyone talks about "she had realized that she had forgotten the precise blue of his eyes", but

"Jem played, and he played the years of Will’s life as he had seen them. [...] He played that love, and he played their love for Tessa, and hers for them, and he played Will saying, 'In your eyes I have always found grace'. [...]" ?!?!

It broke me first

[filurig]

so i might be making a picture book about my blorbos for uni...

[ashlgcostumes]

The internet did not appreciate punk rock Moiraine nearly enough at the time

[origami-butterfly]

Hate it when j&h adaptations give Jekyll a female love interest, like bitch, he HAS a love interest who is introduced on the first page, and his name is MR UTTERSON THE LAWYER.

[buttercupshands]

idk what happened but this just appeared in my head and I had to draw this

alllll of the silly guys, but in the pre-silly state and also resting