Why my dm hate's our party IRL
These are some snippets of quotes from over multiple sessions. No feelings have been hurt but sometimes we do overthink things a bit.
"I can literally draw you the schematic for this catapult and we can makeshift it with this!" -Engineer
"Is it organic?" -Chemist
"I don't know what that means." -DM (Cosmetologist)
"Was it once living, like animal, or plant?" -Chemist
"Uh yes?" -DM
"Then it's flammable enjoy the fireball!" -Chemist
"So I can explain what I'm building, but I'm trying to figure out how to explain it to you DM."- Other Engineer.
"Don't look at me dude the smart people are doing their thing. I play a barbarian for a reason." -Teacher
"What do you call two engineers and a chemist who can't solve riddles? Not as smart as they think they are." -DM
"Wait I actually solved it? That's a surprise I'm bad at riddles!"- Teacher
Holding indie artists who have released hundreds, maybe even thousands of hours of free content to much higher standards than you hold anything or anyone else to is stupid. Yes this is about Critical Role and Amazon. Now, to be clear, I fucking despise Amazon. If you don’t want to watch the show or support it because it’s on Amazon, I understand completely. Personally, I’m going to be using a family member’s account to watch, and if they didn’t already have one I could use, I wouldn’t be paying any money to Amazon to get one myself. So I do get it.
But the claims of the cast now being horrible people because they’re working with Amazon is really dumb in my opinion. Because guess what, Critical Role started on Geek and Sundry. Which is a company, owned by larger parent company Legendary Digital Networks, owned by even larger parent company Wanda Group. It was only after they broke off to form their own company that they were truly “indie” if you’re a purest about it, but I don’t see anyone who criticizes them for this.All the cast members have been in the industry for years. I’m sure they’ve all worked with companies you and I would rather see dead before.
Let’s look at it from a different angle. Avatar the Last Airbender? The darling show of every single cartoon or animation lover? Made by large company Nickelodeon, which is owned by Viacom. Encanto, an absolutely amazing story about Colombian families and generational trauma and just an overall amazing story with such good… everything? A huge Disney property. Amazing pieces of art I see very few people criticize come from huge corporations. So many of them, especially animation. And do you know why?
Because animation is so. Fucking. Expensive. A good quality animated show costs so much fucking money. From what I know, and I certainly don’t know a lot, a single episode of most well known or decent quality cartoons/animated shows easily costs 1-2 million dollars. A single fucking episode. Critical Role got a huge amount of money from that Kickstarter, but in the grand scheme of an animated show they didn’t get a lot. Especially if you pay everyone fairly. If they made the show free, they’d probably end up in the red.
You might say, “well they could put it up on YouTube and get money that way, while still keeping it free.” Do you know how hard it is to keep something monetized on YouTube? Extremely hard. Demonetization is extremely common, so do you know how they make money? Sponsors. But do you really wanna see a fucking NordVPN or Function of Beauty sponsor before every episode? No. And those are corporations too. And I still doubt they’d make any profit, even if they did.
Well what about Twitch? I don’t know a lot about how twitch works with monetization, but I do know that it’s… drumroll please… a subsidiary of Amazon! Yep! Even on twitch, you still work with a huge, awful company.
You could say an artist or artists shouldn’t have any connection to big companies or industries. But if an artist does that, 90% of the time they cannot survive and make any money from their art. Yes, indie creators, stand alone creators, devoid of any larger company can make it. But the fraction who do are completely overshadowed by the millions of artists who don’t. And so if they want to work in the arts, do their passion, they will probably have to “sell their soul” to a big company. And would you really want someone to starve rather than be blemished by a company?
In fact, if you want a personal anecdote, I have a very good friend who I have known for years. She is an amazing artist who worked her ass off making her own films. She came from the ground up, she made her own movie with her own sweat blood and tears (I remember how long it took her and how much work she put in), for not a lot of money, and guess what? That movie is now going on Netflix. That was an indie creation from her soul, but in order for her to survive, to make a profit, to get her name out there, to even get her movie seen - it needed to be distributed on Netflix. Is her character ruined now? Is she morally bankrupt? Is her art worthless? I don’t think so.
Capitalism is a vicious cycle. The “purity” of art often doesn’t exist. Even an amazing show like Squid Game that does such a wonderful critique of inescapable debt and capitalism and what it’s like to be poor specifically in South Korea, is hosted on the huge company media conglomerate that is Netflix.
Creators should try to be ethical, that is a given, but there is almost no way to do that completely and still survive off your art. And what really gets to me, is that when a show is blatantly produced and made by a big company, almost no one comes after the artists who made it as being sinful and complicit in, I don’t know, Amazon’s union busting or whatever. But when indie creators who have worked their asses off on their own and already given so much free content, work with a large company? That’s when they become Evil Capitalistic Monopoly Men. It’s unfair to hold them to standards like this when the creation of all animated TV shows almost always stems from a large company. Almost all well known art does. Good art does. Because of how the world works.
I’ve been rambling for way too long at this point and tbh this is kind of incoherent, so I’ll shut up now, but these are my Hot Takes™️ for the day.
sorry if you already answered this but have you got any recs for a good lightweight curl cream or smth of the sort? i’m on the hunt for a good one that doesn’t weigh my hair down too much. it’s basically the same curl type as yours, judging from your pictures, so i was curious to know your thoughts
hmm yeah I have trouble w stuff weighing my hair down too... there are 3 different styling products I use, depending on the day.
srry for making the post long, but most ppl find it more helpful when there are images! also sorry for giving you amazon links but. yanno. you can find these products in other places too!
so! the gel is something I use on-and-off, when I want a Lot of curl definition. it's very lightweight, it's good on sopping-wet hair bc it just absorbs all the water. it forms a hard cast that keeps the hair safe while it dries, and then I scrunch my hair to get rid of the crunch. def lightweight, v good for the curly look. downside is that it has alcohol in it, so it's not really for EVERY wash. but it's a good product!
the curl smoothie stuff is a staple, ik it's a heavier product but I still use it. since it's ultra thick, I get just a little in the hands and dilute it w a lot of water throughout the hair. I don't need A Lot. it also mixes with the gel well, so the moisture is helpful for counteracting the slightly drying aspect of the gel!
the spray is a newer addition, but so far it is obv the Lightest, since it's just a mist. I don't normally use this right out of the shower, moreso for refreshes. I tend to spritz it into my hand and go curl-by-curl to give them more life after I've slept on my hair. sometimes I hit my hair with a mist of regular water first!
actually. i do kindly ask that in the future nobody refers to c!wilbur’s mental state on my drawings or posts about him as “insane” or variations thereupon. and i wanna talk about why i hate this term in this context
pragmatically, the term is functionally useless: it’s not a clinical term and it doesn’t have any distinct meaning that you can’t achieve with better, less derogatory terms. if your “insane wilbur soot” tag can be replaced by “wilbur soot is not okay” or “wilbur soot has mental health issues” or variations thereupon that actually describe that he’s struggling, then use those. using the term insane as a catch-all for any mental health issues you deem scary or dangerous is just ableist
there’s plenty of ways to use insane colloquially that don’t demean mentally ill people and i think using it casually (a la “that was insane!”) is totally fine….. but using it to describe someone’s mental illness just feels straight up ableist. don’t think that it’s unnoticeable how frequently things on ao3 that are tagged “insane wilbur soot” are also tagged “villain wilbur soot.” associating c!wilbur’s mental illness with him being a bad person is… Bad. if you don’t like him or don’t forgive him that’s fine, go off, but don’t make it about his serious mental struggles, because that makes it very clear how you view mentally ill people and how you’re an ally until mentally ill people start to show symptoms that aren’t pretty.
before you use that word think about what you mean by it. what about his behavior or mental state makes him “insane”? are you using this word as a descriptor of him behaving erratically, being paranoid, or being manipulative? perhaps use those specific words instead! think about what definition of “insane” you’re using and think about if there might be a more clear and less derogatory way of saying it. because a vast majority of the time people call wilbur insane it’s because they see his mental health issues as something that makes him scary and dangerous, and not because they actually want to accurately describe him or his behavior
this also goes for other terms that tend to veer on the side of demonizing the mentally ill. “psychotic,” “sociopath,” “antisocial,” “narcissistic.” this isn’t to say these terms, nor “insane” can never be accurate descriptors. but this is to say that you should research a term and its connotations before using it - think about what you really mean by it. i find it helpful to use tags and descriptors that describe specific actions or feelings rather than a general mental state - this makes what you want to say both more clear and understandable and also less derogatory toward the mentally ill.
tldr; research terminology before you use it and stop using ableist catch-all terms for characters that exhibit mental illness in a way you associate with being “scary” or “dangerous”. being an ally to the mentally ill and reducing stigma includes thinking more carefully about your vocabulary sometimes :)
hnnghh, it’s midnight but i’ve been having this “encanto” theory/headcanon for a while and i rewatched the “dos oruguitas” scene again so now i wanna share it
i’ve been wondering for a while why only pedro gave himself up, and came to the conclusion that only he was targeted.
like, okay, if you grew up in a latino household with a family that has a history of leaving home because of violence or war. (in my family’s case, it was the civil war in el salvador) then, sooner or later, you’re bound to hear scary stories about the said violence. and in that reason, any latino knows those horsemen that were chasing down pedro, alma and the other refugees were no bandits, no matter what disney is saying.
i think, and quite possibly, the horsemen were some kind of death squad. and pedro was targeted because in the “dos oruguitas” scene, it’s pretty clear he and alma were the ones who organized the other refugees to find a way out of their village.
see? they’re in the front, leading everyone. maybe pedro got very involved with the politics and was very vocal about what was happening. saying how unfair and unjust everything was, and doing things like that does make you a target. so when the horsemen came, maybe that’s why pedro gave himself up. because he knew he was on their list. (maybe alma was on the list too, who knows.)
this also explains a bit more why later, when the miracle happens, everyone instantly starts looking to alma for help and guidance. after all, it was her and her husband that was leading them to a better place.
i mean, it makes this scene all more sad, and explains why alma became so strict and stern. she’s been trying to preserve what her husband was trying to achieve, to find a place safe and peaceful to raise their kids in.
Sorry if this has been asked before, but are there any panels/comics that reflect/point to Matt's taste in music? I feel like there's maybe one or two, but I don't remember what they'd be... And if you find any, or don't, do you also have any personal headcanons regarding the matter? What do you think he likes listening to? If you're up to answering any of this, that is. I know it's maybe an odd question. Thank you so much if you're able to, and even if you aren't! I love your blog and have an awesome day :D
Hi! It's not an odd question at all, and it's something I really enjoy thinking about and haven't discussed in a while. Matt's taste in music is an aspect of his character that I'd love to see explored more, since it is compelling from both a character/personality angle and a sensory one (much like his food preferences, another woefully under-explored topic). However, it has been touched upon. Notably, we have evidence from multiple runs that Matt is a jazz fan.
[ID: Panels showing Matt Murdock and Glori O’Breen walking arm-in-arm through Chinatown during the day. Matt is in a blue suit and tie, Glori is in a long green coat.]
Glori: "I won't mention a word of it when I take you to a certain pub where they're playin' the real Irish music Wednesday night."
Matt: "If that's an invitation...thanks, but sorry. Not tonight. But tomorrow night I'll take you to a jazz club in the Village. Dave Samuels is performing--"
Glori: "Ah, Matthew, an' aren't we star-crossed! For 'tis I who're busy then!"
Matt: "Okay. I won't feel rejected if you won't."
Daredevil vol. 1 #216 by Denny O'Neil, David Mazzucchelli, Steve Mellor, and Joe Rosen
[ID: A panel of Matt standing in front of a record player in his darkened apartment, pulling a Chet Baker record out of its sleeve.]
Daredevil vol. 3 #5 by Mark Waid, Marcos Martín, Javier Rodriguez, and Joe Caramagna
He and Maya Lopez also go to a jazz club during their day-long first date in Daredevil vol. 2 #11. I love that this is such a consistent detail (having examples from three different volumes is pretty unusual for such a minor piece of trivia), and it makes a lot of sense. The complexities of jazz would likely appeal to him on an intellectual level and, of course, a sensory one.
There is a question I've always had about Matt's food preferences: Would he like foods with complex flavors, because he would be able to appreciate the nuances, or would he find them overwhelming and prefer bland foods? And I feel like this same question can be applied to his taste in music: For someone who can perceive beyond the range of normal human hearing, would the sub-sonics and harmonics of complex chords turn them into discordant mush for Matt? Or would they just sound extra cool to him, making simpler, more straightforward music styles boring? I don't have an answer, obviously, but it's a thought exercise that I enjoy because it's always fun to try to get into Matt's head. With this many creative teams implying the latter, I'm happy to accept it, and I love the idea of Matt being a jazz fan. Jazz is bold and spontaneous, just like him.
Another of my favorite music preference details is this funny moment from the DD/Black Widow era, in which Matt tells some members of San Francisco high society that he's a fan of The Who (I think that he, like Natasha, is having fun at the expense of their snootiness here, but I'm sure he does genuinely like The Who. He also seems to like the Police):
[ID: Panels showing Matt Murdock and Natasha Romanov in a room full of fancily-dressed people. Matt is in a black suit and tie, Natasha is dressed all in blue with big yellow ruffles down the front of her shirt. She is talking with a group of women and Matt is talking with a group of men.]
Men: "...So we left the yacht for the opera! Great stuff, opera! Do you like it, Matt-boy? Yes, what is your favorite?"
Matt: "My fav--? Oh! Uh, 'Tommy,' I guess...by The Who. It's...a rock opera. Very, eh, avant-garde."
Man: "Humph. Hippie music, if you ask me!"
Woman: "So you live alone-- with two men?"
Natasha: "On separate floors, deary. Does that scandalize you-- or just make you jealous?"
Daredevil and the Black Widow #104 by Steve Gerber, Don Heck, Sal Trapani, C. Jetter, and P. Goldberg
As far as dislikes go, Matt doesn't seem to like disco...though Foggy does.
[ID: A panel showing Matt and Foggy standing together. Behind them is a darkened area and the silhouettes of a crowd of dancing people. Foggy is in a brown collared shirt and green pants. Matt is minus his dark glasses, and is wearing a very stylish bright yellow jacket.]
Matt (caption): "We step inside and it's like walking into an explosion of sound! The music! So much bass-- throwing my senses out of whack-- And worst of all-- it's disco night."
Foggy (singing): "...I'm here to do... whatever I can... be it early mornin'..."
Daredevil vol. 1 #374 by Joe Kelly, Jonathan Barron, Ariel Olivetti, Pier Britto, and Ed Lazarelli
This may be a topic for a whole other post, but I also wanted to say a little about Matt making his own music, because we have examples of that as well.
[ID: A panel with a background of yellowed, stained sheet music. Over top of this is a smaller panel of a hand on piano keys, and swirling past this is a musical staff filled with cartoon images from Matt’s past: boxing gloves, his father, young Matt being bullied, and barrels of toxic waste.]
Matt (caption): "The truth is I hardly read a note of sheet music. I always play by ear. For me, music is the closest thing to seeing. I don't mean knowing where you're going, I mean seeing, the way you'd look at a painting. Every chord has color-- the way memory has a scent. C major smells like an old pair of boxing gloves. D major and D minor are left and right jabs. They are the color of my father's face when he would get mad. E major is coppery-- the aftertaste of a bloody lip."
Daredevil vol. 2 #9 by David Mack, Joe Quesada, Jimmy Palmiotti, and Richard Isanove
There are a lot of great music details in this story arc, and this scene is one of my favorites because it explores the idea that the experience of listening to/playing music is intensely personal for Matt. You don't need super-hearing to associate specific chords with different emotions-- everyone does that-- but I love how this scene builds on that by drawing connections to Matt's other sense memories and the emotions attached to them. It suggests a visceral, intense experience of music that extends beyond just normal enjoyment. Matt is transported into his past when he plays the piano. (If you take this scene literally, it also could suggest that Matt has some degree of synesthesia, which is also fascinating).
[ID: Panels showing Matt and Foggy in a subway station. Foggy is wearing an olive-green business suit, Matt is wearing a red shirt and blue pants. He hands his white cane to Foggy while holding out some money to an old man who was playing the violin. Several bystanders are looking on.]
Matt: "Sounds like one hell of an instrument. Is it for rent?"
Violinist: "For that kinda money, I'll lend you my feet."
Foggy: "Can you play?"
[ID: Matt puts the violin under his chin and rests the bow on the strings.]
Matt: "Dunno. Let's find out."
Daredevil vol. 3 #1 by Mark Waid, Marcos Martín, Muntsa Vicente, and Joe Caramagna
This scene is wild and I love it. It's quite long, so I didn't want to stick the whole thing in here, but if anyone hasn't read the issue (What are you doing?! Read it! Now! Go! I'll wait), Matt teaches himself to play the violin within a matter of minutes. The mini-story that this excerpt is from features Matt showing off his hypersenses as he and Foggy travel around Manhattan. Its practical purpose is to introduce new readers to Matt's power-set; in-universe, Matt is doing this to prolong the trip and distract himself, because the destination is the cemetery where his father is buried. I don't think Matt makes a regular habit of playing every instrument he sees-- he's clearly stalling for time here. But he does seem to enjoy it! In any case, I wanted to point this out because it tells us some pretty major things about Matt's abilities. To be clear: this is superhuman. No one learns to play an instrument with any amount of skill this quickly. If they were learning the violin and had extensive viola experience, maybe. (I don't think Matt has viola experience. At least, not 616 Matt.) I'm also going to say that this requires a bit of suspension of disbelief, just like Matt swinging around Spider-Man-style without super-strength does.
With that said, here's what we know: stringed instruments require some coordination. One hand is doing one thing, the other is doing another. Matt is extremely coordinated-- not a problem. The tuning on stringed instruments is delicate. Your fingers need to land in exactly the right spot on the strings, with the right kind of pressure. There's also bow pressure and placement to take into account: putting just enough force and motion on the bow to get the right tone, and shifting the angle just enough to switch cleanly between strings (this is extra tricky on a violin, where the strings are very close together). This is a neat instance in which Matt would be applying both his enhanced hearing and sensitive touch to the situation. Armed with his super-sensitive fingers and proprioception, he is apparently able to figure out the pressure and bow placement issues. Tuning, though? This is solid evidence of Matt having excellent relative pitch. (Personally, I like to think he has perfect pitch as well, though I don't have direct evidence for it.) If anyone is unfamiliar with the distinction, perfect pitch is being able to sing a specific note (say, A#) without any reference point. Relative pitch is hearing A# and then being able to find other notes based on an understanding of the intervals between them. Matt's super-fast violin mastery suggests that he could play a note and then figure out where his other fingers needed to go in order to play the other notes he wanted. If you're playing an instrument you're not used to, especially a stringed instrument, in which the tuning is so tricky, it takes a while to get the hang of this at all, never mind making it sound good. But Matt, hypersensory badass that he is, just casually does it on a subway platform while waiting for the train.
[ID: The same scene. Matt finishes playing with a flourish, with the notes shown swirling around his head, as a train pulls into the station. The bystanders clap. Foggy looks stunned.]
...In any case, my point is that according to this scene, Matt's powers have rendered him superhumanly musical, and I love it. Join a jazz band, Matt.
I'm thinking about how a year later c!Tommy is still considered the reason all the server's chaos and war has happened esp over the discs despite giving up his discs for L'Manberg, getting exiled, giving up his power/discs (with c!techno) for L'Manberg, giving up his discs for c!tubbo, losing his lives, and almost dying to a nuke.
I'm specifically thinking about c!Jack's interpretation of events. Ignoring his anger around his second canon death, his blame on c!Tommy being the reason especially when everyone else thinks that too is so....infuriating. Like a year later c!Dream is free from prison, only a few people care, and many are sympathetic and or are actively helping him.
Like when will we get the day the finger goes off of c!Tommy who literally has lost everything and it's pointed at c!Dream again, and I don't just mean people thinking it's weird he collected their attachments. Like when does it go down in history that the reason is actually mostly c!Dream (+ a few others). When do we point the finger off of c!Tubbo too for "failing L'Manberg" when it was all c!Dream. It's been a year since prison, and I'm fucking bitter.
A few months ago now, there was a lovely, wonderfully charming Spaniel Conference happening between @doomspaniels and @thelittlespanielthatcould, and during a conversation in the notes it came about that the wonderfully freckled Tristan & Guinevere, and the happiest little gentleman Kovu are, in fact, all smaller than the cocker spaniels I have been privileged to know in my life. Much smaller. So of course they asked about the king-sized candy bar cockers I have loved in my time, and I was too preoccupied at the time to do more than upload a video. Now, I deliver the illustrated saga.
Behold, the first of her name, Her Highness Princess Margaret Millicent Moo, known most often to her loved ones as Monster, Millie, Little Tank, Little Horror (affectionate), Little Destroyer, and on special occasions, Miss Millie Moo.
Monster joined our family at nine weeks old and a perfectly normal eight pounds, and at the time we had no reason to believe she wouldn't be a reasonably-sized cocker spaniel. We knew she’d surely be much smaller than our first cocker spaniel, Barney the Giant Nebraskan Farm Cocker of ‘88, because he was a big puppy from the start, and he grew to be an absolute bird-harassing 42 lb bulldozer of a dog very quickly.
Admittedly, Monster was a pet store puppy (I KNOW, I know pet store puppies = bad, I wasn't the person who bought her), so it’s not like we have any idea how big her parents were, but purebred cockers are supposed to be compact, and for the first few weeks our vet assured us she was on track to end up right around 25 pounds.
Then she started growing.
Please know, the members of my family are experienced dog owners. Up until my mom brought Monster home we’d only ever had one dog at a time, but we knew what we were doing, we were responsible, and we followed the directions and feeding schedule of the food the vet recommended. We did not over supplement, we were reasonable with treats, and yet somehow, by the time she was sixteen months old, Monster tipped the scale at 38 pounds and looked like this:
As one may see, she was not a chonker spaniel, she was proportional, she just happened to be BIG. And that was before she properly filled out into her adult build and hit the forty pound mark.
For perspective, here she is a couple years later next to our beloved Bella Moosh, who was a leggy 70 pound criminal mastermind collie mix. (Thank any and all gods for Bellbell, because we would not have made it through Monster’s puppyhood without her considerable assistance. We had reasons to call her Little Monster, oh man.)
Monster and Bellbell were absolute besties, but Monster, by virtue of being my mother’s favorite child not being composed of 88.75% awkward spindly legs, got to go more places In The Car. However, on the occasions that Bellbell did get to ride along on an adventure, Monster would be so excited at the proposition that they would be going Together that she would fully slam her whole body into Bellbell’s, and she was solid enough to set Bellbell staggering.
Here she is a few years later, when she was admittedly a little bit of a chonker spaniel at 43 lbs, because my parents moved into an apartment and she was... verbal. if you left her alone without at least a busy bone. (Sidenote: that's not a compact car, it's a giant Ford Taurus, she legit took up that much space.)
Luckily, Monster was much more aware of how big she was when it came to her true calling: babysitting. This dog adored small small children, it was incredible. She did not much care for snuggling or being petted; she wanted to be our loyal companion from six to eight feet away from while also eviscerating a stuffed toy with gleeful efficiency, but children were allowed to do whatever they wanted with her.
Monster was truly a unique individual. Sometimes I think she got as big as she did because otherwise there wouldn't have been enough room for all her opinions. I have never met a dog with so much personality before or since.
I miss you, Little Horror 💙