Suite à cette vidéo, je veux partager aux français de tumblr un template pour demande à France TV de faire pression sur l'UER ou de se retirer de l'eurovision. C'est une traduction (du mieux que j'ai pu, corrigez-moi si j'ai fait des erreurs) du template présenté dans la description de la vidéo. Je sais que c'est plus facile de prendre action avec un plan, alors si vous vivez en France, contactez France TV ici, remplissez le formulaire, et copiez-collez ce texte. C'est tout ce que je demande, merci.
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since im probably gonna draw my mutant mayhem interpretation of usagi a bit imma just post the design and story idea so theres a bit of context, feel free to ask any questions im open to developing him further
also have an animation assignment where i just drew him lol
(im still hella inconsistent with his ears but ill figure it out at some point maybe)
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the tiny speck of good in this nonsense nhl pride tape ban is seeing things like this
and being so glad there's people out there who know how stupid it is and are standing up against it
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The last of us came up with the perfect answer to the "ideal zombie speed" debate by making their zombies so fucking fast that they just cant turn a corner. Thrilling, captivating, want more of these speedy guys.
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THE BROTHERS SFORZA
augh. there sure is a lot going on between them. tfw you know your older brother is wary of you so you have to navigate that fine line of proving you're useful, but not dangerously so. tfw your younger brother has the potential to be a knife in your back, but he's your brother. don't think too hard about what happened with the galeazzo. unfortunately, you're both visconti as well as sforza, and the visconti were prone to conspiracy. fucking RIP.
this definitely won't be upsetting years down the line when ascanio is near death and ludovico will be desperate to figure out how to bring his brother's body back to milan so ascanio can be interred in the same place as ludovico's recently deceased wife, beatrice d'este, and where ludovico himself has been haunting in a perpetual state of grief.
& the background of the first panel are public domain scans of two cards out of the visconti-sforza tarot deck.
Ascanio Maria Sforza: la parabola politica di un cardinale-principe del Rinascimento, Marco Pellegrini
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i was thinking about your dirk and hal poll and i want to mention that i think your concept for ink and iron where dirk creates hal from his reflection by enchanting a mirror is so cool 😌
thank you! hal's predicament and purpose within the canon narrative is so fascinating and i felt it was really important to find a way to explore what i find most interesting with him. i can't take full credit for the concept though i took inspiration from a few placees (one of my friends pitched the idea of the mirror accidentally dumping him onto jake's doorstop for example) but overall i think the idea is very fun and i'm really excited to write more hal stuff!!! also i'm going to take the opportunity to share this oldish doodle i found:
the mispelling of angel as angle was NOT intentional (<- dyslexia haver) but it probably explains a lot. he's pointy
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Lord I cannot believe it took me this long to realize this, but. Vnc's refrain of Noé trying to grab Vanitas's hand is a metaphor.
This whole time I've been reading the constant references to "Noé grabs Vanitas and saves him from falling, but one day he'll fail" as very literal foreshadowing for a day when Vanitas is going to fall and get hurt (or die?) and Noé will fail to catch him. And I still think there's a good chance that's true! However, it's also really obvious symbolism for the idea of salvation in general.
I've beaten this drum to death, but Vanitas is more or less the ultimate example of a character doomed by the narrative. He is going to die; the entire story is the buildup to his death. And one of the main conflicts is that Noé wants desperately to save him (and wants it more and more as they grow closer), but by nature of the story, we know he can't.
At least by Noé's definition of salvation, Vanitas is unsaveable. His death and suffering cannot be prevented, and despite Noé's best efforts, he is going to die by Noé's hand.
Enter the falling metaphor.
The absolute certainty of Vanitas's death works like the force of gravity. He is constantly being pulled down and down toward his doom like an endless free fall. But then Noé steps in and tries to save him, and in little ways he even succeeds! In all the little less important ways, he grabs Vanitas's hand time after time.
When Vanitas goes toppling off the ledge in Gévaudan, Noé catches him and shortens his fall. When Vanitas sinks into despair in Moreau's lab, Noé snaps him out of it. And when Vanitas gets lost in his own trauma and self-hypnosis at the amusement park, Noé brings him back to reality. For all of the little free falls, both literal and metaphorical, Noé is there for Vanitas before he hits the ground. The beating heart of their relationship is Noé's constant attempts to catch him.
However, Noé is haunted by the fear that he is going to fail someday. When Faustina reverts back to Naenia and dissipates in Gévaudan, he's shown a vision of Charlatan(?) telling him his hand cannot reach Vanitas. Naenia preys on people's worst fears and weaknesses, and this is one of Noé's. He fears that his hand will not reach the one he's grasping towards, and he will fail to save those that matter to him. The very broad line "you persist in reaching out for them" in the middle of Noé trying to literally catch someone more or less tells us outright that the falling and catching is a metaphor for salvation.
And when he speaks from the future, Noé confirms that this exact fear has come true. Noé in his narration is haunted by the regrets of "that day when I didn't grab your hand." His grand attempt at Vanitas's salvation has ultimately failed, and he didn't catch him when it mattered most.
The night that he first meets Vanitas, Noé throws himself out of an airship in the attempt to catch and save him. And from that point onward, he tries to catch him over and over again. Their relationship is one long straining outstretched hand as Noé attempts to pull Vanitas from his endless plummet downward. He is the one person deeply focused on Vanitas's salvation. However, Noé cannot ultimately stop the forces of tragedy and gravity and doom, and in the way that matters most, he can never quite reach Vanitas's hand.
There is going to be a day when Noé will be unable to catch him, and that day is the day that the entire rest of their relationship (and the entire rest of the metaphor) is building to. Noé is constantly reaching out, but he cannot save a man that is already dead, no matter how passionate the outstretched hand.
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