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#terror textposts
unrealwasteland · 3 months
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noughticalcrossings · 4 months
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The Terror Textposts
Source: https://www.tumblr.com/gallusrostromegalus/183333162103/an-incomplete-list-of-the-animals-my-grandpa
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notkingyet2 · 4 months
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irvingcoded · 1 year
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❄️ TERROR TEXT POSTS⟶ 7/??
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humgrummit · 1 year
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rat-presenting · 1 year
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having to buy clothes feels like I’m genuinely being hunted for sport. someone walked past me while I was digging through the sock bin and I immediately ran off. I barely managed to checkout before I locked myself in the car to have a panic attack. what is wrong with me.
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james-harmony · 4 months
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Gathering up a bag full of trash from the beach and yeeting it into a hotel's private property might be the funnest thing I (just) did all year. Counts as terrorism too!
Recommend it to anyone living in a costal city or just visiting
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willsthighsweat · 2 years
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unrealwasteland · 1 month
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[x]
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waku-waku-week · 1 year
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i am rejecting my human body. i am now one with my toontown avatar.
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frodolives · 6 months
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The Terror + textposts
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irvingcoded · 1 year
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❄️ TERROR TEXT POSTS⟶ 9/??
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secretmellowblog · 9 months
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I hope tumblr doesn’t die because No other social media site is as good for long, thoughtful, nuanced analyses of media. Yeah tumblr is also full of dumb shallow hot takes and shitposts, but you can make dumb shallow hot takes and shitposts anywhere —-there are no other popular social media sites that let you easily format and share long essays on the media you enjoy, and then have conversations around those long essays.
Fandom on all the other big social websites just seems so utterly …shallow. And it’s not because people on other websites aren’t thoughtful or don’t have deep things to say, but because these sites’ formats do not allow for any kind of long nuanced conversations.
Tiktok? Things have to be crammed into a super short video with an attention grabbing headline, and you can’t hyperlink sources. Instagram? Everything has to be in an image format with strict limits on length, and nothing will be shown to your followers anyway because of how Instagram’s algorithm works, and also no hyperlinks. Twitter? Strict character limits, and if you split it into threads it means someone can retweet a part of your essay completely out of context, and also very little freedom with formatting.
It frustrates me so much. If I go into the Tumblr Les Mis fandom I’ll find really compelling long essays on the original novel (including essays being written for the ongoing book club) on the story’s historical context, or the parallels between different characters and their narrative foils, or the way the politics were defanged for certain adaptations, or the way Victor Hugo’s personal life and failings affected the novel. But on tiktok I’ll get the same five shallow stale jokes from 2013 over and over, or maybe the same “DID U KNO THAT IN THE MUSICAL JAVERT AND VALJEAN SING THE SAME LEITMOTIF” style of basic Intro To Les Mis 101 For Babies media analysis (which is what Tiktok considers deep media analysis), or stale “LOL JAVERT ACTS GAY” style jokes as if we’re living in the early 2000s and calling a character gay is still a funny punchline. And it’s impossible to have any kind of deeper thoughtful discussions than “DID U KNOW <x Kool Fact>” or “lol <shallow observational joke>” on tiktok because the platform just isn’t built for building niche communities around in depth conversations. it’s built to churn out bland generic content for as wide an audience as possible, which means pointing out a small detail like an Easter egg and calling it “cool” is deep media analysis, because you cant have longer more in depth conversations without alienating people. And I hate it. Bc like, it’s not because there aren’t smart clever thoughtful people on Tiktok— there are—it’s because Tiktok isn’t built for these conversations, and anyone who wants to have them has to really fight against the things the website encourages or prioritizes!
Or like, if I go into the LOTR fandom on Tumblr, I’ll find tons of extremely long analysis and fanfic, and analysis of queer readings of the story. On Instagram people will still shriek in terror if you suggest the characters are gay, and most of the popular lotr posts are stale memes recycled from like 2007. There’s really no room for thoughtful media analysis, and even if you did create it, instagram’s algorithm would make sure no one saw your post anyway.
And everyone’s going to say “the algorithm shows you what you’ve seen before so maybe it’s your fault ~” or whatever but i do look for things I want! I do! “The algorithm” doesn’t know me or what I want or value or care about beyond this meaningless surface level.
The only thing that was worthwhile about these sites was the great visual art people were creating, but now the websites are overwhelmed with meaningless soulless machine-generated AI glurge, and it sucks. It just really, really sucks.
I’m honestly confused about why people don’t use tumblr….There’s no character limits! You have freedom with post formatting, and can insert images throughout textposts to illustrate specific points you’re making beneath the paragraphs where they’re necessary! You can add hyperlinks, linking to your sources! People can reblog your entire essay and share it, and then add on with commentary that then becomes part of a larger conversation! People can find your stuff through the tagging system! Reblogging means posts stay in circulation for years instead of being dead 30 minutes after they’re uploaded! If you want to have genuinely interesting text conversations about a piece of media, there really isn’t a better social media website for it anywhere.
To be clear, I’m definitely not saying Tumblr media analysis is *always* clever and thoughtful or etc etc. there are shitposts and nonsense here too (plenty of which I’ve created lol.) I’m saying that Tumblr gives people the tools for in-depth insightful analysis to happen. Whether people choose to do it or not is their own decision XD. But the reason lengthy in-depth conversations and book clubs are even possible here is because Tumblr is built for allowing these conversations to happen, in a way other sites simply aren’t.
It’d really suck if it died, because it’d be a huge blow to…being able to easily find long insightful in-depth media analysis written by fans. I currently don’t think there’s anything that could replace it.
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ladiemars · 24 days
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I love Nor and her giant sad puppy eyes, I would love to know more about her
thank you!! have a hastily drawn nor ft. her giant sad sopping wet puppy eyes:
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+ a giant nor lore dump below the cut જ⁀➴
➸ her whole character was inspired by that one textpost that’s like, “characters with both the abject terror and desperation of an animal that knows it is cornered and destined to be eaten. you just can't get that kind of angst out a successful hunter” and this quote by james harriet: “if having a soul means being able to feel love and loyalty and gratitude, then animals are better off than a lot of humans.”
➸ she’s is the product of a union between a drow woman and a deep imaskari man. for those who don’t know, the deep imaskari are a human subrace (from 3e) that have stone-like skin and hair that’s white or black. because that’s nor’s human half, most people assume she’s completely drow upon meeting her, since did not inherit any features from her father that would make her look less like her drow mother.
➸ the deep imaskari live longer than other humans—up to 550 years—so nor ages at a rate more akin to drow and elves than half-elves or humans. nor believes she’s currently around seventy years old, though she could be off by a decade or two. she’s not sure when she was born and has long periods without human contact. she really isn’t sure how much time has passed.
➸ she has no given name, but eventually ended up going by the name ratcatcher, which is what the locals in baldur’s gate called her. halsin is the one who names her nor shortly after they meet, which is the elven word for “passion” and also “run.”
➸ this excerpt from one of my fics sums up her urchin/orphan to urban ranger/beastmaster pipeline pretty well:
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➸ around the age of twenty, nor grew to resent humanity so much that she decided to leave baldur’s gate and live in the forest with only animals for company for half a century. (this is when she lost track of time completely.) in the forest, she became an expert in survival, attuning her ears to the slightest twitch in the air, to every noise and smell. she lived in a cave and slept curled up beside velvet on a bed of willow leaves. the events of baldur’s gate 3 is the first time in decades that she’s had social interaction.. and it shows.
➸ she has a little wolfdog companion named velvet. (i’ve drawn him and her and halsin and scratch here). he was another half-breed who didn’t quite being anywhere, so they bonded very deeply. (fun fact: velvet killed the elder brain in my first playthrough as nor. he’s a legend in faerun now.)
➸ laezel is her bestie. they are ride or die. neither of them understand a damn thing about faerun or its inhabitants. but that also means they don’t judge each other for anything, cause they both just kind of assume what the other is doing is normal
➸ a big part of her character is her dynamic with the emperor. she gets manipulated by him so bad because he tells her everything a forgotten, unloved creature wants to hear: i need you, i’ll protect you, you’re not like other people, we’re a team, you can trust me, i want you to join me, you aren’t alone. it’s not until he begins to pressure and compel her to become illithid against her will she starts to fear him and his power over her, and after certain revelations she realizes he was using her and turns on him altogether.
➸ obviously she romances halsin. i love the dynamic of beastmaster/druid. they’re extremely well suited because they’re both such inherently good people and they bond a lot over their love for nature. they are also the only two people who can really understand each other’s animalistic quirks.
i’ve written some fics with her that you can read here if you’re interested. >:3c
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mahuhumaling · 9 months
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post velum;
textpost edition. a freeform poem about the journey of patpran.
🔗 — [visual edition.] [insp.] [x]
PRELUDE.
PROLOGUE
Let me not tell you a story about two households both alike in dignity, in fair Bangkok, where we lay our scene. And instead: about two boys, their hundred stop-it's, but-what-if's, and what-the-fuck-does-this-mean's; simultaneously flown and grounded by the passage of time.
And maybe a little bit of Fate.
THE ENGINEER
Picture fierce eyes, dark swept hair, and a natural affinity for people. He walks with such swagger and charm that makes you both remember and forget he's been Head of the Class for years. But don't let that fool you: despite always being sleeveless, he wears his heart on it.
THE ARCHITECT
A walking amalgamation of a question mark and an exclamation point, he is sarcasm embedded in a smirk that extends to deep dimples for most, a sketch book with a puzzle lock for some, and a thousand meters of ocean depth for him alone.
ACT I.
SCENE ONE
The plain black watch tells us we're doomed from the start. But shh. Do you hear that?
It rings to signal a start — to start it is, again, is to love and grieve at the same time, what we equally had and never could. What we really were and never allowed to be.
SCENE TWO
The universal truth is that the sky is blue. But I can also tell you without uncertainty that the day you stormed out with sunken eyes and parted lips with my father's words, that day, the sky was red.
SCENE THREE
Is it worth cutting yourself open over guitar strings? A stolen third wonton? How about a half-assed paper airplane? An imaginary corpse flower? The black instrument case or the makeshift pavillion sign? Or is it the million little things in between them all?
SCENE FOUR
The nightlight's smile looks like a teasing grin now, unsympathetic to the unwashed gray shirt, the shared blue sheets, and the space and warmth in between.
At least it's not bright enough to reveal tears pleading to fall.
ACT II.
SCENE FIVE
What are we? I search for it in the crevices of your mouth. What are we? In the years of distance between our flushed necks. What are we? In the cold rooftop railing full of want.
I can feel it start to rain. It's not the reason you walked away.
SCENE SIX
The only thing the salty water and air can heal is us.
SCENE SEVEN
I lost. I have been losing from the start. Have me.
SCENE EIGHT
It's in the third beer that the weighted truth sinks in. Everything else fades, including the mundane lies. The bang of the xylophone sticks don't quite strike like the drum, but it hits like it's stripping us off of untruths.
Red dropping.
ACT III.
SCENE NINE
Facing the music has never been this loud. An untouched football, a graze across the stomach, a few ragged breaths, and fingerprints obscuring a hidden venom.
Red dripping.
It can't get worse than this, right?
SCENE TEN
Guess not.
SCENE ELEVEN
The only thing the salty water and air can heal is us.
SCENE TWELVE
The strings of our tin cans were shrouded by a strong, lingering mist of guilt and misery, too many decades old to be pulled apart, so it stays. We also do. But it never rusts. We clean them regularly.
POSTSCRIPT.
EPILOGUE
We were doomed from the start. But shh. Just like writing plays, like writing songs, there are revisions. After all, this is our story, our song. We get to dictate who are part of it. We get to compose how the Coda sounds like.
Fate is not as cruel as we think she is.
INTERMISSION.
the Our Skyy 2 crossover.
SCENE 11.1
Mirror, mirror, on the wall, who is the stupidest one of all? Is it you who insists on cramming every inch of yourself into the spaces I consume, or is it me who pushes you not to?
Because what happens if I get accustomed to it? What if I become so familiar with your fingertips on my arm that I caress the ghost of it when I eventually leave for two years? Even for a while, would the single bed and the sole toothbrush terrorize me awake?
Give me an apple. I'm getting on the bus to leave this doubt behind and seek answers.
In the throes of teasing, of pushing and pulling, Fate's shadows skirt around the edges of another story, waiting for you to collide.
THE FOREST RANGER
You see yourself in him, with the way he closes his arms and his heart. He is years ahead of you, but you can feel it: he is just as scared as you are, except his fear has worn down and dulled. When he says nothing, you go to sleep understanding the faraway look in his eye. It must be a fissure.
Afraid that someone will go in; begging for someone to go in.
(You're also pretty sure that not even Snow White got lost in the woods as long as this, not with a silent Huntsman by her side.)
THE TEACHER
He is also engineer — he is also impulsive and brash with the way he sways to and fro along the road that leads to the cliff. He has the same reckless abandon as you when it comes to loving people with the way he demands to find the student while sporting a high fever. You try to blame it on the surgery scars on his chest or his reputable last name, but you learn that that's always been him, just reformed.
You also learn he's been deaing with guilt.
time for the curtain call.
SCENE 11.2
I don't really think about the fact that my laughter only echoes the loudest when I'm sure they can be muffled by the wild thrash of the waterfall, or that you can fully bury your face in my nape under the comfort of mesh curtains. I don't really think about how I surrender myself to loving you in the most open of spaces — the sea and the mountain.
I don't think about it. Instead, at night, I long to climb up the cliff and just count to a thousand. How did the Teacher put it? 956, 957, 958...
Damn it. I can't finish it either.
SCENE 11.3
It's 10:10 when you first return it to me with kid wonder and the water washed out. It's 10:10 when I take it out the box the second I meet you again with a kick to the chest. It's 9:31 when I decide to start wearing it, 9:04 when I see you at the rooftop, 9:17 when you clutch it close with a confession lodged in your throat thinking you'd lost me, and 9:39 when I reassure you with bandaid words that you hadn't.
It's always been nine or ten PM. It's always been this deep into the night when I can look you in the eye and ask, "So?" with a teasing lilt, but secretly plead for you to admit that you feel as deeply as I do, that you're dancing in the same thread of forever as I am.
You whisper yes, and a whole lot more.
SCENE 11.4
For once, the red doesn't drop. It stays high, high up, high enough that everyone can see. But everyone is cheering. And even if both of us are donned in costumes, I kmow the love we are putting under the spotlight is just as unapologetic and carefully mended and queer as our own. They are cheering for us too.
And since I know you want to be seen, I remove the glass coffin and let you pull me in.
END.
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