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#thank you i think lol
rileyclaw · 1 year
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willow... rollerskating.... also rip the boys i guess
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ink-the-artist · 4 months
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I made a golem :)
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certifiedlibraryposts · 4 months
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Protip to Libby users, if there are titles you're interested but none of your cards have it, make use of the Notify tag! Libby will tell your libraries there's interest in that title, and you'll get a notification if its added!
Your mileage may vary here, but I put a Notify tag on an audiobook yesterday and it became available today. I can't say for sure if it was all because of me or if there was other interest in the title and I just hopped on at the right time but I'm honestly amazed at the responsiveness there.
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ruushes · 28 days
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tagged by @ghostwise for wip wednesday and thinking abt Them (':
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yangjeongin · 26 days
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6 YEARS WITH STRAY KIDS — #Youtiful6YearsOfSKZ
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vaguely-concerned · 25 days
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So much of Garak as a person starts to make sense once you know his childhood was a fucking gothic novel. His main playground was a graveyard and he'd play pretend by perfoming improv eulogies to an imagined audience. For a long time his main touchstone for most important figures from recent history is 'oh yeah I know about that guy my dad buried him. great flower arrangements for that one'. He finds out later his 'parents' are actually a brother and sister who had to get married to avoid the utter shame and social devastation of having a child born out of wedlock, and they live in the basement of his biological father's house. (the madwoman in the attic vs. the tiny elim in the basement.) His biological father calls himself his uncle and locks him in a closet whenever he fails to live up to his insane and unpredictable expectations and everyone just has to act like that's normal and expected, and his will hangs over everything at all times, unseen but always felt keener than anything else. The father who actually raised him grows the world's most beautiful (and as it turns out, most poisonous) orchids and keeps the mask of a god hidden in a box in his work shed. Everyone in the house is choking down secrets like it's the only air they know how to breathe anymore.
What I'm saying is that right from the get-go this guy never had the faintest shot at turning out normal, so I'm glad that by middle age he's found a way to get a bit silly with it as he continues to be deeply deeply not normal about anything ever <3
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brookheimer · 10 months
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people acting like twitter's new post count is gonna cause a mass exodus to tumblr.... this website's demographic has not changed in 865578 years and it sure as hell won't now. this is the site for people who were weird and unhappy in middle school. everyone on here has either been around since they were weird unhappy 13-year-olds or joined when they were weird unhappy 13-year-olds, left because they thought they were normal for a while, then came crawling back again when they realized deep down they were still weird unhappy 13-year-olds. what does this site possibly have to offer you if you grew up happy well-adjusted and unaware of homestuck
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avrilsboy · 2 months
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when i was probably six or seven years old sitting in the back of my dad's lincoln continental i looked out the window while we were stopped at a red light and thought to myself "huh i wonder what makes the lights switch colors" and with no moment to spare not a single moment to ask my parents who were sitting right there my brain supplied me with the answer of "well it has to be trained mice." and i responded back "oh of course because they're small and smart :)" and i then proceeded to that as an obvious truth until i was like 13
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meanbossart · 28 days
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Because I love the idea of DU drow as a companion... how would you recruit him? Where do you find him, and what's his intro cutscene?
Hi, I've been thinking about this since I got this message :V
There's this nautiloid pod somewhere nearby the Owlbear cave right? So those things were just crashing all over the place, not just near the beach where the actual ship fell. I believe his pod could have had a similar fate and fallen somewhere off the beaten path.
Mind you that, In this scenario, waking up from the pod and onto the forest map would have been DU Drow's first-ever conscious minutes ever since having his mind wiped, so he truly has no fucking idea of what just happened - he just knows his head is in shambles and that he needs to survive for long enough for his memories to return, assuming they ever will. So, his immediate instinct would be to retreat away from where the people are.
I think underneath the bridge, where there's running water and some fauna/flora would be a good spot to find him. Players might take a day or two until they stumble across this weirdo companion and so they are more in the loop than he would be. You'd find a little blood-trail leading you down there, and eventually spot a fist's corpse with no shoes near the river - DU drow would be crouched down by the water washing blood off himself:
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While the rest of the party may have been picked off random places as they went about their days, this guy was busy being dissected and put back together over and over again - and there's no way Kressa bothered to dress him back up fully before he was taken away from her (me allowing the man to have pants on at all is a mercy onto you all) so he begins with no armor, but to make up for that fact he's the only companion who begins with a great-sword, which he would have stolen from the fist.
When you approach he is perfectly calm, In fact, he doesn't seem all that there. He stands up and appears half-ready for a fight, but lets you speak first. You can either ask what he's doing here, or about the corpse. You get more or less the same answer to both:
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If you successfully persuade him, he tells you with no particular tone of shame or remorse that you got him, he did kill him, however he claims he was attacked first. Whether you pry into his mind with the worm, or have a scroll of read-thoughts, you get the same narration:
"Behind the aloof facade, you find the drow's mind to be in a concerning state of disarray: dozens of thoughts racing, jumbled, all at once, each trailing into the next before you can catch a hint of substance. You don't find the answers you were looking for, just red goo."
You CAN however use speak to the dead on the corpse. If you do that, it's revealed that he is actually telling the truth; The fist found him and assumed him to be with the drow who raided Wakeen's rest. Otherwise, you have to either take his word for it, attack him, or leave him.
He will refuse your offers to join you/go to your camp until you reveal to him that you have been tadpoled - either through using the Illithid-worm option, or telling him upfront through normal dialogue. If you didn't peer into his head earlier, you will now, confirming to yourself and him that he's also been infected. Then, you can tell him you're looking for a cure, and he will agree to travel along. This gets you approval from Shadowheart, Karlach, and Astarion, and disapproval from Lae'zel, Wyll, and Gale.
If you attack, he's as easy a fight as any companion would be at that point. If you choose to leave him be/not tell him about your worm so he refuses to join, he will appear at your camp after two long rests, basically forcing himself to into your party unless you kill him. You find him hanging out around Withers and he tells you he's decided to travel with you from now on, and that he will make himself comfortable.
If you ask for his name, he tells you to just call him whatever you want to (cue like 5 joke dialogue answers - he responds to all of them with a snort and you get approval if you pick any flattering ones). Whatever you ask about him gets you a very blunt, vague response. If you have Shadowheart in your party/are playing as her, she implies he may be suffering from memory loss, finally prompting him to admit to it. Otherwise he only reveals this after a couple more long-rests.
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chrisbangs · 1 year
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찬이의 "방" 🐺 200 Episode Special
200! 
I looked back at the message I wrote for you almost 2 years ago now, to see what I said. And honestly, I have to agree with past me. It doesn’t feel like that much time has passed since the first day you showed up on VLive and spoke to us so kind and warmly. 200 episodes later, and well now on YouTube, and you are still doing just that. Week after week, being there for us to cheer us up with your laughter and your jokes and your advice and your terrible pick up lines. I still have nothing in my heart but gratitude towards you, Channie. Thank you for continuing to be the most amazing person ever. 
Let’s meet each other again next week, okay?
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inkskinned · 9 months
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at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"
like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.
"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."
... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.
and i'd still keep writing.
i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.
i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley
"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"
and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.
it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.
you create because you're greedy.
#every time someones like ''AI will replace u" im like. u will have to fucking KILL ME#there is no replacement here bc i am not filling a position. i am just writing#and the writing is what i need to be doing#writeblr#this probably doesn't make sense bc its sooo frustrating i rarely speak it the way i want to#edited for the typo wrote it and then was late to a meeting lol#i love u people who mention my typos genuinely bc i don't always catch them!!!! :) it is doing me a genuine favor!!!#my friend says i should tell you ''thank you beta editors'' but i don't know what that means#i made her promise it isn't a wolf fanfiction thing. so if it IS a wolf thing she is DEAD to me (just kidding i love her)#hey PS PS PS ??? if ur reading this thinking what it's saying is ''i am financially capable of losing this'' ur reading it wrong#i write for free. i always have. i have worked 5-7 jobs at once to make ends meet.#i did not grow up with access or money. i did not grow up with connections or like some kind of excuse#i grew up and worked my fucking ASS OFF. and i STILL!!! wrote!!! on the side!!! because i didn't know how not to!!!#i do not write for money!!!! i write because i fuckken NEED TO#i could be in the fucking desert i could be in the fuckken tundra i could be in total darkness#and i would still be writing pretentious angsty poetry about it#im not in any way saying it's a good thing. i'm not in any way implying that they're NOT tryna kill us#i'm saying. you could take away our jobs and we could go hungry and we could suffer#and from that suffering (if i know us) we'd still fuckin make art.#i would LOVE to be able to make money doing this! i never have been able to. but i don't NEED to. i will find a way to make my life work#even if it means being miserable#but i will not give up this thing. for the whole world.
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flownwrong · 13 days
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CALLUM KEITH RENNIE as Captain Rayner in Star Trek: Discovery
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mellowthorn · 29 days
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Family cuddle
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tubbytarchia · 1 month
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Oh, I'll bow my head, I'll clip my wings I was never gonna make it anyway (x)
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dragonpropaganda · 2 months
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The Architecture of Rain World: Layers of History
A major theme in Rain World's world design that often goes overlooked is the theme of, as James Primate, the level designer, composer and writer calls it, "Layers of History." This is about how the places in the game feel lived-in, and as though they have been built over each other. Here's what he said on the matter as far back as 2014!
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The best example of this is Subterranean, the final area of the base game and a climax of the theme. Subterranean is pretty cleanly slpit vertically, there's the modern subway built over the ancient ruins, which are themselves built over the primordial ruins of the depths. Piercing through these layers is Filtration System, a high tech intrusion that cuts through the ground and visibly drills through the ceiling of the depths.
Two Sprouts, Twelve Brackets, the friendly local ghost, tells the player of the "bones of forgotten civilisations, heaped like so many sticks," highlighting this theme of layering as one of the first impressions the player gets of Subterranean. Barely minutes later, the player enters the room SB_H02, where the modern train lines crumble away into a cavern filled with older ruins, which themselves are invaded by the head machines seen prior in outskirts and farm arrays, some of which appear to have been installed destructively into the ruins, some breaking through floors.
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These layers flow into each other, highlighting each other's decrepit state.
The filtration system, most likely the latest "layer," is always set apart from the spaces around it. At its top, the train tunnels give way to a vast chasm, where filtration system stands as a tower over the trains, while at the bottom in depths, it penetrates the ceiling of the temple, a destructive presence. (it's also a parallel to the way the leg does something similar in memory crypts, subterranean is full of callbacks like that!)
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Filtration system is an interesting kind of transition, in that it is much later and more advanced than both of the areas it cuts between. This is a really interesting choice from James! It would be more "natural" to transition smoothly from the caves of upper subterranean to the depths, but by putting filtration system in between, the two are clearly demarcated as separate. The difference in era becomes palpable, the player has truly found something different and strange.
Depths itself is, obviously, the oldest layer not only of subterranean but of the game itself. The architecture of Depths has little to do with the rest of the game around it, it's a clear sign of the forgotten civilisations that our friend Two Sprouts, Twelve Brackets showed us, there's not actually that much to say about it itself, it's mostly about how it interacts with the other layers of subterranean.
That said, Subterranean is far from the only case of the theme of layers of history. It's present as soon as the player starts the game!
The very first room of the game, SU_C04, is seemingly a cave. It is below the surface, the shapes of it are distinctly amorphous rather than geometric. (well. kind of, it doesn't do a very good job of hiding the tile grid with its 45 degree angles.)
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But let's take a closer look, shall we?
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See that ground? it's made of bricks. The entire cave area of outskirts is characterised by this, the "chaotic stone" masonry asset is mixed with brickwork, unlike the surface ruins which are mostly stone. This, seemingly, is an inversion of common sense! The caves are bricks and the buildings are stone. This is not, however, a strange and unique aspect but a recurring motif.
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This occurs enough in the game for it to be clearly intentional, but why would materials such as bricks be used in otherwise natural looking terrain?
The answer lies in the "Layers of History" theme. This is in fact, something that happens in real life, and it's called a tell
To be specific, a tell is a kind of mound formed by settlements building over the ruins of previous iterations of themselves. Centuries of rubble and detritus form until a hill grows from the city. Cities such as Troy and Jericho are famous examples. The connections to the layers of history theme are pretty clear here, I think. Cities growing, then dying, then becoming the bedrock of the next city. The ground, then, is made of bricks, because the ground is the rubble of past buildings. The bones of forgotten civilisations, heaped like so many sticks!
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julicity · 1 year
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... Eh?
x OVERBLOT x
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