#ANYWAY. capitalism

[xoxoemynn]

Every time I have a random day off, all I can think about is how much happier and more put together I'd be if we had four-day work weeks.

And not "sure, you can have a four-day week, but you still need to put in 40 hours in a week."

Just. Four days. Get your work done. Sign off when it's done, don't feel obligated to fill the rest of your day just to say that you did.

Imagine.

[tariah23]

Oh…. Well, it’s over for Crunchyroll I guess

[nyancrimew]

i actually write in american anarchist standard english which only really has three rules:

never capitalize country names (unless abbreviated)

em dashes are pretty cool

have fun and be yourself

[exhausted-undead]

young silco..... water theming.... hrrrgh

zoom for details

[so-very-small]

genie: so, you have three wishes-

me: i want everyone in the world to be able to size shift between two inches tall and fifteen feet tall, at will, in a totally safe manner, EXCEPT for my ex and anyone within a 100 meter radius of them. everyone they see or meet will be the exact same height as them.

genie: that’s…. specific.

me: they’re into size. imagine knowing g/t is now real and exists, and you will NEVER get to experience it firsthand. i cannot think of a worse fate for any size fan.

genie: ….y’know what, fuck yeah. let’s do this

me: YAY. so for my second wish, i’m thinking bigass sword

genie: NICE

[bokettochild]

Hey look I found on the Facebook gif!

This one made me immediately think about Twilight and Legend. They surely are the best pal ever =)))

They're surely are the best pal ever =)()

You're right, they are!

(Legend's enjoying this, he just won't admit it <3)

[gynii]

@hey-omi got me into aftg last semester and i made this for them as part of an art trade last month! so now yall get to see it :)

[benevolenterrancy]

hi!! I think your art is *so cool* o(≧∇≦o)

do you think you could draw more moshang? either post canon or that au you did last time?? (baby mobei has my heart and all I own)

(˵ •̀ ᴗ •�� ˵ ) oh! how about return to childhood—moshang flavor?

don't question this king, shang qinghua, he knows what he's about

[bacchuschucklefuck]

while teen while goblin while aroace while injured while doing your best

[breadandlottery]

One man. Three personas. Each one a foil to the protagonist in a different way.

[lazylittledragon]

isn't it weird how if you get up at 7 or 8, do your work all day, then have free time and go to bed at 11 that's absolutely fine

but if i said i get up at 10, do fun stuff in the morning then work in the evening and go to bed late, i could be called lazy, nevermind that i'm getting just as much or MORE work done as i would in a traditional work day

[etirabys]

a frustrating thing about battle royale stories is that they take place in a world where there's a massive popular appetite to see torture and death, the existence of this appetite is the main moral evil of the story (so far so fine), and the author tends to pretend this is also a huge problem in our world so that their work can stand as a Commentary On Real Evil. when the world their actual readership lives in has the opposite problem – too squeamish about seeing torture and death and coercion and collectively agrees to sequester it out of view so that nice things can keep being available for under five dollars at the grocery store

[utilitycaster]

I've been a pretty harsh critic of Dr. Friedman and Polygon's general Critical Role coverage in the past, and while I think her latest article for them critiquing Campaign 3 is a fairly good one, it does in many ways cast an even harsher light on her kid-gloves handling of D20 and WBN. However, I want to talk about these two excerpts, because I think she hits on something I've increasingly noticed in Actual Play:

"This is where Critical Role’s strength — that Exandria often feels like a real, complex world — collided with the needs of a D&D campaign (a clear adversary, clear plans of action, forward momentum)."

and

"But the confused way D&D handles religion and divinity — polytheism as imagined by midwestern American Protestants — turned the question of how to handle this particular cosmic horror into a glue trap, paralyzing the players for dozens of hours of circular existential debates. Gods once mechanized (or digestible) become just another power bloc, and for players used to a system where in the end you are “basically gods,” the line gets blurrier still. And as D&D’s messy cosmology added friction to much of the campaign, D&D’s mechanics also don’t have the necessary friction for the interpersonal beats that make Critical Role compelling."

I agree with both these statements, as someone who, to be clear, enjoys D&D 5e. D&D supports a range of narratives, but all are ultimately a story of gaining power and fighting off or through a series of adversaries; if your characters are not doing that, it raises the question of why you picked a system that gives you few other options. (This is also, I should note, an increasingly loud question when it comes to Worlds Beyond Number; I fell behind for personal reasons after the Coven arc, but Brennan's initial statements about D&D as scaffolding were perhaps too true; almost every interesting mechanic, in a game with minimal combat that has thus far felt primarily focused on how the three protagonists have fundamentally different adversaries, has been homebrewed, to the point where the cosmology and baggage of D&D has felt like a liability rather than an asset).

D&D also has, in part due to such programs as D20, developed a reputation for being world-agnostic, and that ultimately isn't true. D&D does struggle to make the lines between "real divinity", an archfey or similarly powerful entity, and a L20 character feel sharply defined on a mechanical level; once you give a god a stat block, it can be killed (and on a metanarrative level, revealing the gods' statblocks in Downfall serves to make them both immense, yet also more fragile. The hit points are many, but still finite.) There are a number of questions most D&D worlds simply fail to address - and to be clear, this is not a flaw provided you have buy in. A level 2 warlock in D&D is, in most societies, an one-person lethal force unless the entire town swarms them at once, knowing that many of them will lose their lives in the effort; a level 2 warlock PC, however, is almost never, in-world, treated this way, and indeed is framed as an underdog in a harsh world despite usually having the ability to destroy the entire tavern.

D&D has also developed a (not undeserved) reputation as being The Dominant TTRPG put out by a massive corporation, and has developed a (not deserved) reputation as being itself uniquely problematic as a power fantasy, particularly by people who conveniently forget where Pathfinder came from. I've previously covered that, for all people demand non-D&D actual play, the viewership drops precipitously whenever a big AP show that made its name with D&D dares to branch out, and, related to that, I've seen an uptick in people who are excited for D&D to subvert itself. They wanted Campaign 3 to subvert these norms of divinity and heroic fantasy, cheered for it...and ultimately it was unable to do so. I don't think it's accurate to say that D&D's lack of interpersonal mechanics was the problem here, given that Campaigns 1 and 2 (and again, D20) have no such issue; but rather that since D&D's lack of interpersonal/RP mechanics require more effort from the players to initiate, the debates on the nature of divinity in a world and system that could not sustain them sapped any energy for the late-night watch conversations D&D can support when you're not fighting against it.

I think one of the many lessons we can learn from Critical Role Campaign 3 is that if you go up against D&D with an attempt to destroy it from within, your story will instead find itself conforming to the shape of its container, often to its detriment.

[binomech]

i think what gets me so riled up about the goat-adjacent theorising part of the severance fandom is that it's always about what the goats do for lumon, instead of what the goats mean to the employees.

and they never even think oh, the goats sound like crying babies. the mammalians worker was so worried were being taken before they'd even finished nursing. oh, the goats are a herd and mammalians department acts like a herd and they feel each loss as a group. oh, we're just animals. oh, masturbation and homosexuality are punished because like the goats we're just here to make more goats. oh, the goats are alive and used as produce. oh, helly is scared she might be sending them to the slaughterhouse. am i livestock?

it's never about that. it's always about cloning. it's always about pip's food. it's always about the company. it's never about the worker. it's always about the use. it's never about the body.

it's always "what is lumon doing?" and not "who the fuck cares what their motivation is when the show is literally relentlessly just saying REGARDLESS OF MOTIVATION, THIS IS ABUSE. REGARDLESS OF HOW MUCH YOU THINK YOU KNOW BETTER, THESE ARE PEOPLE." they don't think about the innies as children, about expectation, about the trauma of reproduction, about being a body being dismissed in favor of using a body.

lots of "wow cobel is a freak MILF" and jorjorwell but you can't even look at her clutching a respirator after tearing apart a literal altar to a pharmaceutical that just fired her and her knowing how to help a baby latch. you can't fucking sit with why she's spying and fucking with a widower to see what happens when he sees his dead wife at work after a lobotomy and why it still feels uncomfortable and invasive as hell.

[that-vampire-loser]

Andrew minyards closet is FULL. he’s the complete opposite of Neil, loves shopping, loves buying clothes (and buying neil clothes).

And what does neil do? Instead of wearing the clothes Andrew buys him, he just wears Andrew’s clothes

[clockworkreapers]

No, you may not have to-go boxes or the check.