#Active Exploration

[effectivethings]

How to Spend Time Effectively at the Airport: 7 Useful Tips

Airports can sometimes be a waiting game. Whether you’ve arrived early for your flight or have a layover, there’s often a need to pass the time. But fear not! With these seven efficient and easy-to-understand tips, you can make the most of your airport experience. Photo by Kelly on Pexels.com Download Offline Google Maps 🗺: Before heading to the airport, make sure to download offline Google…

[somewhereincairparavel]

JASON GRACE PLAYS LACROSSE AND TENNIS. I CAN'T AND WON'T BE NORMAL ABOUT THIS-

[bixels]

Posting a sneak-peak of this now because I'm about to be In The Shit school workload-wise, so this'll take me a while to finish.

Doing some character design exploration/expression sheets for Celestia and Luna. Figuring out Celestia's weird ass anatomy while I'm at it.

[itspileofgoodthings]

one of the things that continues to strike me on reread is how much the character of Darcy, and Austen through him, finds Mr. Bennet dead. And how much Elizabeth, in growing and changing and discarding her past blindness, has to move past her way of seeing her father and thus of seeing reality, because the two are connected! Darcy’s letter exposes her father’s flaws to Elizabeth in a way she’d never been able to see before. Most especially the way his laziness and neglect of his own gifts have hurt his family and that ultimately he doesn’t. care. Not enough to change. It literally says that she comes home from Hunsford and tries to laugh at her sisters’ and mother’s folly (the way she used to; the way her father has taught her to by example for her whole life) and she can’t anymore! It sticks in her throat. She is grieved by the failures that she sees in him, all the more so because she IS his favorite and she loves him! And the thing about Mr. Bennet is he never changes. The Lydia/wickham situation exposes to him sharply his own conduct and the consequences and he feels it! Because he is neither stupid nor unfeeling. But he, like everyone, has free will. And he chooses not to change when the opportunity presents itself. He even jokes about how quickly his feeling bad will pass and how soon everything will go back to normal, to his laziness and his selfishness. He is set in his ways and he serves as a contrast to Elizabeth’s personal journey because he embodies a version of a person she could have become and was in danger of becoming if her only goal at all times was to laugh at and judge people from the sidelines.

[wigglebox]

Destiel Pride - Day 16; Baby steps

[tozlittle]

i'm crying

[pawseds]

Ok guys hear me out. Mouthwashing works as a musical. So many monologues can be turned into songs. Swansea's monologue can be a solo. Anya's monologue can be a solo. Curly gets his I Want song and it probably has the word 'ladder' in its title. There's absolutely one track called 'I Hope This Hurts'. Heck, even cutscenes can turn ito songs. The Dead Pixel conversation. Curly's birthday and his announcement. Jimmy convincing Daisuke to climb into the vent (Jimmy sings the tune Daisuke sang when the latter was passed out on the ground, explaining why he's on the Tuplar and hoping his mom won't blame him). Jimmy repenting to Curly burning in a chair (and the track's name is definitely Heroes like in the game's OST). Even segments of surrealistic gameplay can be turned into songs (like aforementioned ladder song).

Characters can also have their own leitmotifs. Jimmy's first appears in a track called 'I Can Fix This', and it comes up in every scene he fucks up. Just like how the sound of a baby crying is a motif scattered through Mouthwashing's OST (like how the baby crying at the very start foreshadows how you're playing as Jimmy, not Curly), Anya's leitmotif is constantly everywhere, but always sounds incomplete, like a question with no answer, a cry for help with no response, since her existence and trauma is never fully acknowledged. It's only completed in her own solo, since she had to fend for herself in the end.

But wait. Why does the second half of her leitmotif sound familiar? Why does it sound like one of the opening numbers 'Polly Says' whose corporate-cheerful juxtaposes the Tuplar's crews mundane routine? This bit ties into that theory of Polly being Anya's vengence in a way, with how the two have the same text colour in a game where all characters have unique text colours. When Anya dies, the Polly half of the leitmotif constantly haunts the tracks or something up until 'Polly Says, Reprise' plays in that final conversation between Jimmy and Polly. Maybe Anya's leitmotif comes back in that scene. Idk. I don't study theatre or music but this idea just struck me like lightning. In this essay I will-

[gummi-ships]

Kingdom Hearts 3 - Rage Form

[she-posts-nerdy-stuff]

All I can think about recently is that there are three main career options for Grishaverse main characters:

A) Child soldier

B) Criminal

C) ✨Both✨

[cockroachesunite]

Thought about them for a little too long

[notwerewolf]

i miss blaseball every day

[fruifruit]

two idiots who hate each other save the world

[wardensantoineandevka]

y'know, most of us are saying this or that about "Bells Hells choosing to release Predathos to remove the gods from Exandria," but — and admittedly my memory might be shaky on this one due to East Coast time — Bells Hells hasn't even gotten that far yet, as far as I remember

like, at minimum it seems that people are FEELING that the Hells haven't even made a decision about whether they even want to let Predathos out or not, or what they want to do about the gods. they were in the process of trying to ask Predathos what it wanted to do and whether it was possible to convince it to go back where it came from without bothering anyone at all. the current situation is more at "Predathos is trying to grab you and use you as a host, what are you doing" without making a clear choice about the implications of the results of resisting or not resisting

we're still in a bit of a not having made a choice yet either way about Predathos's intent to escape or what that would mean for the gods or the state of Exandria, we're not even at the moment of unfolding in text whether Imogen intends for this to be a way to control Predathos to guide it toward another end, whether she is making this as an active choice to try to contain it and prevent it from escaping, whether she is making this as an active choice to aid it, whether she is simply giving in as a resignation to what she feels is inevitable fate

a choice has been made to not resist being taken up by Predathos, but there... hasn't been a clear choice at all so far about the actual narrative question of what to do with Predathos and the gods, like, that's still something that remains undecided on by the party, they hadn't even made a decision yet when the reaching and grabbing happened, so like, yeah

[to-boldly-escape]

Husbandry would be quite efficacious huh?

First post here. Why is the app quality so sh*t lol :')

[queerpyracy]

feel like people who freak out about clear dividing lines between books "for teens" and books for "new adults" lest the teens get their hands on sexy books are not gonna love me telling them what i was checking out of the small town public library at age 15 or what fanfiction i was reading at 12