#GAME OF THE FUCKING CENTURY

[attila-werther]

OH THAT FUCKING ENDING

[musubiki]

danmarch 🐉💎

[ylissebian]

HAPPILY PHOREVERAFTER 💗

[praetorqueenreyna]

IWTV is about 4 gay men psychologically torturing each other while the women in their lives get caught in the crossfire

[luck-of-the-drawings]

"I think this is the most inhuman; and human, that I've ever felt.." MUCH CAN HAPPEN IN A YEAR. IN FIVE YEARS. A DECADE. imagine how much can happen in a century. just ONE (1). How will you grow? what phases do you find? even in 5 years, you will find patterns.

[woundedheartwithin]

I wonder what folks thought when this man brought his pet crawfish on the plane

[poetrysmackdown]

what makes a poem a poem? does it have to be written in a certain way? is this question a poem if i want it to be?

Fun question! This is just my personal sense as an avid reader and less-avid writer of poetry, but for me it’s useful to distinguish (roughly) between poetry as a genre and poetry as an attitude or philosophy through which language and the world can be understood. And of course these two go hand in hand. I see poetry the genre as essentially a type of literature where we as readers are signaled, somehow, to pay closer attention to language, to rhythm, to sound, to syntax, to images, and to meaning. That attentive posture is the “attitude” of broader poetic thinking, and while it’s most commonly applied to appreciate work that’s been written for that purpose, there’s nothing stopping us from applying that attentiveness elsewhere. Everywhere, even! That’s how you eventually end up writing poetry for yourself, after all. There’s a quote from Mary Ruefle floating around on here that a lot of folks have probably already seen, but it immediately comes to mind with this ask:

“And when you think about it, poets always want us to be moved by something, until in the end, you begin to suspect that a poet is someone who is moved by everything, who just stands in front of the world and weeps and laughs and laughs and weeps.”

Similarly, after adopting the attentive posture of poetics, there’s plenty of things that can feel or sound like a poem, even when they perhaps were not written with that purpose in mind. I’ve seen a couple of these “found poems” on here that are quite fun—this one, for example. The meaning and enjoyment you may derive from the language of a found poem isn’t any less real than that derived from a poem written for explicitly poetic purposes, so I don’t see why it shouldn’t be called poetry.

That said, I do think that if you’re going to go out and start looking for poetry everywhere, it’s still important to have a foundation in the actual language work of it all. Now, this doesn’t mean it has to be “written in a certain way” at all! But it does mean that in order to cultivate the attentiveness that’s vital to poetry, one needs to understand what makes language tick, down at its most basic levels. It will make you better at reading poetry, better at writing it, and better at spotting it out in the wild.

Mary Oliver’s A Poetry Handbook is an extraordinary resource to new writers and readers, and a great read for more experienced folks as well. Mary Oliver’s most popular poems are all to my knowledge in free verse, and yet you might be surprised to find her deep appreciation for metrical verse (patterns of stressed/unstressed syllables), as well as for the most minute devices of sound. In discussing the so-called poetry of the past, she writes,

“Acquaintance with the main body of English poetry is absolutely essential—it is the whole cake, while what has been written in the last hundred years or so, without meter, is no more than an icing. And, indeed, I do not really mean an acquaintanceship—I mean an engrossed and able affinity with metrical verse. To be without this felt sensitivity to a poem as a structure of lines and rhythmic energy and repetitive sound is to be forever less equipped, less deft than the poet who dreams of making a new thing can afford to be.”

In another section, after devoting lots of attention to the sounds at work in Robert Frost’s “Stopping by Woods on a Snowy Evening”, she writes,

“Everything transcends from the confines of its initial meaning; it is not only the transcendence in meaning but the sound of the transcendence that enables it to work. With the wrong sounds, it could not have happened.”

I hope all this helps to get across my opinion that what makes a poem a poem is not just about the author's intention, and not just about meaning (intended or attributed), but also about sound and rhythm and language and history, all coalescing into something that rises above the din of a language we would otherwise grow tired of while out in our day-to-day lives.

I'll always have more to say but I'm cutting myself off here! Thanks for the ask

[ornstein]

There's just something about the first AC games' found family parasocial relationship trope between some guy from the present and his 500-800 year-old dead ancestors whose existence entirely relied on his scheduled demise that really gets me. Though you've been no more than puppets molded by the gods throughout history and your ancestors knew no more than the spelling of your name, you know every private and personal aspect of their lives but mourning people only days prior you didn't know existed becomes short lived.

[doodleimprovement]

Emmet but he's in the next Legends game and he teaches you various game mechanics including a first for the series: Melee Combat

He gets a sword because I said so

[deathzgf]

danton and robespierre were the What ?

[bananonbinary]

i adore back to the future the game and other more modern entries into the franchise, because marty is still from 1985, but the thing was made here in the 21st century, so you end up with a REALLY funny mix of "outlandish future tech" and "completely normal things that actually exist"

theres a goof where marty and doc communicate with a "futuristic" computer headset that definitely came from like an xbox or something, but its RIGHT NEXT TO a mr fusion and a hoverboard. it's great.

[icyblueroses]

Something about how in Season 1 so many people were wondering how Jayce managed to pull two baddies so in response they made him look like THIS:

in season 2…

I understand now

[meangreennunseen]

I know we all like to headcanon Primarchs being dads to their somehow concieved biological kids, but the more I read about these guys, the more I find the instances of Primarchs showing genuine care towards their Astartes only a Father could towards his sons.

Like you have Sanguinius being terribly heartbroken because his sons have Red Thirst and Dark Rage.

You also have Magnus going straight down the dangerous path and opposing Emperor's will just to fix his sons' mutations.

You also have Corvus, who not only felt terrible sorrow over loosing 75% of his legion on Istvaan V, but also going straight down to Emperor to ask for Gene-seed in order to rebuild what he lost. And him being haunted by grief over having to kill his mutated beyond repair sons.

Like these guys care so much. They have such a big hearts filled with love and duty towards legions created from their genetics. You cannot tell me these guys wouldn't do even more insane things for any kids they managed to have biologically.

[marzipanandminutiae]

Popular opinions of Bridgerton?

Oh, well, that's easy. Love the racially diverse casting and the no-brainer to make Stunning Goddess Nicola Coughlan a romantic lead. Next!

[werewolfetone]

Maybe that one letter threatening to murder the entire poor law board didn't go far enough

[noxith-sky]

Something something,

Marika removing her (self) love and putting it into Miquella before doing what she perceives has to be done and shattering the rune and destroying herself. And Miquella, removing his (self) love and tossing it into the deepest pit before doing what he perceives has to be done and trying to ascend to godhood to fix everything.