#I mean its not like its that likely anyway

[nietzhat]

anyway if i was misty just saying i'd leave the group train on my own rejoin and watch ash's progress and pay attention to his fighting styles again and challenge him until i won and then i'd slit his throat i'm sorry

[rafesbangs]

౨ৎ ˖ ࣪⊹ frat!rafe decides to participate in no nut november, you disappove... strongly.

summary: in leu of it being november... rafe and his buddies (idiotically) challenge each other to nnn and you do your best to make your boyfriend lose because you cant stand the stupid juvenile game.

warnings: MDNI ! 18+ ! no nut november. male testosterone (ew), fratboy idiocy, topper and kelce (ew), spoiler! unprotected sex, hj, size kink, strong language, use of the nickname 'rafey' and 'baby' (bcs when do i not), kinda mean!rafe ?, kinda plot, kinda smut... yay!

wc: 2k

a/n: hoping this will get me out of my writers block... (its really bad) but tbf i just moved into my new apartment !yay! so hopefully when i'm not tired as hell and feeling broke from the deposit, i'll write regularly again <3

you had tolerated a lot of stupid shit that rafe and his idiot friends would get up to when they were together. especially when they were together, drunk and unsupervised. last night was the same as any other, but your boyfriend, topper and kelce had concocted an idea that put most other idiot ideas they've had to shame.

of course topper birthed the idea in the first place, he wasn't currently getting some anyway. his girlfriend, whom you actually found to be super bitchy, had just dumped him for some older dude that had dropped out long ago. everyone tried to tell him he was better off without ruthie because of how much of a raging cunt she was but he just decided to make his miserable attitude everyone's problem, leading to this stupid bet.

you can easily surmise how it came to be, one too many beers and topper starts talking about how he's better than kelce and rafe because he's not getting any and he can 'handle it like a man'. whatever that means. of course kelce and rafe in their drunken stupor don't enjoy their masculinity being threatened, so all reason goes out the window and they all bet each other $100 they can do no nut november.

the next morning of course, your boyfriend instantly realised what a stupid fucking idea it was the second he saw you making breakfast for the two of you in just panties and one of his t-shirts. he wanted to take you right there on the kitchen floor of your apartment but he couldn't. it's not like he didn't have 100s to spare, he just didn't want to back out of the bet so early and embarrass himself in front of his frat brothers.

though you would argue that the bet itself is doing a lot of embarrassing him on its own. when he had begrudgingly rejected three advances you'd made towards him, you finally caught on.

instead of smacking him 'round the head like you wanted to, you came up with a much better idea that unfortunately for rafe consisted of him losing $100 but consisted of you actually getting laid this month. because fuck that noise, you didn't agree to involuntarily joining in on no nut november.

you began to walk around in your best lingere, with one of his big t-shirts on too, though that definitely only turned him on more. next was wearing tiny pieces of clothing that left little to the imagination whilst always putting yourself in compromising situations; dropping things in front of him, getting 'stuck', spilling things on yourself... basically anything because if he was gonna do something stupid then you were gonna make him reap the consequences.

it was late at night when he'd finally had enough. a huge exam was looming and he'd had no proper way to let off steam for almost the entire month, you 'whoring' around the apartment didn't help either. so when you'd slipped into bed in one of your best lacey sets with a glossy smile, he'd just scowled at you before grabbing you and pressing his lips to yours hungrily.

"you're such a fucking slut" he growled between your lips, his hands desperately gripping wherever they could on your body. you were sat pressed up against the headboard of your bed, thighs haphazardly spread with his body forced between them. you didn't reply, just smiled and groaned into the rough kisses.

he parted his lips from yours and grabbed your throat roughly with one of his hands, anger but also desperation was seeping from his expression. you were, admittedly, a little afraid. rafe would never purposely hurt you but, he was extremely built and towered over you, though rough sex was kinda your thing.

you almost shook off the slight fear in your face before smiling at him again, realising you'd already won. this was a point of no return, the way he was biting his bottom lip in frustration, the heavy breathing in an attempt to control himself, he had unraveled already.

without a word he hooked a finger under your panties and yanked them down forcefully, you giggled at the action and helped him pull them off from around your ankles. he shook his head before kissing down your stomach, he knew you'd won and he'd given into you, that he'd be surrendering a crisp $100 to his asshole friends.

but a smirk stretched across his face as he tugged his pants down too in front of you, "you won baby, i lost no nut november.."

you grinned proudly as you lay back, your legs spread waiting for him to slowly sink his length into you.

in one swift motion, his arm slid under the small of your back as his huge cock plowed all the way into your sopping pussy, "- but we'll see who's really winning when you can't walk tomorrow." an evil smile was strewn across his face now as he mercilessly snapped his hips against yours, ignoring your cries at how he was too big.

he wasn't a complete asshole, he knew your pussy would relax around his length and soon you'd grasp around his neck, moving your hips in sync with his.

rafe hadn't realised just how pent up he was until he felt himself nearly coming undone multiple times, the way you were tightly squeezing around his dick didn't help either.

his eyebrows were permanently stitched together as his hands dug into your hips, still ploughing deep into you.

"fuck baby, fuuckk baby. this pussy loves me s'much huh? couldn't jus' let me be forra single month." his tip kissed your cervix multiple times and you could've cum a number of times, but vowed to not give in before him as you could feel his strokes becoming increasingly sloppy.

his face screwed up and he let his bangs hang messily over his face, not bothering to run a hand through his hair anymore. he was about to spill into you, and you were unravelling too, "you about to come in me rafey? please, fuck- give it to me-"

his eyes rolled back at your words, finally slowing he painted your crimson walls with thick ropes of cum, groaning gutturally the entire time.

"fucking hell. that creampie was just worth $100 baby." he scoffed, shaking his head a little, "'nd it was worth every fuckin' dollar." he half-collapsed on top of you, kissing your forehead, all while still inside of you.

"you'd better go tell topper and kelce then" you grinned mischievously.

[fordford]

responding to this reply on my post saying stan and fiddleford don't like each other - i was going to reblog and add it but i forgot you can't add videos in reblogs so i guess this is its own post now; anyway here's stan talking shit about mcgucket for almost a minute from the land before swine hidden commentary track. video description below the cut.

video description: a clip of the land before swine in-character grunkle stan hidden commentary. the episode is playing as normal, but the volume of the actual episode is turned down to an almost inaudible level and grunkle stan is commentating. the video transcript is as follows:

oh, gosh. this guy. yeah, so, uh… y'know, old man mcgucket… he's a bit of a - he's kind of a liability. i mean i guess he helped us save the world with that robot and whatever, um, but, y'know, prior to me realizing he was a genius, he was mainly just a nuisance. like i think i run - ran over him with my car a couple times. he's like a possum, he just runs out in the middle of the road. (laughing) i mean - y'know, everyone in gravity falls has run over old man mcgucket at least once. it's kinda - it's kind of a rite of passage when you're in that town. y'know, obviously i didn't want him on this mission, y'know, mcgucket-ing up the whole thing. he's a liability, i mean, let's face it! various tales that we didn't need to hear. that gold tooth glinting in my eye distracting me all the time. uh, y'know, i'm pretty sure he was responsible for getting us to fall off of this thing - wait, let's wait and see. yeah, there it is. called it! his fault. sometimes i remember things being someone else's fault but in this case i was right! all mcgucket.

end video description.

[tvheadfalls]

its called married in red bc me and bok-su, well. we'll have a beautiful spring ceremony

more under cut bbb spoiler and cartoony blood warning

[that-thoughtful-waffle]

I absolutely agree with this, but my interpretation of live action is that it's inherently a derivative work.

While I agree that we shouldn't say that every animated movie should be live action, we also shouldn't say that the movies that are live action adaptations shouldn't exist simply because they were originally animated on cells.

Live action adaptations are just that: adaptations.

Cell animated films are incredibly valuable in their own right, but so are their live action adaptations.

Live action adaptations aren't about correcting or legitimizing the work itself. It's taking something that exists in its own right and creating a derivative work in a new format.

Was it overdone? Yeah, probably. But is their existence a negative thing? No, I don't think so.

The 2022 movie of Pinky and the Brain is a live-action/animated film. Balto (1995) is also a live-action/animated film. (Look on wikipedia. I get the feeling that live-action may be a looser term than is being construed)

However, The Jungle Book (2016) and Christopher Robin are both closer to what we think of as live action movies.

So here are Shere Khan and Tigger again:

Which one feels safer to be around?

They're both animated, too. CGI is in so many modern live action movies that I don't think it's fair to say that these ones are parading as live action and pretending to not be animated.

I also think calling them remakes is not great wording because it has the same feeling as remastering, and by making them live action, it does imply that the medium needed to be changed. I think the word reimagined is fine, though. If you don't like that, then I wonder if you realize that fan created derivative works are also reimaginings of the originals.

I also, I haven't seen anyone say that animation is a placeholder. It feels like its somewhat understood that It's a stylistic choice. Granted, the live action movies probably weren't possible to the extent they are now when the movies came out, but I still don't think that makes them placeholders.

The final thing I have to say is that the movies may have been made live action to renew old ip. From a corporate standpoint, it is probably a good way to retain control over the intellectual property of those movies and characters without just releasing a remastered version.

Anyway, thank you for discussing this with me.

Tldr: I agree that the original animated films are perfectly fine works in their own right, but I don't think that means that live action adaptations are an evil virus of satan. (maybe an evil virus of capitalism, though)

I also wanted to add that I realize you aren't the first person to call them a remake, I'm just saying that I feel the term has connotations that may misconstrue intentions.

Since we keep getting "live action" CGI remakes of already perfectly adequate animated movies, and because people need to understand that animation is a medium and not a genre, I have prepared this primer about the importance of Visual Language for Conveying Information.

Can you tell what the personalities of these two mice are?

Can you tell now?

Which of these two tigers feels safer to be around?

Which of these three dogs is the funniest one?

If you can answer these questions, then you already have experience with the idea of visual language and stylistic choices being used to impart narrative meaning. If you can understand why these choices were made to impart meaning, then you can understand why animation is a medium for telling stories that has its own inherent value, and is not merely a "placeholder" for the eventual implementation of photorealistic presentation (aka "Live Action" CGI). Animation does not need to be "corrected" or "legitimized" by remaking it into the most representational simulation of observable reality.

[eternalera]

just figured out what made the whole interaction between jayce and viktor in the "im from the undercity" scene so good. when jayce sets up the blockades and viktor 'violates' it (technically he doesnt because he went down before they were put up but then he does because he needs to get back up and the blockades are there and... i mean kinda but not really? anyways im rambling).

when viktor asks jayce "and what difference does that make?" his voice isn't accusatory, its genuine 'why does it matter that theyre from the undercity?' there's trust in it. trust in jayce to be different from the other piltovians when it comes to the undercity because jayce is his friend and he's jayce's. because viktor's from the undercity, something that jayce knows.

so he's actually curious. is there something going on in the undercity that he doesn't know? is it for his protection? there's innocence and there's trust in viktor's question and his voice, its not accusatory because once again he trusts jayce. but jayce tears that down within moments.

"why does it matter?- they're dangerous" and that's the moment viktor's voice hardens because that's the moment jayce 'proves' in some form that he does have some sort of systemic classism/racism (kinda) in him. someone that he's trusted and built this friendship with just called him dangerous but to viktor that doesnt really matter (or at least i think).

because jayce just put a stereotype on everyone in the undercity, the very people who viktor is so adamant on trying to help and when viktor says "im from the undercity" he's making a point. 'if everyone there is so dangerous then i guess i am too right?' is what he's asking and that's when jayce backs off and apologizes. when he tries to help viktor up (who we know is dying like keep in mind jayce saw him in the hospital practically the other day) but viktor rejects his hand.

there's genuine conflict and tension here especially when viktor asks the question we as the audience most likely already know what jayce is going to say next will upset viktor but he doesnt know that and the minute that it is finally said from jayce viktor's demeanor changes.

the trust that these two have in each other only for fragments of it to be broken in a single scene. that's what makes this all so powerful, also its the reason that viktor experiments alone so... rip sky ig-

[ravnervn]

Okay fuck it. I need to exorcise this from my brain. This has haunted me for 2 or 3 years since I saw this film by chance, so I am going to, as best I recall, recap the plot. And then at the end I will say what it is so you can understand why it haunts me. I will say off the bat that you might read this ramble and go "huh this sounds good actually" and it is not. It is not a good movie.

So the film is framed as a story being told to someone -- we're not quite sure whether it's meant to be taken literally or allegorically but the ending and some other details IMPLY it's actually true.

So there's our narrator, who is an average mortal guy living a happy life. And then there's our second protagonist and actual main character, a celestial bureaucrat whose order's numbers are drawn entirely from those who have been denied a chance at a normal happy life. Whilst they can forsake their status to become mortal, as far as the bureaucrat and his peers are concerned, they are happy and performing a valuable service to reality. Our MC has been sent to Earth to investigate a threat to his organisation, and to do so he has infiltrated the narrator's life, seemingly metaphysically convincing everyone that he is the narrator's brother -- except the narrator, who sees through him and ends up convinced to help our MC as it's mutually beneficial; once the mission is done, the narrator's life returns to normal and the MC returns to his role.

So what's happening is that a rival organisation to the MC's has started up and is diverting... Okay so you can see the obvious parallels here and "worship" would fit, but I'll use the film's term of "love" because it's thematically coherent. Anyway, this organisation has a big scheme they're going to hatch to divert all love away from the Rightful Celestial Bureaucracy, and it's up to our protagonists to stop them.

See, the thing going on here is that love is finite. If someone only has one thing to love, they'll love it wholly, but if they have two things to love, that divides the love in two and so on. If they find something they love more than the original object of affection, it could fully supplant it, and that's the crux of the villain's plan.

Because the villain is a fallen celestial bureaucrat who lost his ability to hold onto his celestial form and was forced to become mortal. His plan for revenge is to supplant the love people have for his former order with love for a false idol, thus destroying the whole celestial bureaucracy. The fact this is considered a legitimate and real threat by the celestial bureaucracy implies that this is, metaphysically, how this works. Even if we take this story allegorically, the allegory still has the basis "love is a finite resource and you learn to make do".

Obviously our heroes defeat him, and obviously during this time they've genuinely bonded and decided that maybe having this guy as a brother/maybe having a loving family as a mortal is okay actually. So our celestial bureaucrat becomes a mortal and this whole story becomes just a funny whimsical reframing of the brothers' childhood.

Yes, childhood. Because here is where I unbury the lede and reveal that the villain is the CEO of PuppyCorp, whose plan is to give everyone a free puppy so that they'll love babies less, because the celestial bureaucracy is BabyCorp.

The movie I have just described to you is Boss Baby. I am being deadly fucking serious.

[cozylittleartblog]

idk if I've said it before, but your portrayals of both Rouxls and Queen are among my favorites, and the way they are when you combine the two is the sole thing that got me to say "yes" to queenkaard. When I first saw it in the game and it started catching on as a ship, I was like "nooo I hc him as gay," but then after seeing your stuff I was like "oh nvm I totally see this now."

i think hearing "i didn't see this ship before, but after your art i understand it and/or even ship it myself" is one of the nicest compliments i get, because it makes me feel like i'm representing something meaningful and sweet about a pairing and having people understand what i think is so great and captivating about them. i've gotten a couple asks like this and sometimes i forget to respond but i always really appreciate them :) thank you very much

[maniculum]

Hear me out: this is a mostly plausible alternate history alphabet.

The places where this one is wrong are all the most RECENT changes to the English alphabet.* So clearly we’re looking at an alternate history with a point of divergence sometime around the late medieval / early modern period. It's got to be a post-printing-press era because the handful of letters that occurred in English but not Latin during the medieval period are all absent, and the development of the printing press was the final push that made English drop them.**

First, ⟨j⟩ wasn’t invented in this timeline. Note that ⟨j⟩ is a very recent letter; there’s no attestation of it being used to represent a distinct sound before the 16th century, and that idea didn’t make it into English until the 17th century. Before then, ⟨i⟩ was doing extra duty. ⟨j⟩ actually developed from a variant of ⟨i⟩ — if you’re familiar with the “long s”, it’s like if someone decided that we should split it off as its own letter, so e.g. ⟨s⟩ made the /s/ sound and ⟨ſ⟩ made the /ʃ/ sound.*** There was a conventional usage where sometimes you'd put a little hook on the ⟨i⟩ depending on its position in the word, just like the long s was position-dependent, and we turned the hooked ⟨i⟩ into ⟨j⟩.

Second, ⟨w⟩ developed differently. Now, ⟨w⟩ as its own letter is also recent, BUT there was already a substantial history of people using a literal double-u -- ⟨uu⟩ -- to represent that sound. However, the differentiation between ⟨u⟩ and ⟨v⟩ is also quite recent, following similar logic to the ⟨i⟩ and ⟨j⟩ thing from above, and developing around the same timeframe, which is why even though we call ⟨w⟩ a "double-u" in English, it looks more like a double-v (and in fact some languages call it that). At the time we named it, those were functionally the same thing; whether the name solidified as "double-u" or "double-v" was pretty much arbitrary. Anyway, you could interpret this alternate alphabet as having split ⟨w⟩ in two at the same time they split ⟨u⟩ and ⟨v⟩: perhaps the ⟨w⟩ with the blob in the middle could represent a "crossed" ⟨w⟩.**** If you want a speculative usage of the second ⟨w⟩ (which we could name "double-v"), I propose that one could represent /w/ and the other could represent /ʍ/.***** Of course, if I were designing an alphabet that split ⟨w⟩, I'd literally do a double-u and a double-v, so that the two characters were ⟨ɯ⟩ and ⟨w⟩.

The semicolon is a tough one, and the reason I described this as MOSTLY plausible. The only possible explanation I can advance is that its inclusion is inspired by the history of the ampersand, ⟨&⟩. For a time, ⟨&⟩ was included as a letter of the English alphabet, usually listed at the end. One could imagine the designer of this alternate alphabet as deciding that they also wanted to change things up by including a punctuation mark, and picking ⟨;⟩. But of course this is misguided, because in fact ⟨&⟩ isn't a punctuation mark; it's a ligature of ⟨et⟩, and I believe technically it qualifies as a logogram.

* I specify "English" because I am not up on the history of orthographical innovation in other languages that use the Latin alphabet. I’m sure there have been more recent changes in other languages’ implementation of the Latin alphabet, but these are the most recent changes that apply to English.

** When Europeans first started making movable type, it was designed to print Latin, so letters not in Latin weren’t available, meaning printed texts couldn’t have ⟨ð⟩, ⟨þ⟩, ⟨ƿ⟩, or ⟨ȝ⟩. Some Norse languages held onto ⟨ð⟩ and/or ⟨þ⟩ anyway and eventually people did make type for them, but English ditched them pretty quickly. To my knowledge no current writing system uses ⟨ƿ⟩ or ⟨ȝ⟩; ⟨ƿ⟩ didn't seem to fully catch on even in the medieval period, and I don't think ⟨ȝ⟩ was ever in use outside of the British Isles. English orthography was kind of already phasing out its extra letters even before printing arrived, so they never had a chance.

*** For people who don’t know IPA, /ʃ/ is the sound English currently represents with ⟨sh⟩. English apparently decided that “add an ⟨h⟩” was the basic solution to differentiating any two consonant sounds, as likewise it replaced ⟨ð⟩/⟨þ⟩ with ⟨th⟩ and ⟨ȝ⟩ with ⟨gh⟩.

**** Annoyingly, there's no Unicode symbol for "crossed W", but it's the style that they use in the Wikipedia logo if you want an example. The two ⟨V⟩s overlap in a kind of x shape instead of meeting at a point in the middle.

***** The phoneme /ʍ/ does occur in English, but it's a little hard for me to describe because it's fallen out of a lot of dialects, including my own. If you pronounce ⟨w⟩ and ⟨wh⟩ differently, your ⟨wh⟩ is probably /ʍ/.

One of the greatest Tweets and it hasn't even existed for 24 hours

[felassan]

David Gaider on Cassandra (the last of these retrospective character threads), under a cut for length:

"This is the last of the (major) characters I wrote during my time on Dragon Age. I could go into others, and considered moving onto Stray Gods... but I feel like fewer would be interested, and I honestly can't keep up the pace. So let's make this the last, for now. So, yeah. Cassandra. We knew early on that Cassandra would come into DAI as a companion, along with Varric, that this was part of what DA2 set up for the sequel. Now, I'd written Cassandra's short scenes in DA2, yes, but I wasn't her writer for DAI. Initially, she was Jennifer Hepler's character. By mid-project, in fact, Cassandra was more or less fully written. Jennifer did a great job - solid character, solid quest. The sticking point, it turned out, was her romance. Now, to be fair, Jennifer told me straight up when we began that writing romance wasn't her forte, but she'd give it a go. The problem with the romance as she wrote it wasn't in its execution but more a clash between the character as Jennifer envisioned her and the requirements of her being a romance. See, I mentioned previously that a romance arc inherently limits the kinds of stories you can tell with a companion. Many responses I got can be summed up as "lol skill issue", but consider this: a companion romance isn't a fic you can just throw up on AO3. It's an investment of a lot of resources. If a companion has one, most of their resources need to be devoted to it - it's not "now let's ALSO add a romance"."

"That means it needs to take priority in who they are as a character and their arc. What's more, they need to be *appealing* to a big chunk of the player base - or at least someone we can imagine being broadly appealing, anyway. Thankfully, there are still many many stories this can accommodate. 😊 This, however, wasn't one of those. Was Cassandra a fascinating character? Absolutely. Her romance, though... Well, Jennifer DID warn me. She'd written Cassandra as a serious, self-righteous, pious woman who put the Inquisitor on a messianic pedestal. Romancing her meant changing her view of you. You did this by being... pushy. Jennifer didn't mean it to, I'm sure, but sometimes it came off as, at best, negging. At worst, a bit harassy. And Jennifer would have fixed it. This was a 1st draft, and the issues - while serious - were something a skilled writer like her could handle. No problem. Thing is, Jennifer left. You may not remember, but this was around the time a bunch of GamerGate dudes decided Jennifer was somehow responsible for ALL of BioWare's faults. Oh, the power she wielded! She, a writer, could even command the combat Bio made! The result was a LOT of ugly harassment. 😞 Is this why she left? You'd have to ask her, but it undoubtedly didn't help. The important thing is, she left - and there was nobody as senior nor as superhumanly fast as her to take over any unfinished work. This is where Patrick Weekes comes in: a solid, senior writer who could fill her shoes."

"It was great timing - not only did Cassandra need a writer, I'd slowly fallen more and more behind. It was clear by that point that I'd never be able to write Dorian AND Cole AND Solas as planned. They needed to pick up two. And I let them choose the ones who interested them, like all my writers. Patrick taking Solas was no surprise, and while I had Big Plans for Solas in the future I knew at least he'd be in good hands. I was reeeeaaaally hoping Patrick would then pick Cassandra... but they wanted Cole. My baby. Who I created in Asunder. I grumped, but Patrick clearly loved the character. They had ideas for Cole which... yeah yeah, sounded cool. Fiiine. 😅 Now I had to figure out what *I* was going to do with Cassandra. We couldn't move the romance to someone else, all the other female characters were well underway, and I didn't know the character well enough to fix her with tweaks. That meant a re-write. I didn't WANT to erase all that good work, but I needed to start from scratch. Yet how? A pious, self-righteous character was already a risk in terms of romantic appeal. There are only a small number of traits sorta considered universally unappealing but they're on that list. In this instance, Cassandra already being a known character helped. I came across a webcomic (by aimo, I think? AHH I wish I could find it now) that made a joke about Cassandra reading Varric's books. Off-hand, no basis for it, but funny. 😆 And I thought: YES. THAT'S IT. THAT'S WHAT I'M MISSING."

"I sat down and wrote the "fangirl" scene, just to test it out. Everyone loved it, and it served to change my image of who Cassandra was - a view of the inside, at the idealistic and awkward passion she felt, for so many things... AND the Maker. "Yes," I thought. "I could fall in love with this." Who knew Cassandra could be funny? Not anyone, coming out of DA2, yet here we were. It worked so well and her voice came so easily. Miranda Raison was game ofc, and amazing. Though Caroline did gripe that, if we ever met more Nevarrans THAT accent meant we'd have the Tali Problem all over again. 😅 Cassandra's romance is burned into my brain as the time when we THE most awkward conversation with the animators ever. See, that moment during the sex scene on the picnic blanket when she leans back and... there were suddenly these strategically-placed candles, juuuust covering the Sordid Bits. Thing is, they were so obviously placed just to do that. Plus, we'd already decided to do full nudity in DAI, hadn't we? WHY WERE THEY EVEN THERE? Turns out, the nudity thing was still pretty new to the team. They'd forgotten and put the candles there almost as a reflex. So prudish. So Canadian. 😂 I do find it kind of funny that, these days, what I mostly hear about Cassandra is from female fans upset at me because she wasn't a lesbian option. I mean, right? Who wouldn't want that? Technically not my decision, but I guess I WAS behind the companions having set preferences so... fair enough?"

"Some of them do take it to an entitled place, though, like Cassandra *should* have been a lesbian. Why? Because she looks like one, apparently, and that that's a bit of stereotyping which feels... odd? But it's not as if lesbian players are spoiled for choice left and right, so again: fair enough. It did lead to the best end credits VO perhaps ever, and overall I'm pretty happy with how Cassandra panned out. Things never end up like you expect, right? But such is game dev lyfe. 🥸🖖 Did you know Cassandra was THE most-romanced DAI character, by a good margin? Least, by a good margin? Dorian."

[source thread]

User: "Did you have any hand in her writing for Dawn of the Seeker?" David Gaider: "No, none. Nobody at BioWare had any hand in Dawn of the Seeker, outside of maybe Mike approving the script or direction? Only he could say for sure." [source]

User: "Was Miranda a specific casting choice by anyone on the team (similar to your picks for Merrill/Fenris/Solas), or was she simply a lucky find? I loved Miranda on the BBC series "Spooks", so I was very pleasantly surprised to learn she voiced one of my favourite DA characters" David Gaider: "I don’t remember how Miranda was cast. Auditioned, I expect, and she had a good “steely warrior voice” which is surprisingly uncommon among actresses. The accent she made up was all her, as well." [source]

User: "What's the Tali Problem?" David Gaider: "When Tali was the only Quarian, the actress doing a made-up accent was fine. Once there were others… do we get them all to mimic her? That’s a tall order!" [source]

User: "I'd say Solas is the most popular nowaday, but you need to be such a specific race/gender combo + most straight guys wouldn't go for him, i get hes not on top of the list, but I'd have expected Josephine over Cass." David Gaider: "You can’t go by how fans online talk about playing the game. There is almost zero correlation between the playstyles of the vocal hardcore and the masses." [source]

User: "I was a Dorianmancer. The cut content in Trespasser DLC was sad to read, it definitely felt short/abrupt for Dorianmancers. Anyway to share what was cut at all?" David Gaider: "I don’t know what was cut out of the conversation, as I never played it. I just heard about it after the fact." [source]

User: "Those end credits are truly incredible. Do you remember who wrote them? I'm guessing a combination of Mary Kirby & you?" David Gaider: "I wrote them, but I recall the entire team kind of took part in brainstorming the pieces of it." [source]

User: "I’m very curious- Do you know what direction you would have taken Cole and his story if you’d kept him?" David Gaider: "It's hypothetical at this point, but I suspect I would have been less willing to lose the serial killer aspect... or, at least, would have made that transition occur as part of his arc in DAI. Yet that's easy to say from this side of the divide. Who knows, really?" [source]

User: "With Cassandra you created one of the best characters in DA history." David Gaider: "Personally, my favorite response of hers is where she gets mocked for loving romance and she comes back with a retort about how it's a strength - how loving something and striving for the ideal takes courage. To me, that's central to her core." [source]

User: "inquiry: did you not write any of the Awakening characters?" David Gaider: "I wrote Anders, Justice, and Nathaniel in Awakening - but it was such a hurried project, my memories of it are pretty much a blur. "Yes, I worked on that" is almost all I can say about it, I'm afraid." [source]

[suzukiblu]

Day twenty-seven of “obligatory sugar baby Kon” behind the cut. prev: (( chrono || non-chrono ))

They spend a lot longer than Tim actually expects Kon to want to spend on that “couple things”, since obviously they can’t start with the exciting stuff and he just assumes Kon will get bored in about thirty seconds’ worth of Tim Drake’s awkward and over-detailed explanations of every little thing and also will experience immediate regret about admitting that he both doesn’t know how to do something and isn’t going to be immediately good at said something. Any time Kon’s not immediately good at something they’re doing in training he gets mad or pissy or at least frustrated and acts like a total asshole about it, but right now . . . 

Kon falls off the board and lands on his ass for the third time and for the third time just grins up at him sheepishly, and Tim feels very weird and not-normal and sort of just–smitten about it, really. 

“This is way different from surfing,” Kon says with a laugh, shaking his head, which is a little surprising to hear for some reason. If nothing else, Tim would’ve expected Kon to get even more frustrated, if he was assuming any apparent surfing experience might’ve helped him out here. He has heard it usually does, so maybe Kon’s just out of practice or his own standards are just, uh–a little too Bat, maybe. 

“Is it?” he asks, offering Kon a hand up again. Kon did it for him earlier, and anyway, it kinda makes him feel like carrying the other’s bags for him and being trusted with his weight feels. And Kon takes his hand, just like the last two times, and lets him help him up like there’s literally any reason he needs to bother to. “I’ve never tried surfing.” 

“It’s wicked,” Kon says, grinning at him again and giving his hands a quick squeeze before heading over to retrieve the board from where it skidded when he fell. He does not fall like a Bat, but he definitely does know how to. He’s just also clearly expecting his falls to be more of a “terminal velocity” situation than a “tripping off a skateboard” situation. Which, like–fair, yeah. “You gotta use your arms way more, though, and like, it just feels way more like you’re riding something, you know? Concrete just kinda sits there and there’s way less wind to worry about.” 

“Oh, yeah, I never really thought about the wind,” Tim says. Waves, definitely, but he didn’t follow the thought to its logical conclusion. “Pretty sure people based skateboarding on surfing to start, though, so is it really that different? Like, mechanically?” 

“I dunno,” Kon says with a shrug, tucking the board under his arm and trotting back over to him. “I mean, kinda? But also wheels are way harder to feel the ground through ‘cuz they’re spinning the whole time, so sometimes I get dizzy if I hold onto ‘em too much. And like, water moves a lot more than concrete, but the board’s totally flat against it, so like–easier to feel it, I guess? Just feels, like, more intense, kinda.” 

“. . . that’s really interesting, but are you seriously trying to use your TTK when you skate?” Tim asks, trying not to laugh at the idea even though he definitely should’ve expected it. “You’re such a cheater.” 

“Hey, I use TTK when I everything, thanks, and it’s not cheating!” Kon protests with another laugh, which is definitely not the way Superboy would’ve responded to Robin saying something like that. “You’re not cheating when you use your friggin’ ears and eyes, are you?” 

“Oh, blind skateboarding, that sounds terrifying,” Tim muses, and Kon laughs again. 

“I’d die! You’d die!” he says, sounding incredibly delighted about the prospect. 

“So I’m hearing we start with the low ramps, then,” Tim replies reasonably. 

“Oh my god, Tim,” Kon cackles, and then ducks in close to throw his free arm around his neck and kiss him again, his TTK wrapping around him for just a quick flash of pressure of its own. 

Tim feels–very weird, again. 

Specifically, he feels very weird hearing Kon’s voice saying his real name, especially right before kissing him. Kissing him, and also wrapping him up completely in the power he just identified as being as important and natural to him as his hearing and vision and, presumably, any other senses are. 

And again, Kon is clearly really, really tactile, so that’s hard not to be weird about too. 

Kon leans back, back to grinning at him, and Tim feels vaguely mortified and vaguely like eating him alive and also like this date has gone absolutely nothing like he planned, despite his best efforts. Kon brought him a present and he hasn’t bought Kon anything but an amount of grilled cheese sandwiches that can only be described as “inadvisable” and has in fact spent way more money on himself than he has on Kon, plus they’ve spent basically the whole date so far doing things he likes, not– 

“Um, just in case like a building collapses or a supervillain happens or whatever and I gotta run off early, um . . . thanks. For tonight, I mean,” Kon says, the grin he’s barely dropped briefly slipping into something a little shyer, and Tim stares blankly at him for a moment and feels like an insane person, or at least like he maybe just hallucinated that. “I’m really having fun.” 

Tim needs to check on the possibility of hallucinations, yeah. 

“You are?” he asks, fully bewildered by the idea, and Kon laughs again. 

“Obviously, you frickin’ nerd!” he says, then gives him a quick, sheepish smile and another peck on the cheek before turning that almost-inhuman shade of red again and pulling back, putting the board in front of himself and between them. Tim gently simmers to a boil and breaks down into a broth as every single ounce of meat in his body falls right off the bone. “I always have fun with you.” 

. . . Tim is maybe less a broth and now more, like, a stew that somebody left in the crockpot all day, or however Mrs. Mac used to do it. 

“Oh,” he says, desperately trying to remember how to string a functional sentence together that does not sound like a dropped typewriter. “Uh–good! Good. Um–I’m glad. Good. Me, uh–me too.” 

Kon blushes even darker and grins at him again, rocking back on his heels for a moment. 

“Cool,” he says. “Um–thanks, Tim. Again. Some more. I dunno.” 

Tim, again, feels very weird about hearing Kon say his real name, and some part of him kind of thinks, in an odd and distant way–did he just, like . . . forget how to just . . . not be Robin? Like–how to turn it off, and just feel the actually genuine things as Tim Drake, and not just the mask or the sidekick or the namesake? 

Well, that can’t be good. 

Kon keeps grinning at him, half-shadowed in the Gotham night and half-lit by electric Gotham streetlights and looking nothing like anything else Tim’s ever seen in Gotham, and Tim is definitely going to need to pencil in a couple hours on Sunday night to be an incoherent mess about him and also maybe, like . . . process some things, maybe. Think some stuff through. Adjust some– 

“So like, wanna go make out for a while in the full pipe?” Kon suggests hopefully, tipping his head towards it, and Tim forgets literally every single layer of other thoughts he was having. They are literally no longer relevant to anything and he does not care about a single one of them. 

“Yeah, okay,” he says, maybe a little too red himself now, and Kon grins. 

The full pipe helpfully informs them both that Tim can, in fact, give Kon a hickey if the other lets him, and helpfully informs Tim that he is never, ever going to be able to be in the same tri-state area as a mind-reader again. 

Well, he should probably be avoiding those for the next fifteen years anyway, so whatever.

[maythedreadwolftakeyou]

How Things In Ferelden Actually Went Down During The Events Of Dragon Age: Veilguard

[The Inquisitor, Leliana, Cassandra, and Vivienne at one of their regular catch-up meetings, all lounging on cushions together and drinking tea]

Inquisitor: Aaaaand done, with this next missive to send to the Veilguard! Leliana, please have it delivered via your sloppiest of spies. Maybe take 2 or 3 copies that can get conveniently lost along the way, for the Venatori and Antaam.

Leliana, reading the letter: Really? You're making it sound as if Ferelden is doomed. Yes there've been skirmishes, but nothing near what we saw a decade ago. We don't have nearly as many darkspawn as they're seeing in the north, and Orzammar is silent because they have started another one of their councils that last for months, not because they've fallen.

Cassandra, snatching it to read next: What? Yes, the armies of Orlais and all our chantry support is kept busy at the moment, but hardly the level of devastation you're implying.

Vivienne: What are you up to, Darling?

Inquisitor: Well the last time the world went to shit none of them came down to help us. Just let them think we're too busy to offer more assistance, it's fine. They can manage.

Cassandra: Shouldn't we at least give them our intel on Solas?

Inquisitor: I'll handle it, Morrigan said I can pop over through the eluvian and be back for dinner.

Inquisitor: Besides, they got Varric killed. I'm not risking anyone else.

[kentnaturaltribrid]

For one: I’d like to complete throughly the project with the red and black colors of the Timberwolves and with the last two pieces on the pile make maybe a Set of Wallets or Some other form of Holding essential items. Finished up most of the project with the pieces, but I have no clue as to where the rest of the pieces should fit in. I was thinking bags, but then realized that might be out of The Materials needed for a whole project, well except for the leftovers and everything in the pile. Then again still feeling the Containers in some way for essential things, but haven’t really dug into lately what to do with the remaining pieces since both of them need to find a place and there’s only until Next year of December to figure everything out. Mostly the goal is to get everything else finished before then. Especially the pile, which means still thinking of possibly 12 by well maybe 3 or 12. Still thinking on the size. Especially since one of the sides needs to be somewhere between a 4 and 6 for good space. Thinking of designing something with at least one core other color for a base, one that can handle either a red or white. As well as the Red/Black. Though, still thinking, might go with Purple or Blue if there’s any other colors left for the pile, possibly Green or Teal, but as far as the theme goes still got pieces that are already in need of some sort of themed area of color that sets the rest apart and the pieces themselves appear well enough balanced. Still thinking and it’s pretty tough considering the size is still needed to be less than much else in size, smaller than 15 in much regards but that’s about it. Though, thinking since it’s going to have to take up the space for at least a 12 inch long on one side and then for the pieces at least a good 4 inch that will take up maybe or even at least an inch tall well enough heightened pieces that they have to be in full about 3 inches roughly in height and Ontop of that wide about an inch or 2. Then again they’re supposed to be a decorative piece on the item, but visually appearing strong enough for that there’s no need for extra detail that I know of anyway.

Speaking of which, it needs to preface and preform its own visuals as to the context of the project and the process, that which meaning it must be visual appearance in the project itself and not overlooked in being a detail design wise and visual seeking style of at least a resolution.

reblog with one creative goal that you would like to pursue in 2025 in the tags

it doesn’t have to be ‘big’ and there is no pressure to complete said goal. but i’d love to hear from writers, artists, performers, academics, designers, coders, and so on! 🤍

if it’s a creative outlet, it’s included. let’s inspire each other ⋆ ˚｡⋆୨୧˚

[genderkoolaid]

people who leave 'op believes in transandrophobia' comments on posts are so funny. the way i discovered ur blog was bc one of ur posts (completely unrelated to transandrophobia) came up on my dash and i glanced at the comments and someone had commented "op believes in transandrophobia". this was also before i had ever heard the term transandrophobia, but i was like, that just sounds like it means 'oppression faced by trans men', i dont see whats wrong with that, of course trans men are oppressed. but maybe it means something different? let me check op's blog to see what that means. oh, they have a helpful pinned post explaining everything! lets see..." 30 minutes later im like wow op is based. i also believe transandrophobia is real.

I don't think people who comment things like that even realize that they sound deranged and that when people outside of weird discourse bubbles see their comments, they don't think, "wow im going to blindly trust this random person that that is something bad and shun op without looking into it at all" they think "huh i dont know what that means but it sounds reasonable, i'm going to check out op's blog to see if its what i think it is" and are more likely to side w the op as a result, but it's hilarious to see them try it anyway lmao

Its free advertising!

[ahhnini]

imagine rafe meeting your family on thanksgiving!

warnings - nervous rafe, fluff, condescending family members, not proofread!

a/n - hope you all have a warm and safe thanksgiving! <3 if you don’t celebrate I hope you have a fantastic day regardless! hope yall accept this as a apology for the last rafe angst :(

“you warm? I know you’re not that used to the cold, you can turn the heat up if you want.” you say, eyes shifting back to the road. “we’re almost there anyways, i’m so excited for you to meet them…rafe? you okay?”

your boyfriend was shivering like a wet dog. not only was he freezing from the cold temperatures, his nervousness was becoming apparent.

you arrive at your grandma’s house, pulling right up into the driveway. the weather predicted a snowstorm happening later this evening, so you wanted to arrive before the roads get slippery.

you look towards rafe, taking his hands in yours. “they’ll love you, I promise.” you peck his lips, giving him a sweet smile. “if you wanna get on their good side fast, carry in the food and help a little in the kitchen, ‘kay?”

following your words, rafe carries in the pumpkin pie. your grandmother gives you a tight bear hug, and you introduce rafe to her. she smiles and takes the pumpkin pie from his hands, setting it in the fridge.

you see rafe pick at his hands. knowing that he’s still nervous, you whisper to him, “you’re doing amazing, baby.” he whispers back, response having you hold in your laughter, “can I sit on the couch or do I have to sit on the floor?” after failing to stifle your giggle you reply, “one of the bedrooms. we can lay down and chill there for awhile. c’mon.” you drag him down the hallway and into one of the rooms. you close the door, dust the bed, and gesture for rafe to sit down with you.

“you’re so tense. here,” you shuffle on the bed, kneeling behind rafe and kneading his shoulders. his tense muscles relax instantly, and he softly sighs. “its jus’ that my family was never this close with one another, and you have such a big one. it feels new.” you hum, continuing to massage his back, “I understand, but you know I wanted you to meet them for a reason, right? I want you to be a part of my family, I want you to feel welcomed.” you kiss him on the cheek before bouncing off the bed, sitting next to him and leaning your head on his shoulder. “we can stay in the room for now, but the rest of my family is gonna come soon. you have absolutely nothing to worry about, i’m here.”

once you heard more voices bleed into the room, you knew the party had started. “you ready?” “no.” rafe has a slight pout on his lips. “I did not spend all of our time in this room looking up motivational posters for you to say no. we’re going.” he groans, dragging a hand down his face.

everyone’s eyes are on the two of you. you say hi to your relatives and introduce rafe along the way. so far, they’re all liking him, and it’s boosting rafe’s ego.

“don’t get too cocky now. I haven’t said hi to my condescending aunts.” his smile falters. as you walk towards the back of the house, you put on a fake smile as you politely say hi, and try to strike up a conversation with them.

as expected, they ask who you brought over. “my boyfriend!” rafe’s smile returns on his face, but now it was your turn to frown. “boyfriend, huh? didn’t think you had it in you. you’ve got quite the catch there, hope he doesn’t get tired of you.” one of the chuckle, sipping on her white wine afterwards. she then leans toward rafe, “she can be very exhausting at times.” your frown deepens, and you quickly excuse you and rafe from the conversation.

you puff your cheeks as you try and hold back tears, rafe kissing your cheeks. “that was…you okay?” you nod, “yeah, yeah. every year they do that. they just…they never grew out of their high school mean girl phase. it’s fine. I usually avoid them anyways. you still nervous?” he shakes his head, soft smile adorning his face. “good, ‘cus my grandma wants you to help her with something.” you point over his shoulder, your grandma waving rafe over.

as dinner went on, rafe had gotten more comfortable talking. his posture relaxed, and his words weren’t as that calculated anymore.

“c’mon, just one song!” one of your uncles drunkenly ask rafe. he shakes his head, declining politely, “I don’t sing!” you smile at the cute interaction, wanting to have your own fun and tease your boyfriend. “i’ll sing with him!”

three karaoke songs later, you both sneak off into the restroom, wanting to cool down from the chaos. “don’t ever make me sing again, y/n.” you giggle, wrapping your arms around him, pulling him in for a hug. “you’re amazing, you know that?” he nods, tightening his grip around your torso and swaying you around with the music playing in the background.

the house got less and less crowded, everyone was starting to go home, you were about to as well. you were at the front entrance when your grandma stopped you, giving you one last kiss on the cheek. unexpectedly, your eyes widened as she gave rafe a kiss on the cheek as well, wanting the two of you to come back as soon as possible.

taglist - @nemesyaaa @julie123456897@mfdoomdickrider@grxnde-dwt @littlelamy @rafeeekam @xcinnamonmalfoyx

[vinxle]

the sheer amount of i've-got-bitches-itis shuichi has during drv3 extras is actually making my head spin like

okay you teal haired twink