#IN VARIOUS FORMS

[vellichorom]

✨🐀🥩 RATSHMEAT 🐀🥩✨

[hajihiko]

Sorry to the insta followers BUT IM SO HAPPY THAT YOU'RE HERE 🙏🏾🙏🏾🙏🏾🙏🏾

Ive always been here....

[tayvengeance]

@userdramas EVENT 18: MUSIC

Oh I really do love combining my two favourite genres. Don’t mind me as I put my favourite group on my favourite album of all time

I’ll also add this edit I made to Motionless In White’s Scoring the End of the World album cover under the mark bc I just think It’s neat

[headlessstar]

[untoldsoup]

That post about villainous love made me think of your King Boo towards Bowser.

Thank you, that's what I was thinking too when I saw it cross my dash :)

[poorly-drawn-mdzs]

In the world of heavy metals, love is denser than hate!

[reksink]

A Gaggle of Masks

[front-facing-pokemon]

[rileys-battlecats]

[serpentface]

The polecat is the most common domesticated ratter and companion animal in the eastern Inner Seaway lands.

Their wild ancestors are less solitary than most mustelids, though do not have particularly complex social structures. Females (usually related) will accumulate in groups of 2-10 individuals (up to 30 in exceptional cases of high prey availability), sharing a territory and den site. Males form their own territories, which will overlap heavily with those of females.

The social hierarchy of these groups is mostly based upon age, with the eldest individuals claiming the best den sites and access to resources and mates. Their social behavior includes allogrooming, sharing of dens, and occasional sharing of prey. Their social bonds are not strongly reinforced, however. They provide no mutual care for young (and dominant females are known to kill the young of low ranking females when prey is scarce), and colonies will readily divide and disperse when their population wholly outstrips prey availability. They often move over open terrain in loose groups as means of defense against predators, but do not hunt cooperatively. Their favored prey is rodents, but they will take birds, small lizards and snakes, and the occasional large insect. They will occasionally coordinate group attacks against large threats (particularly snakes, which threaten their pups within dens).

It is not clear where or when they were domesticated. They likely domesticated themselves in conjunction with early farming practices, preying on the rodents that were attracted to grain stores and gradually being accommodated to and appreciated by human farmers. Wild polecats that could ostensibly be their ancestors can be found on both sides of the Mouth of the seaway, and evidence of domesticated polecats stretches back to prehistory on both sides as well. This would suggest either separate domestication events, or an unrecorded crossing of the Mouth by boats and possible human settlement event during the neolithic period (as most human settlement east of the Inner Seaway occurred in the paleolithic and was a long, slow, roundabout dispersal over land).

Domesticated polecats are frequently kept around as ratters. They are not as efficient as cats over open terrain, but are fairly effective with their ability to fit into confined spaces in pursuit of prey. The domestication process has rendered them more inclined towards close socialization than their wild ancestors, and they readily bond with their owners and with other unrelated polecats. Feral colonies are most distinct from wild colonies in that they form tighter social bonds and practice extensive alloparenting, with mothers often allowing unrelated young in the same colony to suckle, and sometimes even adopting orphans. Feral polecats have interbred with and/or displaced wild ones in many parts of their range, and true wild polecats are increasingly rare.

The Burri deity Tingari is the goddess of granaries, and she is often depicted as a polecat, or with one in each hand. Polecat figurines are placed in granaries to confer the goddess' protection from rodents, insects, rot and disease. This practice has been naturalized in many places formerly colonized by Imperial Bur, though often as a general ward against grain pestilence or integrated into native religious conventions rather than as representations of the Burri god.

[lbibliophile-sw]

One thing I love about Clone Wars fanart is how much of it is just various characters napping on each other. We all took one look at them and decided that what they really need is snuggles and sleep.

[cloudabserk]

had to make an appointment with the social security office and after waiting an hour to speak to them the woman told me she had “never heard” of new york city

[vinelark]

(for maximum awkwardness) bbts!Kon has to work with B on some JL thing idk

Kon: sir… why did ghostmaker call you babygirl

Batman: let’s not talk for a bit

[later]

kon: sooo we ended up working with ghost-maker on this mission? and uh--

tim: for my health, do not finish that sentence.

[cappucino-commie]

[grimeowkin]

A peek at something I’ve been working on over the past couple months 🍂

[theofficialpresidentofmars]

I’d like to propose a performance of Hamlet in which the audience is addressed, looked at, and treated as if they were there but ONLY by characters who have gone mad.

in Act 2, when Hamlet’s pretending to go mad, while in the presence of Polonius and others, he sort of pretends to look at the audience, but always glancing over, looking sort of in the wrong direction, putting on a show for the only eyes he thinks are watching. When he’s alone and doing his soliloquies, it’s clear that he’s talking to himself, even though we’re listening in.

And it continues this way until Act 3 Scene 4, when Hamlet runs Polonius through with the sword. For a moment after the deed is done, there’s a shocked silence on the stage. As Hamlet goes to examine the body, he falters, slightly, as he becomes aware of just how many eyes are on him. And slowly; he looks at us, and through the rest of the scene his attention is torn between the audience and his mother, until the ghost appears (perhaps in the audience as well) and he’s… sort of put back on track. But from then on, all his soliloquies, asides, he begins to talk to us, in the audience.

And we notice the change, sure, but we don’t really get what it means, not until Ophelia goes mad, and while onstage she begins to give audience members flowers, to talk to them as the others call her crazy. And at that point most of us can make the connection.

From then until the play is over, Hamlet can’t fully ignore us. Every other character will, and does (besides maybe the gravediggers if you wanted to include anyone else), but we’re ever present in his sight. As he dies, we’re the ones he refers to when he says ‘you that look pale and tremble at this chance, that are but mutes or audience to this act’