#and 98% will be years if not decades old

[crash-likes-cookies]

Physically bought single player games, that can no longer be played.

Live-Service games, forced always-online games, everything that is Steam...

The recent crackdown on ROM sites hosting software that has not been sold in DECADES...

Also, the subscription model for software, all that is fraud.

Nothing else.

[hamliet]

Derry Girls: A Masterclass in Detailed, Thematic Writing

Several years after the end, I finally watched Derry Girls, and it's become one of my favorite shows. Not only for the way it captures the absolutely unhinged aspects of Irish families (askmehowiknow) but for the sheer writing skill.

The vast majority of the episodes are laugh-out-loud hilarious, while also offering insightful commentary on the Troubles and on humanity's foibles as a whole. The characters are allowed to be human and act in unlikable, unsanitized ways, and to still be human and come back from that. (Almost like a metaphor for the Troubles or something.)

The story is also incredibly detailed; for example, when the girls are accused of killing a nun and Erin points out the nun was like, 98 years old and askes "might that shed some light on the situation?" there's an hourglass behind Sister Michael--emphasizing the idea that her time was up. Even more than that... the window is behind the hourglass, literally shining a light on it.

But that's a micro level. On a macro level, I also appreciated the way the story discusses the political backdrop that is part of its premise. Even as Erin, Michelle, James, Clare, and Orla grow up in a place that's been in a state of low-level warfare for decades, they live full lives. In fact, that's kinda the point.

Case in point: episode 4 of the first season, wherein Erin gets an exchange student from Chernobyl. The way the Northern Irish in general treat the Ukrainians is hilariously awful and patronizing, believing that they are giving them a respite from the troubles "over there" while Northern Ireland isn't in a much better state. But, as Sister Michael assures the Ukrainian students, the Irish troubles don't matter because "we're the goodies."

This line gets to the heart of what the episode is saying about political divisions and the way people view an "other." Everyone sees themselves as the "goodies." Because of that, they don't self-examine and wind up hurting the people they see themselves as wanting to help/save with their ignorance. It's a paradoxical egotistical (and frankly teenage) worldview that is also unwilling to look critically at oneself. The focus on their own perceptions over focusing on the actual humanity of the other results in ruining gifts that could come with cross-culture interaction, as seen in how Erin's misunderstandings and petty jealousy of Katya leads to her literally ruining a surprise gift Katya had prepared.

And the end of the episode also comments thematically on the story. One of the Ukrainian boys turns out not to be Ukrainian after all--he's actually Irish and from just down the road. He just didn't know how to say that. The ironic message is clear: despite differences in culture and views, they are actually all human beings, and assumptions make it hard for people to speak. If they could actually talk openly and without presumptions about who is "good" and who is "bad," they could prevent and solve a lot of problems.

This kind of background, symbolic commentary on the Troubles continues in just about every episode of the series. For example, even after the ceasefire, season 3 has an episode where it's discussed how negotiations are stalling, and the entirely of the rest of the episode takes place on a train that stalls between two separate places.

The Troubles are always something affecting their lives, but the only time the Troubles ever become the main story is in the finale episode. Which is also an episode that makes everyone cry. Michelle's brother is finally mentioned for the first time the entire series, yet it doesn't feel like a retcon so much as a recontextualization, and again mirrors how a lot of society (and Michelle's own family) have treated those who murdered others during the conflict.

Erin and James' relationship also works as a metaphor for the Troubles--an Irish Catholic girl and an English boy. Earlier in season 3, after they finally kiss, they're told they can't be together, that it's wrong, and that it'll create problems for everyone around them. Michelle doesn't want things to change. And Erin agrees that it's not good to pursue something.

But, in the final scenes, as Erin prepares to vote in the Good Friday Agreement and talks to James, she directly states she thinks things can't stay the same forever--thereby countering what she said to reject James earlier:

There's a part of me that wishes everything could just stay the same. That we could all just stay like this forever. There's a part of me that doesn't really want to grow up. I'm not sure I'm ready for it. I'm not sure I'm ready for the world. But things can't stay the same, and they shouldn't. No matter how scary it is, we have to move on, and we have to grow up, because things... well, they might just change for the better. So we have to be brave. And if our dreams get broken along the way... we have to make new ones from the pieces.

Symbolically, also, given that we know the outcome of the Good Friday Agreement, I think it's pretty clear Erin and James end up together even if we're not directly shown it.

That the last shot of the episode (besides the funny epilogue) is Grandda Joe, one of the eldest characters, helping his youngest toddler granddaughter Anna leap over a threshold as they leave the voting station, is also incredibly clear in its symbolism.

Erin: People died. Innocent people died, Grandda. They were someone's mother, father, daughter, son. Nothing can ever make that okay. And the people who took those lives, they're just gonna walk free? What if we do it, and it's all for nothing? What if we vote yes and it doesn't even work? Grandda Joe: And what if it does? What if no one else has to die? What if this all becomes a--a ghost story you'll tell your wee-un's some day? A ghost story they'll hardly believe?

I dunno, I think this is a sentiment we need more of in the world. A peaceful future means taking risks and accepting that punitive justice will not be perfectly doled out; however, if you allow more people to be hurt, is that not also injustice? It's a paradox that the story leaves us without a dogmatic answer to (for example, we never find out if Michelle's brother gets released), but it's also hopeful--because we know that the Good Friday Agreement largely worked.

(For further analysis of the final scene, I recommend PillarofGarbage's analysis on YouTube!)

[artbyblastweave]

So for those of you who don't read twenty-year-old marvel comics a lot, the 2005 Marvel Crisis Crossover was called House of M. The basic premise of this was that this was smack dab in the middle of the Scarlet-Witch-is-Having-a-Normal-one arc that was very, very loosely adapted into Wandavision; in her initial breakdown, she'd killed several of the Avengers, wound up in the protective custody of Magneto, and the recently reformed team was debating whether or not they were going to have to kill her before she deleted reality on accident or some such thing. But when they're on their way to Magneto's stronghold to have a "talk" with her, the world is enveloped in white, and Wolverine (the initial POV character) wakes up in a world where Mutants are 98% of the human population and have been for decades, and Magneto and his family (the titular House of M) are leaders of the global political order, and Wolverine is one of the only people in this realigned world who remembers that it was ever different.

Wolverine initially is operating under the assumption that Magneto cajoled Wanda into rewriting reality in his family's favor, but after rounding up and waking up several of his allies, he realizes that what actually happened is that Wanda rewrote reality so that everyone she knew would get everything they wanted- Magneto being in charge with a 98 percent global mutation rate is just the inevitable byproduct of that. The resulting world is an amalgamation that has to accommodate the conscious or subconscious "perfect life" of every superhero on earth, in a way that acts as a fascinating characterization tool, often with a monkey's-paw angle. Spider-Man is a beloved celebrity wrestler, and Uncle Ben and Gwen are both alive, but he attained that status by pretending to be a Mutant and he lives in constant fear of being exposed. Mystique, Rogue, Nightcrawler and several of their associates are the tight-knit family unit they were always kept from being.... as the elite jackboot of Magneto's regime. Luke Cage and Hawkeye lead the human resistance, standing in perpetual principled opposition to the powers that be, but with no real hope of accomplishing anything. Captain America didn't lose years of his life to the ice, but he had to live through a global authoritarian takeover he ultimately couldn't do anything about. Wolverine gets to remember his entire life, but that includes remembering that his current ideal circumstances were manufactured to keep him placated. And on and on and on. Lot of really interesting character takes packed up in there, paired with the equally interesting project of packing as many of them as possible into the same timeline without contradicting each other- after all, from the word go you have to contort everyone's happiness around the basic conceit that Magneto rules the world.

Anyway. House of M AU for Worm. Discuss.

[into-the-feniverse]

Finished reading Trigun/TriMax a couple days ago and have been feverishly trying to piece together a timeline, so here’s the result of that ✨

EDIT: as of 3/13/24 this has been UPDATED

For a more detailed timeline (with vol/ch marks): google sheet

Full res of the graphic (& other resources): bit.l/trigunresources

Notes & rest of the timeline under the cut!

Edits as of 3/13/24

The detailed spreadsheet is organized and color coded! If you'd like a more concise breakdown of events/see some of my reasoning behind certain time stamps feel free to skim through that

Changed where in the timeline the Maylene and Wolfwood events happened (originally where I had placed them would have made Maylene like 6 when she and Wolfwood reunited which is NOT correct)

moved where in the timeline Knives started collecting the GungHo Guns (at latest he started in 0090 (20 years before 0110) since it's noted that Monev has been training in a cellar for the past 20 years

Moved where Knives initially tracked down Conrad (felt like it needed to happen at least a decade before July)

Changed up some of the months (personally, I don't think the Ark launched in December, since that'd put Milly and Meryl's arrival to the colony in July, which wouldn't make sense. So I placed the ark launch in October which of course offset some of the other month stand ins)

Added an earth year for when Knives and Vash are born. The explanation is I think at minimum there was at least a 2 year period between them and Tesla (since Rem was around for that whole process). I do think it was more than that, but that’s the earliest possible year I think it could have happened. Personally I’m more in the camp of 5-10 years, but def not 50 like in tristamp

Old Notes:

If you see any typos or phrase inconsistencies: no you don’t 💕 (😭)

Blue text can be completely ignored, that’s just kinda my personal preference/wild guesstimating of when “exactly” those events happened

Blue lines can also be ignored, they’re also just rough guesstimates on where exactly in the timeline these could have happened

The distance of the lines from one another doesn’t really mean anything, I started trying to follow a system to notate when things happened really close together but it was//// not consistently done ngl

Fun fact: by the time Wolfwood leaves the orphanage Meryl is 18! And she was 14 at the time of July’s destruction

Additional fun fact: Brad is 17 when he and sensei meet up with Vash in the Factioned city (which I think is absolutely RIDICULOUS), and we know this because he was 4 the one/last time he had met Vash and it’s been 13 years since

It was noted by Karen, one of Meryl’s coworkers, that she and Milly had been on assignment with Vash for about 4 months. (Might be that they were out searching for him during that time as well, but I’m choosing to interpret it as they were actually with him for that amount of time)

I’m also working on a 98 timeline for comparison (but more like just sequence of events cause I don’t think I have the patience to sift through the lore quite as much… mainly making it just to clarify how the anime delineates from the manga)

I am//::: feeling v unhinged after this and feel like it could be improved/i need to do a more thorough read, but I’m calling it quits for now before I actually go insane (but hopefully some people will find it somewhat helpful!)

Also: if anybody has any notes to add or clarifications/corrections I would be more than happy to hear them 👂

[merylstryfestan]

i'm sure this has been discussed before, but this still brings up so many questions for me.

my memory of '98 isn't perfect, but i'm pretty sure that at least in the manga, no one really knew who Vash was before the destruction of July. the manga and '98 deviate on the timelines here, but in both he stuck around with Knives for a very long time before being on his own, and between them separating and July, Vash was probably getting himself involved with gangs and thugs trying to save lives and such, but nothing that made him well known. it wasn't until July and his bounty that he became infamous, so that makes sense to me.

so what's going on in Stampede then? because as far as we know, Vash and Knives haven't seen each other between Vash losing his arm and Juneora Rock. What happens in the ~150 years between for Vash to gain a reputation? i'm assuming it's the result of Knives stealing plants over the years, so has Vash just been chasing after his brother trying to prevent the thefts? and that's how he got associated with them in the first place?

then there's the fact that in the beginning, Meryl seems to almost not believe the Humanoid Typhoon is even a real person, in the sense that "surely all this stuff can't be one guy's fault". does that make the persona of the Humanoid Typhoon almost a conspiracy theory? or perhaps more similar to a cryptid?

and if this is all true, how are people not more surprised when they learn that the 25 year old looking dude is the guy that's supposedly been terrorizing the planet for at least 20 years? why would it take Roberto and Meryl finding the photo to realize the timeline isn't adding up here?

the only explanation to that i can think of is that since the windmill village is essentially run by the Eye of Michael, then it's the Eye that started calling Vash "the Stampede" and the "Humanoid Typhoon" and spreading his reputation. that's why Rollo would know about him. and if those rumors took a couple decades to become more widely known, it would explain why Roberto and Meryl weren't suspicious of Vash's age at first.

i don't think it's a perfect theory, so i'd definitely be interested to hear other people's ideas. could just be me totally missing something (very likely tbh). i still find the idea interesting though, that it could be the Eye specifically, and therefore Knives, that starts villainizing Vash amongst the human population. an early attempt to get Vash to turn his back against humanity perhaps?

@tristampparty

[luvtonique]

I realized something this morning.

This is probably gonna be a long post. (Edit, yep)

I'm a pretty fairly public figure on the internet, and I very regularly interact with a huge amount of people. From YouTube Comments to Discord to Tumblr Asks/Comments to Newgrounds Reviews to MMO Chat to Mic-Chat on Games to Twitch Chat to Stream Chat, blah blah blah.

I've, for years now, over a decade (hell over two decades) talked to probably thousands of people, and have been able to get a gauge on a pretty safe to say "average" of collective human intelligence on the internet.

I've come to realize that not everybody has that kind of experience talking to people online as I do. I've talked to literally thousands, probably near ten thousand, people online in my life.

This is a staggeringly high number and puts me in an outlier position among the rest of you, who likely have only interacted with a double digit number of people online in your life.

Now that you have that information in mind, here's what I realized this morning.

I realized that the reason I don't listen to people, ESPECIALLY when it comes to politics, is because I have learned through talking to all these people that fucking nobody knows what they're fucking goddamn talking about.

I study a lot of things in my spare time, and history is a huge one that I study. I very regularly read and listen to multiple sources talking about historic events, and I make sure to look at as many sources as possible, sometimes including reading encyclopedias in my own home that we've owned for like 40 years.

I cross-reference all of these things and paint a picture of the most likely truths through various means.

Why's that important? Because sometimes a 14 year old on Twitter, literally nearly less than a third my age, will occasionally come along telling me that I'm wrong. Not about history necessarily, but about some opinion that I have based on my own experience and my own knowledge that I've researched myself.

I usually ask them where they got their information, and I'm met with boldfaced idiocy. Completely braindead shit like "180,000 people said it on Twitter," or they link me a Tumblr post with 100k notes, or they say "It's common knowledge," (which is the biggest red flag of them all because not only does it prove they have no evidence to back up what they're saying, but as this post will go on to explain, "common knowledge" is quite literally the worst source of information on anything. People commonly think the earth is flat and that Scientology is real. People commonly think that walking under a ladder or breaking a mirror gives you bad luck. People commonly think that naturally blue food exists.)

In my life I have met thousands of people, and THOUSANDS of them are fucking idiots who very very smugly state completely incorrect knowledge. Earlier today someone tried to tell me that the creators of Beat Saber never sold the company to Facebook, and I showed them proof and they went silent for 3 hours and then went "Yeah so what, Facebook is still a good company" and I wanted to beat my head against the desk.

The internet is full of people who are fascinatingly ignorant. I'm not calling myself "better" or "smarter" than anyone here, I'm just saying that I have learned better than most people that people on the internet are not, and never fucking will be, a good source of information. I don't care if they're your best fucking friend, the coin-toss of them knowing what they're talking about or actually having the facts is so heavily weighted against them, it's seriously like a 98% chance they have no fucking clue what they're talking about.

I urge everyone to take a moment and realize that the internet is, in fact, a good place to find information and do research, but PEOPLE ON THE INTERNET, especially MEDIA AND SOCIAL MEDIA, are NOT SMART PEOPLE AND ARE NOT GOOD SOURCES FOR YOUR INFORMATION.

These are angry, smug, annoying little idiots who are likely 14 years old with a 1st grade reading comprehension who aspires to be a TikTok content creator as a career, and under no fucking circumstance should you ever, ever, EVER listen to any social, financial, religious, gendered, medical or political advice they give.

The world has gotten vastly out of control with how much people think "A lot of people agree with me" is a good enough reason to solidify your opinions. "A lot of people agree" is the biggest red flag ever, because people on the fucking internet are complete fucking idiots, I'm sorry, but I'm someone with far more experience talking to people on the internet than literally any of you reading this. I talk to people on the internet as a career and have been doing this for longer than most of you reading this have been alive.

So what's the point of this? What's the take-away?

The take-away is that I'm saddened by how many people will attack each other vehemently, cut off friends and family members, label people as toxic or problematic, jump to conclusions, etc. based on complete and utter misinformation spouted to them by people who have never once in their entire life actually looked up what the fuck they're talking about. They treat random strangers on Twitter as "experts" because that person is well articulated or put together a YouTube video with really good editing that's softly spoken by a British accent guy and has scary music whenever some "evil" person is on the screen.

The take-away is that people, like yourself (don't you dare try to deny it) will just believe whatever they read on social media, or whatever their Discord friend-group is talking about, because they are living in a complete falsehood that people on the internet know better than they do.

You are not incapable of doing your own research. You are not incapable of finding the truth. You are not stupid. Just do your own research, look into things yourself, cross-reference, use the scientific method, go to a library, read books, for fuck sake please adopt the basic social skill of "If someone says it on the internet it is most likely not true and I should look into it myself."

Because the current state of people is monstrous.

Y'all get so fucking mad about things that are just plain not true, and you revolve your entire life around things you were told by complete idiots and/or children on Twitter and other social media websites.

Stop.

Look at yourself, look at how angry you get about things, and consider that there may be a possibility that anger stems from a complete lack of any foundation or truth in your own beliefs.

Consider the almost 100% guaranteed possibility that you have been blatantly lied to by people who have no fucking idea what they're talking about, and that you are violently upholding standards that are incorrect because you have placed trust in the word of untrustworthy people.

Look up confirmation bias, read about it.

Look up manipulation tactics, read about it.

Look up "Plato's Republic" and read about it.

Absolutely, under no circumstances, should you ever, EVER, form your social or religious or political or financial or gendered or sexual etc. opinions based on SHIT YOU READ ON SOCIAL MEDIA.

And while we're here, don't listen to the news either. They're just a bunch of parrots saying what needs to be said to get you all fighting with each other so that the government can fuck things up while you're distracted. Do your own research, check multiple sources, don't consider social media or regular media to be a 'source,' get every bit of information from every angle, and for fuck sake, stop attacking people for disagreeing with you when you, yourself, only believe what you believe because your friend group believes it and you know that if you disagree with your friend group they'll all attack you so you'd rather be on their side, which only further proves my point that y'all need to fucking chill.

"Democracy will never work. If 3 medical experts tell you that you must eat a ginger root to cure your ailments, but 100,000 idiots with no medical experience tell you otherwise, you're more likely to believe the 100,000 idiots. They are louder, there are more of them, and you will gamble on the hope that among those 100,000 idiots, there must be more than 3 medical experts. The voice of the ignorant will always drown out the voice of the educated."

-Plato's Republic, 375BCE (Paraphrased)

"I can't believe Jay just called us all idiots and expects us to listen to him"

-Someone in the comments of this (It's gonna happen)

PS: If you looked up "Naturally Blue Food," and found out it does in fact not exist, good for you for doing your own research!

[frankenstein-ate-my-left-shoe]

okay i went down a rabbit hole of names and here’s what i found out

each name is either from their birth year's top 100 in indiana, or their decade's general US top 200 for their decade if it's before 1960

Steve:

in the 60s, Steven (with a V not a PH!!) was #11 on the most popular baby names list in the US.

specifically in indiana in 1967 (1986-19 years old), it was #15

Steve’s parents would definitely be in the top most common names in my mind:

in the 40s, Richard was the #5 most popular name, so good job naming Steve’s dad ‘Dick’, everyone, it’s entirely possible.

looking at the 40s list’s top 10, Linda at #2 stood out most for Steve’s mom.

Eddie:

in the 60s, Edward was #29 on the most popular baby names list in the US, 'Eddie' by itself was #112, Edwin #155.

specifically in indiana in 1965 (1986-est. 21 years old), Edward was #42

There weren’t any other names that started with ‘Ed’ on the 1965 indiana list.

In my own personal headcanon though, with Eddie being short for Theodore, it’s a whole other story:

Theodore is #152 for the whole US in the 60s, and doesn’t appear in Indiana’s top 100 for 1965 BUT my headcanon is that his mom named him after her dad, who would’ve est. been born in the 20s. (Her in the 40s, Eddie in the 60s) and the name Theodore was #64 in the 20s.

the other Munsons:

Wayne was #49 on the 1930s list (taking into account Joel Stoffer’s age for this one, I’m thinking he’s Eddie’s dad’s older brother).

Albert was #47 on the 1940s list (i’m just assuming Al is short for Albert)

Eddie’s mom was harder, but when I thought about it, the first name that popped into my head for her was Margaret (#13, 1940s), but I think she’d go by Peggy, (#42, 1940s) which matches Wayne and Al’s location on the list.

the rest of the spicy six, indiana top 100, 1968 (seniors/est. 18 in ‘86):

Nancy: #47

Robin: #43 (actually surprised this was on the list!)

Jonathan (no really, this spelling specifically): #64

Argyle: not on the top 100 in California, or on the general 60s list

The Party, indiana top 100, 1971 (freshmen/est. 15 in ‘86)

Michael: #1

William: #10

Dustin: #103 for the US in the 70s, not on top 100 for indiana, 1971

Lucas: not on either US 70s or indiana 1971 list

Jane: not on either US 70s or indiana 1971 list

Maxine: not on either US 70s or indiana 1971 list

Erica (11 in ‘86, born 1975): #63 on top 100 for indiana, 1975

a few of the other adults i saw while doing this (general US 1940s list):

Joyce: #19

James: #1

Robert: #2

Karen: #16

Theodore: #98

Lonnie: #146 (again, was actually surprised this name was even on the list!)

[batrachised]

"I first read Anne of Green Gables to my grade 3 class in Vernon River. When we got to the chapter in which Matthew dies, we all sat still and quiet until one student said, “I didn’t know a teacher could cry.”'

-Deirdre Kessler, a former Poet Laureate of P.E.I. 

"I recall reading Montgomery at specific times and in particular places. I remember reading Anne of Avonlea with my best friend in her back yard after our grade 5 teacher had read Anne of Green Gables aloud to the class. We were hooked. I reread Anne of Green Gables and Anne’s House of Dreams in a residence room at Carleton University when I was preparing to go to Nigeria as a CUSO teacher. I read Volume I of The Selected Journals of L.M. Montgomery while watching my young daughter play at a park. In more recent years I have gone directly to those passages that sustain me. I marvel at how deeply the words on the page connect writer and reader."

-Margaret Steffler, Professor Emerita at Trent University

"I grew up 27 kilometres and 98 years from Lucy Maud Montgomery: nearer in space than in time to her life and her creations. Growing up a writer within that circumference, it was hard to say if Maud cast a shadow or a gleam across the literary landscape and Island imagination. In the shadow of saccharine oversimplifications and commercialization, the writer was tempted always to challenge, to write against her legacy. But on an August day by a brook or on a December evening meeting a sharp-tongued character with a sharp eye on Island cultural characteristics, the writer is required to recalibrate: to recognize that we write, here, in her gleam. Happy 150 years since that first glimmer."

-Jane Ledwell, PEI writer

"For the past ten years I have lived in a small town in central Pennsylvania. (You can’t buy twenty pounds of brown sugar at the hardware store, but it’s that kind of place.) It’s nice enough, but it isn’t home. As someone who grew up in Toronto – attended a girls’ school – and then went east, I was probably fated to identify with Jane Stuart, Jane of Lantern Hill. I wasn’t born on the Island; I can’t make jam; and I was born decades too late to take the train from Union Station across on the Tormentine ferry. But I thrill to mornings on the Island and long for its sea winds, and just like Jane, I live through being away by never really being away: “Because in a very real sense Jane was still living on the Island.” I may live here, but I am there.

I’m glad that L.M. Montgomery understood how that feels."

-Claire Campbell is a double expatriate, a Canadian living in the United States and an Upper Canadian-born who misses the Maritimes.

"To me, teaching Anne of Green Gables in Iran was an unexpected journey that brought profound inspiration and hope. Little did I know that this classic tale of Anne Shirley’s resilience and feisty spirit would become a beacon of empowerment for my predominantly female students. Their connection with Anne's unwavering determination and her strong character ignited a spark within them that eventually helped spark an uprising against a relentless dictatorship. Witnessing these remarkable young women, who had once found solace in Anne's story, rise up against four decades of draconian rule in Iran has been nothing short of awe-inspiring. The Iranian women have taken the lessons of Anne’s perseverance to heart and channeled that spirit into a courageous struggle for justice and freedom. This is a testament to the enduring power of literature and the indomitable spirit of those who dare to dream of a better world."

-Sam Roodi, professor of Global Citizenship at Fanshawe College in London, Ontario, Canada

"Recollections of childhood reading experiences tend to blur repetitively, but, for me, one memory is categorically singular. I was nine years old, home from school sick. My dad, on his way to work, stuck his head inside my bedroom door and said, “Here, try this.” He handed me a blue hardback of Anne of Green Gables. When he returned that night, I had finished it. For that whole day, I lived inside the skin of a different person. In a blur of astonishment and devastation, I learned that it was possible for a beloved fictional character to die. And I explicitly knew I was a different Margaret from the one who had woken up that morning. I remember my startled recognition, in so many words, that Thornton Burgess’s animal stories – hitherto completely satisfying – would never be quite the same again.  My life as a reader had suddenly and irrevocably expanded."

-Margaret Mackey is Professor Emerita in the School of Library and Information Studies at the University of Alberta

"You inspired my mother to be a writer, when she was a little girl in Texas; you inspired my father, in the Blue Ridge Mountains of Virginia, to see beauty all around. My little sister is named for your Anne. Every day I think about or read your work and try to imagine who you were within and between the lines. Thank you, thank you for giving me so many reasons and ways to read, to write, to connect with others, and to be."

-Elizabeth Rollins Epperly

"Maud’s writing first spoke to me when my own world had gone very quiet. I dwelt in a small town in regional Australia and was rarely able to leave my home due to chronic illness. Instead, I lived vicariously through her tales of girls and young women on an equally small island, about as far away from my own as it was possible to be. She showed me that life lived on a domestic scale could be just as vivid as that on the wider horizon. Unable to travel elsewhere, I gained strength from Pat’s decision to remain in a home to which she was so powerfully attached. Later, as a young teacher in a rural boarding school, I found comfort in my isolated state from Emily’s example of writing through her difficult feelings. Later still, when I reached Oxford, it was Anne’s experiences at university and her rich relationships with the kindred spirits she found there that resonated with special force. Maud’s words have been inscribed on each stage of my life, a tapestry of experiences that I have shared with her remarkable heroines, and which I will continue to weave in the decades yet to come."

-Chelsea Wallis

"My Maud testimonial begins with Brenda K Weber's testimonial. At an LMMI conference decades ago, she recalled a stuffy academic party during which a graduate student had approached her to make small talk. The student had a shaved head and a well-known enthusiasm for science fiction, and he wore black sneakers to this department party. When she told him she was about to attend a conference on Montgomery, his eyes lit up. "I love Emily of New Moon!" he exclaimed, and went on to babble about it for the next ten minutes. I love Weber's story as a reminder that we will find kindred spirits in the most unexpected places. I also love it because the graduate student in that story...was me. I discovered Weber's paper years later, and I think it captures me perfectly: a little too extraverted, a little fashion-ignorant, and still completely in love with Emily."

-Joe Sutliff Sanders is a specialist in children’s media in the Faculty of Education at the University of Cambridge

"I open the cocoa-splattered, tatty book. Hand-written – hand-scrawled – memories of sensory pleasure: spicy, sugary, crunchy, hearty, homey. I open my mother’s falling-apart recipe book. In it are generations of recipes, passed on from great-grandmothers, grandmothers, sisters, aunts, friends, daughters, and daughters-in-law. A whole museum of feminine companionship.

You, too, held such a collection – a testimony to your own experiences of motherhood, of sisterhood, of friendship, of love. And when I open Anne of Green Gables, The Anne of Green Gables Cookbook, and then also Aunt Maud's Recipe Book, I share in these experiences. I find recipes to add to my own cocoa-splattered, tatty, hand-written recipe book. Liniment cake (with vanilla this time) made for birthdays, raspberry tarts for Sunday afternoon fun, ice cream that tastes of clouds … I open these books and I find comfort; I find love; I find motherhood."

-Daniella Dedekind is currently completing her MA at the University of Pretoria, South Africa

"On a recent spring day, I glanced out the window of my fourth-floor apartment and saw a flurry of white crab apple blossoms fluttering gracefully through the air, dancing upward on the wind. The whole urban landscape was transformed, and in that moment, I felt so thankful, not only for this glimpse of the wild nature of my city, but also for Montgomery and her nature-loving heroines, who taught me about Snow Queens and Wind Women and Flashes and how to live each day with eyes and heart and mind open to the beautiful surprises of the world around me. "

-Tara Parmiter is a Clinical Professor of Expository Writing at New York University.

"When I was in the third grade, my mother bought me Anne of Green Gables as a birthday present. I kept asking for sequels every year, and when I was in junior high, I learned that Prince Edward Island was a real place. During my university years, I visited the Island for the first time and stayed for three weeks. After several trips and working with a travel agency, I landed a job as a tour guide on PEI.

At first, I just liked to see the various seasons described in Montgomery’s books; then I wanted to feel the joy of spring after a long winter. Before I knew it, it had been 28 years in PEI.  Again, this spring, I'll go into the woods looking for mayflowers. Gilbert's love, expressed through gathering these small flowers for Anne, still touches my heart after all these years."

-Katsue Masuda 

"Like so many of us, my introduction to L.M. Montgomery came in childhood, at a time when I read voraciously, so hungry for departure. Back then, I had no clear sense of myself as a lesbian, but I knew intuitively that something about me was strange and “different” – or, as Montgomery herself might have put it, “queer.”

Because, at the time, there were so few novels for young readers with LGBTQ+ characters, I learned to find myself in other, less overt mirrors. It was in Montgomery’s books that I saw the clearest echoes of my own unarticulated desires. Emily Byrd Starr’s world is populated by older, unmarried female characters who show no interest in finding male partners. Valancy Stirling casts off the constraints of her disapproving family to pursue the existence she wants for herself. And Montgomery gave me Katherine Brooke in Anne of Windy Poplars, arguably her most overtly queer character.

I know, of course, that Montgomery wasn’t writing for readers who were gay, lesbian, bisexual, or transgender – and I know her opinions on lesbianism, expressed with such vehemence in her diaries – but she was writing for those of us who were “queer,” in the broader sense of the term. I’d like to think that she’d be able to understand my deep gratitude for the ways her work has always made me feel seen."

-Katharine Slater is an associate professor of children’s and young adult literature at Rowan University

"When my fifth-grade teacher read Anne of Green Gables to my class in the sixties, it was the comedic episodes of Anne dying her hair green and getting Diana drunk that made the book enticing. Throughout the decades since, as I aged and my interests changed, there was something new that appealed to me with each reading: a description of a beautiful garden as I planted one of my own, a reference to a special type of needlework as I learned to quilt, a humorous episode about Anne’s attempts in the kitchen as I also struggled in this regard, the love and bond between Anne and Marilla as I experienced those same emotions with my children and grandchild."

-Joanne Lebold

"L.M. Montgomery has not just inspired my family; she has shaped it. My great-grandma Cora first read the books aloud to her students in a one-room schoolhouse. Her daughter, my grandma Penny, and her daughter, my mother Christy, spent countless family vacations tracking down old copies of Montgomery’s books. It is pretty easy to figure out where my name and my sister’s came from (Emily and Anne, naturally). Montgomery has inspired our travel, showed us the joy in unraveling historical puzzles, supplied countless treasured memories, and connected us to friends all over the world. We have studied, collected, honoured, researched, discussed, savoured and loved Montgomery’s works. And we’ve done it all together. We have learned that Montgomery’s legacy is not just literary; it is intergenerational and personal."

-Emily Woster

#maud150 is a collection of tributes for Maud's 150th birthday. the above are a handful of my favorites.

[athingofvikings]

A Thing Of Vikings Chapter 98: Extended Family

Chapter 98: Extended Family

One of the legal bases that the Imperial Assembly used as their guidance in developing consistent laws across the Empire were the previously answered questions regarding citizenship which had been refined in the years earlier. 

Specifically, prior to the political conflicts and developments of AD 1043, the laws regarding citizenship, tribal and clan membership, and other such identities were extremely variable across the Alban Isles and its constituent polities.  Berk and its sister Norse societies had laws that automatically granted freed thralls tribal membership upon arrival in their territories, and the Bog Burglars had similar laws regarding women seeking refuge, both cases of which were laws that had been adopted out of pragmatic need over the previous decades and centuries, to give two examples, but free individuals outside of those classes were not considered to be tribal members outside of specific actions taken to adopt them in, which themselves required particular conditions. 

Due to this, then-Chief Stoick's ad hoc mass 'adoption' of Vedrarfjord in AD 1041, bringing the residents of the city into the tribe, was technically not in line with the law.  However, as it solved a moral quandary no one spoke up against the action at the time.  Still, the action ended up creating an effectively new class of tribal citizens who held their citizenship by dint of their residence within Berk's territory.  This new class quickly grew to be overwhelmingly demographically dominant as new outsiders came in and took up residence in Berk's new territories, becoming tribal members as a result, on the technicality of being a resident in a region under Berk's control.  The annexations that followed on that precedent made legal matters worse in this regard, and the need for an overhaul of the tribal citizenship laws became quickly apparent.

Further complicating matters in this regard were the interactions between tribal citizenship, clan membership, and the various permutations of life.  Was an individual who had been brought in as a clan citizen due to annexation of their home territory still a citizen upon receiving a sentence of temporary exile due to the commission of a crime, either during their exile or upon their return?  What citizenship rights could a transient merchant claim?  Was it based on his home port, origin of birth, or some other factor?  What rights and privileges were granted to outsiders adopted by citizens, or even directly into a clan, especially with adoption law itself being a complicated tangle of precedents? What status, if any, did an individual claiming sanctuary or refugee status, still hold with their old community?  And so forth.

—Origins Of The Grand Thing, Edinburgh Press, 1631

AO3 Chapter Link

~~~

My Original Fiction | Original Fiction Patreon

[cheesybadgers]

Out West, the Gay Cowboy Roams Free

The frontier has long been a symbol of American masculinity. Now a rising generation of artists are creating a new queer mythology.

The gay cowboy ensemble — Manu Rios (from left), José Condessa, Jason Fernández and George Steane — from Pedro Almodóvar’s “Strange Way of Life” (2023), photographed in Madrid on July 12, 2023. From left: Y/Project shirt, about $715, yproject.fr; and Cartier ring, $3,700, cartier.com. Loewe shirt, showpiece only, and jeans, $990, loewe.com. Gucci T-shirt, $590, gucci.com; Levi’s jeans, $98, levis.com; and stylist’s own belt. Gucci shirt, $2,100, and jeans, $1,300.Credit...Photograph by Carlota Guerrero. Styled by Alicia Padrón

By Evan Moffitt

Published Sept. 5, 2023 Updated Sept. 27, 2023

TWO MEN, A grizzled sheriff and a gunslinging vigilante, confront each other in a dusty saloon town. It’s a scene familiar from countless western films, but in Pedro Almodóvar’s new short, “Strange Way of Life,” in theaters next month, only a few minutes elapse before the two characters end up in bed together. When Silva (Pedro Pascal) visits his former lover Jake (Ethan Hawke), he rekindles their romance before revealing less amorous intentions. Intrigue ensues, and the shock of two gay cowboys gives way to what we might expect from a classic western: shootouts, horseback chases, fugitive justice. Almodóvar’s second film in English forgoes the melodrama for which he is best known, adhering instead to genre traditions, so “the interrupted and then resumed love story between these two men will be taken more seriously,” the 73-year-old Spanish director says.

In America, as Almodóvar knows, cowboys are serious business. They might be our national paragon of masculinity: Generations of American boys were taught that real men should have the swagger of the Marlboro Man and the gruff voice of John Wayne. But like so many aspects of gender, those were just performances. This is partly why over the decades many queer artists have made winking references to cowboy culture. By homing in on make-believe and dress up, they’ve deflated some of its homophobia-tinged machismo — and even sometimes turned it into an object of horny fun. Campy versions of the Lone Ranger’s costume appear in explicit photographs by Bob Mizer from the 1950s that were distributed in physique pictorials, a forerunner of gay porn magazines. In 1965, Andy Warhol directed some friends in a western-themed striptease for his film “Horse”; three years later, he released “Lonesome Cowboys,” a drunken romp among five gay gauchos, a madam and a cross-dressing sheriff. Then there was the gay disco troupe the Village People’s dime-store cowboy, Randy Jones, who was meant to be read as a tongue-in-cheek archetype (one since referenced by musicians like Lil Nas X and Orville Peck).

Oscar yi Hou’s “Coolieisms, a.k.a.: The Fugitive (John Chinaman)” (2023). Photo: Evan Sheldon. Courtesy of the artist, 12.26, Dallas, Los Angeles, and James Fuentes, New York, Los Angeles

While such appropriations subvert the straightness of cowboy culture, they also highlight its latent homoeroticism. From cattle drives to prisons to navy ships, men will often have sex with each other when there aren’t any women around. Western films in particular are spectacles of rowdy male bonding on the open range, where a lot can happen after a drink or three. There’s palpable sexual tension in the 1969 buddy drama “Butch Cassidy and the Sundance Kid” and the 1959 classic “Warlock,” from which Almodóvar took inspiration. In the 1970s, men in urban gay enclaves began wearing Stetsons and bandannas color-coded to indicate their sexual proclivities. These gestures weren’t entirely ironic; they also reclaimed a masculinity that gay men were told they lacked.

As lone riders in a land characterized as empty and lawless, cowboys were also a perfect symbol for queers seeking to liberate and reinvent themselves. Such is the fragile hope of “Brokeback Mountain,” the 2005 blockbuster (which Almodóvar turned down an offer to direct) that was adapted into a West End play earlier this year. Its portrayal of a doomed love affair between two male shepherds was groundbreaking in many ways, but its presentation of the West as somewhere white, masculine men might be safe to explore their desires for each other without ever having to run into anyone else — including a person of color — mostly followed conventional tropes.

Kenneth Tam’s “Rabbit” (2022). Courtesy of the artist and Commonwealth and Council, Los Angeles, Mexico City © Kenneth Tam. Photo documentation: Ian Byers-Gamber

NEARLY 20 YEARS later, several younger artists and filmmakers are developing a more nuanced vision of queerness in the American West, with particular emphasis on the country’s changing race and gender dynamics. This builds on past efforts by writers, artists and filmmakers like Kahlil Joseph and Chandra McCormick to celebrate the many nonwhite cowboys who have always been an essential part of American life.

“National Anthem,” a feature film written and directed by the Los Angeles photographer Luke Gilford that premiered at South by Southwest in March, chronicles queer rodeos and ranches in the Southwest. Many of the movie’s diverse characters and the actors who play them identify as trans. Notably, while the plot hinges on relatable, everyday dramas (jealousy in open relationships, the pain of a first heartbreak), homophobia and transphobia are mostly absent — a reminder that queer life needn’t be defined by a culture that oppresses it.

The frontier has always been a place where people have come to live on their own terms. At the turn of the 20th century, the trans huckster Harry Allen was a notorious outlaw in the Pacific Northwest. Hundreds of newspaper reports from the era reveal that trans cowboys weren’t uncommon in the West, even if they’re absent from official accounts. When the 32-year-old artist Gray Wielebinski was growing up in Dallas, he saw 10-gallon hats and boots as the marks of a fantastical machismo that belonged as much to him as to cisgender men. In 2022, the trans-masc artist erected a mechanical bull at Bold Tendencies, an arts organization that stages shows on the roof of a disused South London parking structure, where visitors were invited to take a ride that, like sex, was brief but ecstatic. The bull bucked in a ring of fencing set with stained-glass panels that recalled gay bars and public cruising sites, which Wielebinski notes are at risk of disappearing because of gentrification. In his work, the cowboy is a tragic figure professionally endangered by commercial ranching, making him an analogue to the queer establishments that have closed in recent years.

Rafa Esparza’s “Al Tempo” (2021). Courtesy of the artist and Commonwealth and Council, Los Angeles, Mexico City

“Cowboys only live in a sense as myth,” says Nora Burnett Abrams, a director at the Denver Museum of Contemporary Art, which will open the expansive exhibition “Cowboy” this month. “But you also have this lived experience of contemporary cowboy life and a culture far more diverse not just in terms of identity but also labor and function.” A new installation and video by the artists Rafa Esparza, 41, and Fabian Guerrero, 35, will document the queer cowboy bars popular among Mexican and Central American immigrants throughout the Southwestern United States. Esparza’s 2021 diptych “Al Tempo,” painted on adobe, distills one such scene: gay Latino couples in sombreros dancing under the soft lights of Club Tempo, an East Hollywood institution. Esparza, who grew up in nearby East Pasadena, visited the venue for the first time in the late 1990s. “I remember thinking, ‘My dad or my uncles could very well be here, and I wouldn’t be able to set them apart from everyone else,’” he recalls. “It felt like a beautiful, queer version of what my family members have striven to preserve of their life back in Mexico.”

The dreamy scenes in the Austin, Texas-based 34-year-old artist RF. Alvarez’s paintings, which were on view at Alanna Miller Gallery in Manhattan through June, on the other hand, are mostly imagined. White and Latino men dine outdoors and lie naked in bed together. Cowboy hats abound: in a self-portrait of the artist wearing nothing but white briefs and in a still life hanging above a wardrobe beside a silhouetted portrait of a gay male couple. The paintings are a kind of reclamation — of history, but also of space. “There is no place for me in the West,” Alvarez says. “But multitudes can exist.”

RF. Alvarez’s “Luncheon on the Pasture” (2022). Courtesy of the artist and Taymour Grahne Projects

OTHER ARTISTS ARE mining time instead of place, looking at the past for clues to the inner queer lives of those who have been removed from most historical accounts of the West. In the artist Kenneth Tam’s 2021 film, “Silent Spikes,” also included in the Denver show, Asian American men in cowboy garb pose and dance in front of a purple backdrop, intercut with footage of railroad tunnels dug by Chinese immigrant workers in the 1860s. The piece imagines what kinds of relationships might have formed among these laborers, who were treated brutally and paid poorly. “I wanted to think about how their bodies must have felt against one another’s in that space, working together in close proximity,” says Tam, who is straight but whose work, he adds, is concerned with homosocial dynamics. Scant evidence of the Chinese laborers’ lives has survived, so Tam’s vision of them as queer cowboys becomes a speculative attempt to complete the record.

Stills from the film were on display this summer in “The Range,” an exhibition at 12.26 Gallery in Dallas that likewise explored cowboy iconography. There, they hung near paintings by Oscar yi Hou, 24, a British-born, New York-based artist whose works are replete with clichéd signifiers of Asian and American identity, including cowboy hats and details from the Japanese anime series “Dragon Ball Z.” His solo exhibition at the Brooklyn Museum, which closes later this month, includes a self-portrait of the artist as a muscled, pickax-wielding miner, his pose modeled on a 1970s flyer for the Manhattan gay bar the Mineshaft, referencing both cruising culture and those same railway workers. Another buff Chinese laborer appears in a black leather bondage mask and cowboy hat in “Coolieisms, a.k.a.: Leather Daddy’s Highbinder Odalisque” (2022) — the series’ title riffing on a slur for immigrants from Asia — holding his long braid like a whip.

The work is “about the American cult of masculinity and rugged individualism ... conquering the ‘uncivilized West’ — and how this gender ideology dovetails with American expansionism,” says yi Hou. The raw sexual power of his subjects refutes stereotypes of Asian masculinity while offering a fantasy about how the Chinese men who literally built the West might have explored their own desires. In challenging the outdated image of the cowboy as a white, cisgender macho man, clearing the land in the name of racial purity, they suggest that America’s national mythology can be made to speak for everyone in it — that the West is more expansive after all.

Hair by Olga Holovanova at Another Agency using GHD. Makeup by Lucas Margarit at Another Agency using Dior Beauty. Set design by Cito Ballesta. Photo assistant: Guillermo Tejedor. Stylist’s assistant: Irene Monje. Produced by Alana Productions SL

[hit-song-showdown]

Year-End Poll #47: 1996

[Image description: a collage of photos of the 10 musicians and musical groups featured in this poll. In order from left to right, top to bottom: Los del Tio, Mariah Carey and Boyz II Men, Celine Dion, The Tony Rich Project, Mariah Carey, Tracy Chapman, Bone Thugs-n-Harmony, Donna Lewis, Toni Braxton, Keith Sweat. End description]

More information about this blog here

A lot of major moments to talk about this year. Like my birth. I was born out of the Macarena Summer.

In 1996, the Bayside Boys remix of Los del Rio's Macarena became a cultural phenomenon as well as an incredibly popular song (I'm clarifying it's a remix, because the non-Bayside Boys version also reached the Hot 100 at number 98). The track's record for longevity in the Hot 100 would only be broken almost two decades later by Adele.

Speaking of record-breaking songs, One Sweet Day, the duet between Mariah Carey and Boyz II Men, is a towering R&B number. At 16 weeks, the song held the record for most weeks at the number one spot until Lil Nas X came out with Old Town Road in 2019.

One Sweet Day is a song about grief, specifically the track was inspired by the ongoing AIDS epidemic. It's not the only song on this poll related to this issue. Bone Thugs-n-Harmony wrote Tha Crossroads to honor Eazy-E, one of the establishing figures behind the West Coast rap scene who passed away from AIDS-induced pneumonia in 1995 when he was just 30-years-old.

Sadly, the stretch between 1995 and 1996 would be marked by several losses among legends in rap and hip-hop. In 1996, The Notorious B.I.G. and Tupac Shakur would be murdered with only a few months between their deaths. These losses will be relevant in a direct manner when we get to the next poll, but it's not an exaggeration to say that the music world was shaken by their deaths. There were those who were quick to make bad-faith arguments blaming the violent subject matter of the music itself. And while the coast-based rivalries did get extremely intense, I think this is a reductive conclusion to come to. To many, however, this moment in music history felt like a nation-wide wake up call.

As rap became more mainstream and started to absorb more of pop music influences into its sound, the genre was bound to change. We've already seen this with the increasing number of R&B fusions and rap verses on pop songs. But some mark this year as another turning point for the genre, as the gangster rap era starts to fade in the mainstream music scene. Even outside of rap, after this point pop music starts to feel a lot sunnier, for lack of a better term. Whether this is due to coping with these recent tragedies, a larger demographic of younger music listeners dictating the majority taste, people gearing up for the new millennium, the record industry reaching record numbers in profits, or genuine positivity and optimism (think that might have been still a thing lol), the times are certainly about to change.

[timdrakesbussy]

Goblin Destroyer: How the Internet Revived an Obscure Local Band

This is something that suddenly appear in my mind when I was waiting for a public transport near my campus but like ... Stardew Valley's aesthetic looks like they're in the 90s in rural Northern America/Western Europe (though still cmiiw since I don't live in neither of those regions).

So then I thought about Sam's band and the real life band called "Panchiko" where the internet basically rebirth this band. (If you want to know about the band, here's a video)

And I randomly think about some kids somewhere in the SDV-verse came across Sam's band's LP (I'm gonna go with Goblin Destroyer) and asked online forums about it but none got anything so far. Doesn't help the fact that the LP was credited only with their first names which are very very common names. The names in the back of the LP only says Abigail, Sam, and Sebastian with their roles which are drummer, guitarist/vocalist, and keyboardist/synth in that order.

OP then gave more information, like how the label seemed to be from either the late 90s or early 00s and it was obvious that they were from the Republic of Ferngill. Small problem though, Ferngill Republic is not a small place. Sure, it's not a big country, but it's still going to be hard to find the people who contributed to this record, especially since it was decades long. Regardless, this was a step forward. 

I personally think they would not take too long (like Panchiko irl) because of my personal headcanon of Sebastian being chronically online even to his fourties.

The forum was very popular with many tried to remaster their songs or figure out just who they were. So then Sebastian rolled around and was like, "Holy fuck, I can't believe you found a copy of this. Thought they threw them all away in Zuzu City back in '98."

AND PEOPLE WERE SHOCKED AND ASKED IF THIS USER HAS A CLEANER COPY BUT THEN HE WAS LIKE, "lmao I'm the Sebastian credited in the back of the LP. Sadly, no. I do not have the cleaner copy, but I think my husband do keep some in his previous house when we still lived in the Valley."

Obviously, people were skeptical because the internet lies a lot. But they still gave him the benefit of the doubt because this was more information than they previously tried to dig. It was true that Goblin Destroyers were from Ferngill, specifically Zuzu City, and it was correct that they were from the late 90s.

Few months went by without a follow-up so most people just brush him off as hoax because that's what they usually did to lost media, claimed to know and kept it somewhere but unattainable for some reason.

That is, until another user joined the forum and introduced himself as Sebastian's husband who has the cleaner copy back in his old home. The husband was apparently, a very important piece in the band because he was none other than Sam -- another name crossed off the list.

Sam apologized and claimed that it took him longer to find than he expected and to compensate, he and Sebastian did a digital remaster for the LP and will put it to streaming services alongside their previously unreleased tracks.

With the band finally found, some questions arrived. Most of the questions were about Abigail, the drummer of the band, and also about them in general. The only things they knew so far were that Goblin Destroyer was a prog metal band from the late 90s, Ferngill, and that two out of the three members are married to each other.

The two claimed that they had no idea where Abigail was; the last time they saw her was when they still lived in their hometown. Sebastian then mentioned that she joined something called "The Adventurer's Guild", and one of the last things they did together was go to the forest and watch Abigail's improved swordsmanship. That was almost twenty years ago. They just hope that wherever she is, she's alive and well because she was their best friend.

They then ended the forum with pictures of them when they were young and some band photoshoots, needless to say that social media will be filled with their pics for a few months or so because of how attractive they were. The couple also added a recent pic and well, they're still handsome as hell.

It took them a while to finally return as a band; they were not the young adults in a small town who were bored and annoyed with how their parents coddled them anymore. They are middle-aged with a family and jobs, so yeah, it took a while for them to perform again. Eventually, though, they were back as a band. At least a duo for a few months, releasing a new single after twenty years.

Goblin Destroyer did not tour or participate in any music festivals until they were hit by a surprise, Abigail finally returned to the band. She revealed that she's been busy with the guild for over twenty years and is a mentor, so she was so out of touch with the news. She also revealed that she figured out that they went viral through her mentee, who told her about it.

Finally, the band was back in business. This was the dream that Sam had thrown away, and to actually have it tenfold decades later was exhilarating, to say the least.

[icedbatik]

Penguins to retire Jaromir Jagr’s No. 68 during pre-game ceremony on Feb. 18

By Pittsburgh Penguins

November 10, 2023

The Pittsburgh Penguins will raise two-time Stanley Cup Champion Jaromir Jagr’s no. 68 jersey to the rafters at PPG Paints Arena on February 18 versus the Los Angeles Kings as part of a pre-game celebration, it was announced today by the club.

As part of the ‘Celebrate 68’ festivities, all fans in attendance that night will receive a replica Jagr No. 68 banner. In addition, a commemorative Jagr bobblehead has been added as a giveaway to all fans in attendance on Thursday, March 14 versus the San Jose Sharks.

Jagr, whose NHL career spanned over two decades, is one of the most accomplished players in NHL history and a member of the league’s ‘100 Greatest Players.’ In 1,733 career regular-season games, the 6-foot-3, 230-pound winger scored 766 goals, 1,155 assists and 1,921 points. He ranks fourth all-time in games played and goals, fifth in assists, and only Wayne Gretzky (2,857) has recorded more points than him. No player in NHL history has more game-winning goals than Jagr’s 135.

Drafted by Pittsburgh in the first round (5th overall) of the 1990 NHL Draft, Jagr spent the first 11 seasons of his 24-year NHL career with the Penguins, appearing in 806 regular-season games notching 439 goals, 640 assists, 1,079 points, 78 game-winning goals and was plus-208. He is in the top-5 in franchise history in games played (5th), goals (4th), assists (4th), points (4th), plus/minus (2nd) and game-winning goals (4th). He was one of 13 captains in team history, serving in the role from 1998-01. 

Jagr was an instrumental piece of Pittsburgh’s back-to-back Stanley Cup Championships in 1991 and ’92 – his first two seasons in the NHL. In that two-year span, Jagr suited up for 45 postseason contests, notching 37 points (14G-23A), which was sixth in the NHL over that stretch. Jagr shined during the 1992 Stanley Cup playoffs, recording a playoff career-high 24 points (11G-13A) in 21 games. In total, Jagr has dressed in 208 Stanley Cup Playoff contests, accumulating 201 points (78G-123A). He is one of just six players in NHL history with 200 or more playoff points. 

The 10-time NHL All-Star has won a plethora of awards over the course of his NHL career. He is a five-time Art Ross Trophy winner (NHL Scoring Leader – 1995, ’98, ’99, ‘00, ’01), three-time Ted Lindsay Award winner (Most Outstanding Player – 1999, ’00, ’06), and was the recipient of the Hart Trophy (NHL MVP) in 1998-99 and Bill Masterton Trophy (Perseverance, Sportsmanship, and Dedication to Ice Hockey) in 2015-16. Jagr was named to the NHL’s First All-Star Team seven times (1995, ’96, ’98, ’99, ’00, ’01, ’06), the Second All-Star Team in 1996-97 and was a member of the All-Rookie Team in 1990-91.

Throughout NHL history, only Chris Chelios (26), Gordie Howe (26) and Mark Messier (25) have played more seasons in the NHL than Jagr’s 24. Of his 24 seasons, he notched 20-plus goals 19 times and 30-plus goals 15 times, which both rank third in league history. He’s also hit the 100-point plateau five times, and was the sixth-oldest player in NHL history to accomplish that feat during the 2005-06 season at 34 years and 31 days old.

The native of Kladno, Czechia has multiple accolades on the international stage. He’s won a gold medal (1998) and bronze medal (2006) at the Olympic Games, two gold medals (2005, ’10) and two bronze medals (1990, 2011) at the IIHF World Championship and a bronze medal at the 1990 IIHF World Junior Championship. Jagr is one of just 30 players in history to join the Triple Gold Club, which includes winning a Stanley Cup, an Olympic gold medal and an IIHF World Championship gold medal. He and Jiri Slegr are the only two players of Czech descent to accomplish this feat. 

Jagr currently owns Rytiri Kladno of the Czech Extraliga and has been majority owner of the team since 2011-12.

[omi-papus]

Concept I pulled out of my ass while trying not to pass out in the micro:

A couple of fanon interpretations of the architects have the idea that they have genetic children, (whether by insemination, something about spores I think, and literally just raw DNA depends on the creator) but they don't give birth, and they don't have partnerships between the parents, they also don't care for their children themselves. That's left to specific qualified caretakers and essentially no member of the equation knows who it is they shared genes with, neither do they care

Now. Present day. No architects save for one are left. Robin and Al-An have been traversing the home world for years and have yet to find sight of any survivors. They find records of what was apparently an evacuation effort to get as many of the children out of the planet as possible, apparently not all were able to be boarded, and they learn that one child was intentionally left behind. The file is too corrupted to get the explanation as to why. They assume said child has already dead, and Al-An is too afraid of facing any more disappointment, but Robin pushes him along, encouraging him to try and find it.

And above all odds they do. Its consciousness is stored in a faulty terminal and it luckily they can get a body for it rather quickly, but due to time and resource availability. They are forced to give it a body that's much smaller. Smaller than even Robin. Al-An claims it to be a couple of decades old, around 98, and to Robin it appears to hold the mannerisms and behavior of a twelve-year-old. It's initially scared and untrusting, and it only begins to trust them somewhat when it seems that they made it a body and that it has nowhere else to go. It can't speak any human languages, being far less apt than Al-An, but it can speak some architect. Both Al-An and it can communicate, and he senses that there'is something it's not telling him. The network is gone, so these two cant read each other's thoughts, so they are stuck as they are. This is why the brooding doesn't actually recognize Al-An in any meaningful way. It can tell he's an older architect, but nothing more. Al-An recognizes this insecurity and, after a long period of trust building, mostly between him and it, Robin being a presence he feels uncomfortable with. Al-An decides to sit it down and explain to it who he really is. Why things are the way that they are, and why he is here now. 

The broodling remains frozen for a second and without warning emediatly attacks him. Al-An has no problem stopping him. And begs for its forgiveness and in the midst of it screaming and crying, falling over its own legs, repeating itself in its rage induced misery, tells him “It is your genes that made them choose to leave me here!” Before running off.

Al-An doesn't understand. He stands there still for way too long, and it's only when Robin shakes him to get out of his stupor, that he manages to whisper.

“That is my offspring…”

He can't face it. Al-An has never even thought about this being before, and cant believe the chances of ever meeting it like this. The guilt swallows him whole as he realizes that his failure was not only known throughout the network, but that they deemed his very being so repulsive that they left an innocent child to die only in the name of culling his bloodline. He does not expect it to forgive him, and he is terrified by the very notion of being a genuen father. He was never meant to be. He doesn't even know who the mother was. It was just something all architects where instructed to do at one point. He's scared and remorseful and yet, even now more than ever before, so desperate to hold it close, to keep it safe and tell it he loves it more than anything. But he can't bring himself to follow after.

And Robin does not plan to let that stand. She's going to get those two back together if it kills her. And she isn't going to tell either of them… but she doesn't want to think about Al-An having a family with somebody else. She deep down wants the kid to accept her too.

[shegoesbyjoy]

WAIT has anyone drawn each of the in-game postcards? maybe even to sell them as actual physical postcards???

would absolutely love to see how DE's talented fan artists render each of these, given how much the game illustrations leave up for interpretation

[Postcard Martinaise '98] A faded picture postcard from the end of the last century shows Martinaise as was before the Revolution. It's the height of summer, Rue de Saint-Ghislaine is teeming with parasol-wielding bourgeoisie and Wild Pines flags buttress the walkway. Nothing is written on the back.

[Postcard Grand Couron '37] This postcard depicts an ill-advised residential area overlooking the Jamrock Quarter. 13-story buildings line the hillside like sarcophagi, an ominous fog already rising from behind. These are the last boom years -- in '39 the project fails catastrophically, leaving behind an opiate and hepatitis B infested slum.

[Postcard Le Jardin '21] This laminated post card offers a glimpse across the river. A little more than a decade after the war, the eastern bank is already fully renovated. The hillsides are lush with gardens and residences, someone's parked a small beige airship by the fountain. This postcard will sell for a pretty penny.

[Postcard La Delta '51] The sunlight has made this postcard almost completely sepia-toned. Midtown traffic passes, overhead the ghosts of skyscrapers disappear into a beige mid-day mist -- vapour rising from the delta on which the district was built. The postcard is pre-paid.

[Postcard Boogie Street '46] This crumpled up postcard depicts an open air market in Boogie Street ~5 years ago. A vendor smiles as dead roosters line his stalls -- hung by their feet from canopy. Red blood flows onto the muddy street, blurry shadows of people pass.

[Postcard Couron '33] This one has 'HELL' written on its back. It could not be further from the truth. It's the boom years, and Couron, the nicest district in Revachol West, is enjoying a sun drenched day. Tall and handsome buildings rise from the riverside: steel, iron and yellow limestone, with cloud shadows sliding on the facades.

[Postcard Coal City '08] This postcard depicts a forest of smokestacks releasing fat plumes of smoke into blue, cloudless sky. The tinge of age – the colour of old teeth – gives it a sickly look. Written on the back is a single sentence, repeated twice: I got out. I got out. No addressee.

(game item screenshots & descriptions courtesy of the Disco Elysium wiki)

[medig]

A Tale of Woe, Ep. 24: the Missing Years

(previously)

"Liz, did you learn anything about Mary yet?"

"Well, I know she was born in 1875, I know she was born in [Claire's hometown], and I know she still lived here in 1898 when she got married, but the odd thing is - I can't find anything about her activities or whereabouts from 1893 to 1897 - it's like she just vanished for a few years. Everything is blank."

"Liz! She was here! That's when she was in this hospital for the insane, and they covered it up later for the shame of it! It has to be"

"This hospital was established by state law in 1874, and it was built over the next decade and half, essentially reaching its current number of buildings by 1889. So it was here during the time that Mary is seemingly missing. But there's no actual evidence of it Claire, you're just guessing"

"I experience the evidence every night, Liz. It's real!"

"Oh, Claire. More of these strange beliefs of yours. I'm sure there's a rational explanation. Look, let's change the subject. While I was digging in your mom's family albums for any info about all this, I found some photos of her that I just love. Here, I brought them"

"Oh my god, Liz. She was so young! Some of these must be from before she met Dad!"

"Some of them are. These are from about 93 to 98"

"They.. had cosplay back then?"

"They did, since a lot longer than that! But not as many people knew about it. Your mom knew about it. She knew about a lot of stuff"

"Here's one that Dad probably took of her when they were just dating. That looks like her old apartment before she moved in with Dad."

"Yes! She was a gamer! I remember, when I was little, she played with me all the time. Oh she was so beautiful"

"Yes, she played with me too. A lot! Claire, your Mom was my best friend. I know it's weird, for your best friend to be your stepmother, but I was a weird girl. When Dad and Julie got married, I was an awkward kid with no friends outside of Harry Potter books. Your Mom really took me under her wing.

Now, my mother, I love her, but I don't have much in common with her. Julie, on the other hand, she got me. And we liked all the same stuff. We watched Star Trek, Doctor Who, X-Files. She made damn sure I read all of LOTR before I was allowed to go to any of the movies. (And the Silmarillion, and she quizzed me on it to make sure!)

And that's why I always knew I had to take care of you, Claire. To try to give back to somebody what Julie did for me. And I'm going to do whatever I can to get you better and get you home."

"Oh Liz, if only I could tell you how badly I want to get out of here.."