#and the key falls apart

[midnightmishaps]

Not to be dramatic but what was the point of this car crash bc it wasn’t my fault OR bad enough to write off my car on insurance (which might be worth more than what I paid for this car)

All I get is just an uglier car and no life lessons or money like ily misty but u look poxy asf babe and I can’t afford to fix u

[kaasiand]

S1 flounder if it was good

[sisigull]

lotf shelf update!!

Maybe I should make my own merch next idk

[pisshandkerchief]

save me 4 hour long stanford pines defense video on youtube. 4 hour long stanford pines defense video on youtube save me

[fictionalred]

upgraded my wallet/bag with a new shoulder strap and a new carabiner that's also an extension cord thingy so it'll be easier to use! Also looks cooler!

[seventh-district]

i’ve just finished season one of TMA, and being someone who’s okay with spoilers is fun because it means i can peruse the wiki and scroll through the tag and i get to become privy to all sorts of weird, wonderful, halfway-out-of-context information that i get to look forward to understanding in the future

like. what do you mean Leitner’s in the tunnels?

what do you mean Jon eats the extinguished sun??

what do you mean it’s spelled Gerard Keay???

[cloud-somersault]

idk man, the epilogue is like this really deep...exploration of interpersonal connections and wants and desires interlaced with the complexity of circumstance and consequence and regret and guilt. and I started it as a like "haha, this is what I want! I want two monkeys being gay, haha!"

but it's so. fucking tragic, actually.

just in chapter 1, we see how defeated Macaque is, how lost he is. how he hesitates and flip flops constantly. how he says or thinks something with certainty, but then goes back on that. he tries so hard to commit to one path, but he truly is fluctuating and has no clue what to do

and wukong is just...certain of himself. he's certain of his wants and desires now after Constellations. He wants to maintain connections and put in the effort no matter what. and that..juxtaposition of them...is just so raw and hurtful in chapter 1 because we see that wukong notices that in Macaque because he knows him better than anyone.

And Macaque admits he's a little lost. he doesn't know what he wants. but he keeps walking. he wants to make his own choices. he wants to think for himself. he wants to see the truth for himself.

and as the days go by, as the weeks and months pass...as they grow and change, it's just sad. because it's not

the epilogue is not this "will they? won't they?" shadowpeach thing.

look at them as individuals. that's why i finally decided to change the perspective. because we needed to see macaque's thoughts. I've shown you wukong's; please give macaque that same level of attention.

when people write romance or relationships, they often misstep when it comes to the characters that are in the relationship. in order for that relationship to be believable and relatable and enjoyed by the audience, you have to develop the characters independently and together.

we cannot have shadowpeach until we know, with certainty, who macaque and wukong are.

[thedreadvampy]

btw about Neil Gaiman I periodically agree with the 'Neil Gaiman is annoying' stuff bc I feel like both he and Amanda Palmer seem like people who I would go insane stuck in a room with bc we have very different ideas about art and suchlike. and I also do think that the career trajectory he's on lately is cynically redoing his greatest hits and pretending that was the dream all along when it clearly was not. which is at best meh.

having said which

as far as I can tell by far the most common complaint about Neil Gaiman is "Snow, Glass, Apples is problematic/gross/it's got incest and rape and frames the child as the aggressor"

which strikes me as a weird complaint to pull out of a 40 year body of work tbh when that short story is pretty clearly coming from a place of 'how far can I push this'. like you don't have to like the story. I don't really like the story. but it is. a horror story.

like and this is the thing with particularly 90s alt horror right? a lot of the interest is in transgression and sitting in the worst possible perspective and seeing what happens if you pull those strings. like I really like Clive Barker for example but there's a good chunk of his short stories that I'm like I'm not picking up what you're putting down Clive this seems Kinda Off. but that willingness to write some trite or Bad Message horror fiction that doesn't land is imo a side effect of being willing to try writing uncomfortable and unpleasant fiction at all. which is what horror is for, among other things, it's for creating discomfort as a form of catharsis or engagement.

like I am not a huge fan of the type of sex-horror that pops up in a lot of Gaiman's work and other contemporary horror writers - to me I don't find it upsetting or horny it just ends up feeling kind of edgy and tryhard - but I'm also a bit like. it does seem like a lot of people's beef with Neil Gaiman is that In The 90s He Was A Horror Writer

and this approach to Problematic Horror in Snow, Glass, Apples I find kind of microcosmic of how The Discourse often approaches art in this kind of 1:1 way. if you write a story which seems to line up with rape apologia it can only be because you agree with it. if you write a story about transphobia you're a transphobe. if you write a story that makes me genuinely uncomfortable you're attacking me.

but artwork, especially art like horror that's not necessarily trying to provoke enjoyment as its main response, is necessarily hit and miss. and if what you're shooting for is discomfort then whether it works, falls flat or goes too far incredibly depends on your audience. and making good art - as in art that makes its audience think, art that opens the audience up to discomfort and catharsis and sticks with them and changes them - requires the space to experiment and tbh the space to fuck up. like they aren't all going to be winners and they certainly aren't all going to work for you as a singular audience.

personally I don't see the appeal of Snow, Glass, Apples, less cause it's nasty and more cause it's hack. ooh an edgy monstrous version of a fairy tale where there's lots of rape and cannibalism? you're soooo original Neil. but like. that's fine. I don't really vibe with like 70% of Neil Gaiman stuff I've read but I still like Neil Gaiman because the stuff that works for me really works for me.

idk I think there's a lot of folk on this website who shouldn't interact with horror cause they clearly aren't interested in being horrified. that's not everyone who dislikes Snow, Glass, Apples, but it's a real undercurrent to a lot of the criticism and tbh this kinda vibe is shit for art. making standout art What Is Good also requires being ready to make art which stands out for the wrong reasons. sometimes they'll be the same art to different people.

[easily-distracted-by-fandom]

I am a jester to a crowd of silent mimes

[aromanticannibal]

Ok, Feldup recs post!

Mostly my opinion (which is wildly positive) on his most recent album, Stared at from a Distance.

Warnings, this entire album talks about Feldup's SA from a woman twice his age. It's hard to listen to, it was hard to listen to for me, who suffered through no such experiences and isn't triggered, squicked or made uncomfortable by many things.

First, I'd advise that you listen to the entire album all at once (which breaks throughout if needed), in order and with lyrics (there are subtitles in the linked video). I promise it's worth it. Now for my favorite songs :

Stared at from a Distance (2nd track, 12:06), is obviously incredible and one of my faves. It's pretty long and is way more explicit on what it's talking about than Waters (4:55), the first track (which I really liked too, the music video for it is excellently made as well). I really love the way the instrumental and beat switches throughout to accompany the story, and the end of the song made me think I was going to cry (I just needed to sneeze but tbh it's still crying material). Really good, if you listen to only one song in the album I think it should be this one. (Side note, I'm also wondering if I didn't hear part of that song when I was at Feldup's concert - it was before the album was out, but you know. I don't think I heard all of it, but maybe I just forgot).

Naked and Afraid (3rd track, 3:11) is very good and picks up very well after the second track. It makes you understand that this album really is a story you're following, and you're going to get every detail of it. The following track, Dizzy (4:11) is transitioned to so well I thought it was the same song (it's also excellent), and Fear of Abandonment (4:07) right after is like. Painful. /pos

Shove it (6th track, 03:39) is honestly terrifying to listen to, and it works very well for its subject. I don't even have much to talk about for this one, it's just really good. The 7th track, Moment of Sobriety (5:30) managed to be even scarier, because of how real it gets then (if that makes sense. The whole album is painfully real, and it reminds you of this regularly).

Crying as a Weapon (8th track, 5:20) is where I had to take a break. I think it might be one of the most relatable songs for many people who were abused, not just sexually.

Death of an Illusion (9th track, 10:23) is the other very long track of this album and it is, unsurprisingly, incredible, and one of my absolute favorites. It's also one I could relate to a lot, and its progression is very satisfying. It Never Leaves (9:09) is similar to Death of an Illusion, its continuity, and its ending made me incredibly happy.

The last one, To Love Again (4:49), is the song I enjoyed the less, musically speaking, but one of my favorites nevertheless, and a perfect ending for the album in my opinion. It also has a shift in the... well, not the narration, but I guess the message, somewhat (trying not to spoil because it's so incredible to realize to me), which entirely convinced me this is actually my favorite album of all time construction-wise.

In conclusion, Oh My Fucking God this is so incredible.

Feldup is a great person who writes incredible texts and makes excellent music. The constructions of his songs and the way his story is told throughout eleven tracks is beautiful and heartbreaking and hopeful, and it genuinely is currently changing my brain chemistry /hj. It is so good. It's on Spotify and Bandcamp for sure, and I think it's on most other streaming services, and you still have the Youtube video I linked at the top. Please give it a try.

I'll quickly give my favorite songs from his other album, A Thousand Doors, Just One Key, but they're all really good too : Falling Apart (2nd track, 4:08) which is his most known song as far as I'm aware and is a fucking banger from the first notes, Mental Health (6th, 4:25), Attention (3rd, 3:54), and Stockholm (10th, 11:21), which holds one of my favorite lyrics ever (There is no cure/I am the disease).

Anyways, have a good day or night, stream Feldup's music.

[n1ghtwarden]

she won the idgaf war in the shadowfell

[gyrovagi]

mostly ga-kei has to be alive in the canon worldstate so she can have an aneurysm when ga-sun's like. Btw this is my tevinter altus boyfriend i'm sure you guys would have fun discussing magical theory! (< did not consider for literally even a moment that ga-kei could meet someone it likes and not like them)

[carefulfears]

This is a classic one but Scully coming back in Minneapolis to help Mulder in Irresistible is so strong to me after what happened to her, despite leaving the city because she’s so disturbed and fragile still she comes back to do her job.

she loves and respects her job so much and people are so dismissive of that...she isn't a miserable babysitter, she's invested in a line of work that she finds worthwhile. it means something to her to be able to come back and assist even when it feels very personal and very troubling, and mulder would understand if she left. it takes a lot to be able to show up like that. and she does the same thing in orison, but i think then it's for herself. to prove something to herself and to fight for herself.

[l0std1adem]

in the past year, I wrote critical APIs, built a microservice from the ground up, did a fuck ton of ops work, played a key role in the WEEKEND meetings that we were having to get our service ready for customers and was the most junior person there, demoed to my manager’s manager twice and a guy right under the CEO once and am currently working on solving the problem that was the reason that our team was created in the first place…

AND IM STILL NOT GOING TO BE PROMOTED BY THE END OF THE YEAR BECAUSE OF OFFICE FUCKING POLITICS

[juniperhillpatient]

my toxic trait is that if I make good decisions for enough days in a row I just assume that justifies making atrocious decisions after enough days have passed like it somehow cancels out & despite knowing that’s not how it works on a logical level my brain continues to function this way. I probably won’t change

[movedtodykedvonte]

Your au with Miles and Spot teaming up, does it have a name?

Also would Miles change his custom?

Cause on one hand, him changing his custom to be more villainous is cool supervillain 101. But on the other hand there is a statement to be made by not changing the custom and hunting down all the Spider-Man while using his normal spider-man custom, no adjustments to make it more villainous just plain old spider-man.

And lastly: your content’s really funny and cool 👍

I just would call it anomalous cause that's kinda who and what it focuses on.

As for Miles, he plays the long con, making the other spider people think he's still trying to uphold the moniker of Spidey in his own way despite his true motives. It's more Miles making them think Spot is holding him captive and using Miles as leverage so they can't just kick his ass when in all actuality it's Miles laying low while making big moves.

More so, instead of the costume changing Miles slowly warps and changes through all the dimension-hopping. Like slowly and through like the Spot's physical presence infecting Miles, his DNA and genetics start taking on aspects of the multiverse. He's not so much a cosmic threat like the Spot, more so he slowly starts being able to stay on other earths longer and soon without glitching at all. I'd say instead of the normal suit, his suit would glitch to look like a weird patchwork of his and other Spiders' suits, depending on the dimension he's in. (say a mix of his and Gwen's if he was on Earth-65B) but with a lot more visual glitching and weirdness, cause he still is an anomaly that doesn't belong.

Though I think he'd just start looking warped after a while if not in his home earth. It's not a physical part of him but a new horrid ability that surrounds him and affects other worlds when it's active.

(also thanks! I like to think I'm pretty funny when I don't drop of the face of the earth for weeks :p)