#argus c 3

[crownrots]

NINA & WILLIAM | NINA & ADAM ELEANOR & FARRAH | AGATHA & MASON AOIFE & CORMAC | TALLY & CLAUDIA

TAGGED BY @moonflowcr @faithchel @leviiackrman & @lilywatt, to use these cute valentine's day meikers : MM | FF | MF , thank you! 🍫❤️

TAGGING @queennymeria @risingsh0t @thedeadthree @loriane-elmuerto @simonxriley @shellibisshe @carlosoliveiraa @socially-awkward-skeleton @shadowglens @imogenkol @lucky-107 @countessrooster @rhetoricalrogue @cptcassian @frankwoods @roberthouse69 @jennystahl @arborstone @arthrmorgann @minaharkers @josephzeppeli @jacobseed

[bleue-flora]

So… I have been obsessively rewatching streams to get as canon accurate as possible (as a perfectly sane person does… of course) and it kinda sparked a question. Clearly, Quackity’s lore is on the more scripted and edited side, so Punz’s talk with Purpled wasn’t a live impromptu and one of the things he specially highlights is “6 months” as the time frame for Dream being tortured in prison (not to mention the unspeakable and past people’s limits parts which there is no way Dream signed off on, but that’s a whole other can of worms…) We know that according to real life, Quackity tortured Dream daily for about 67 days if his last visit is the stream of making Dream write the letter (May 22nd, 2021), 75 days (from March 17th, 2021 - Quackity’s first visit stream to June 6th, 2021 - Techno’s stream where he visits Dream) if he holds up the deal to not torture Dream for a week or 82 days if he doesn’t, (we know he doesn’t get tortured while Techno is there because Dream mentions it in the podcast stream), which brings us to almost 3 months. Given this, why would Punz say 6 months? This isn’t a live stream slip up, this is scripted. They have time to verify the actual facts. So why would they say that and emphasize that point. 3 months is still a long time to be tortured daily, there’s no reason why that time frame wouldn’t be sufficient to convince Purpled of its ferocity.

One could make the argument that when Dream told Punz about it, he said 6 months because he didn’t know how long it was (which is actually what I thought at first), but Dream actually has a decent understanding of time at different points in prison so that’s not super likely. When Techno comes to visit Dream, Dream even says, he’s been there for 5 or 6 months (and that’s after Tommy’s stay and revival and stuff). We also know based on the jailbreak streams that Sam kept up the lie to Quackity that Dream escaped so even when Techno leaves it’s not like Quackity came back.

So, c!Dream knew, cc!Dream knew, cc!Quackity knew and given their attention to detail, I feel like they wouldn’t let cc!Punz get it wrong on accident. There’s no particular reason for c!Punz to lie and it’s not like an - I forgot how long let me just mention type of thing. No, this was one of the times in that talk with Purpled that he repeated himself for emphasis. So, why did he say 6 months?

[pantalon-et-colombine]

Schumann – Carnaval

Performed by Nikita Magaloff

The twenty-one pieces grouped under the title Carnaval were composed in the years 1834-5 when Schumann was in his middle twenties. He was living at Leipzig and had recently taken over the direction of a journal, the Neue Leipziger Zeitschrift für Musik, to which various notable writers and musicians of the time contributed. Schumann used to sign his own articles with one or other of his two pen-names, Florestan and Eusebius, representing respectively the extroverted and introverted sides of his personality.

In the spring of 1834 Schumann was introduced to Ernestine von Fricken, a beautiful and accomplished girl of eighteen. For a time the two were enchanted with each other and Schumann, stimulated by his feelings, composed not only Carnaval, but also the Études symphoniques on a theme by Ernestine’s guardian. The key to Carnaval lies in the name of the lady’s birth-place, the town of Asch on the German-Bohemian frontier. If the letters of Asch are taken to represent notes, they read A flat, C, B (As being the German for A flat, and H for B natural); alternatively, if the S is taken as Es (German for E flat), they read A, E flat, C, B; finally, if the letters are taken in the order in which they occur in Schumann’s name, E flat, C, B, A are produced. These are the three groupings of notes set out in the score as “Sphinxes”

But it would be a mistake to try to listen to Carnaval as a set of orthodox variations; the work is much too light-heartedly romantic for that. The Carnival is a ball at which various of Schumann’s friends and acquaintances enjoy themselves in company with characters of the commedia dell’arte, Pierrot, Harlequin, Pantaloon and Columbine. Schumann admitted that the names of the pieces were added after their composition, so the listener should beware of excessive preoccupation with non-musical images while hearing the music, but the titles are nevertheless deliciously apt.

Préambule has an impressive opening and the ball begins with a quickish waltz which is eventually rounded off with a very coda-like presto passage. We are then introduced to two of the guests at the carnival, the doleful Pierrot, and Arlequin, a delightfully gay and frisky little fellow, whom Nijinsky impersonated so wonderfully when Schumann’s music was used for a ballet. Next there is a graceful and most engaging dance which fully deserves its title of Valse noble. Eusebius and Florestan, as mentioned above, represent two sides of Schumann’s nature. The introverted Eusebius is characterized by an adagio in 2/4 time in which an unusually elusive rhythm is achieved by the use of irregular groups of quavers, first seven in a bar, then five-plus-three. Florestan is a cheerful, bouncing figure, even more energetic, though with less grace, than Harlequin; there is a quotation from Papillons, Op. 2 in his nineteenth bar. Coquette is an engaging dancer who is answered by Réplique with a phrase of smooth crotchets alternating with a dotted falling figure similar to that in the music of the questioner. 

At this point in the score the “Sphinxes” are printed, but they are not, of course, intended to be played. Papillons, taken at a breakneck speed, is one of the most difficult pieces in the set. Lettres dansantes, a gay little presto waltz, is headed by the letters A.S.C.H.-S.C.H.A.; the former combination, if we count acclaccature, opens the pieces, but the latter is not used. The next three pieces are character-studies. Chiarina is Schumann’s future wife, Clara Wieck, who would have been about fifteen when Carnaval was written, and Estrella represents Ernestine von Fricken who, according to this portrait, must have been of a somewhat impulsive nature; the Chopin piece which comes in between is an excellent imitation with its characteristic harmonic progressions and scope offered for rubato. Reconnaissance (which means recognition and not its English namesake) is one of the most charming pieces in the set. The engaging melody in A flat major passes to the minor and then modulates into B major (C flat) for a brief development section, after which it returns in the original key and dances merrily on above its tripping semi-quaver accompaniment. In Pantalon et Colombine we watch the dainty little lady fluttering around the stage with her old curmudgeon of a father hot in pursuit. Valse allemande is another charming dance with a violent ending very much in contrast to that of Valse noble; before its final repeat an Intermezzo gives a sketch of the great virtuoso violinist Paganini whose astonishing technique is cleverly suggested by the piano. Aveu is a delightful piece of intimacy and forms, with Promenade, another waltz, and the earlier Réplique, an attractive little romantic trilogy.

Pause merely repeats a section of the opening Préambule and leads straight into the famous Marche des ‘Davidsbündler’ contre les Philistins. The Davidsbund was a fictitious society “founded” by Schumann and much referred to in his journalistic writings. Its purpose was to combat Philistinism, and amongst its members were many of Schumann’s friends and also great composers, past and contemporary, of whom he approved. In this concluding piece, we hear the members of the Davidsbund going forth to battle against the Philistines, showing their magnificent contempt for convention by marching in ¾ time. Beethoven is evidently a member of the Davidsbund, for a phrase from the finale of the ‘Emperor’ concerto soon appears. The Philistines are represented by the seventeenth century Grossvatertanz which is knocked about sadly from one key to another until music from the beginning of the carnival reappears and the festivity ends with the coda-like passage which concluded the Préambule. 

[martyrbat]

batman: knightwatch #2

[ID: Robin (Damian) fighting a clown that's in an orange, prison jumpsuit. He jumps up, hitting the clown with his staff on the shoulder as he lands behind the man. He goads, “Do they call you ‘Chuckles’ because you're a big joke?” The second panel is Damian holding the nearly unconscious man down on the ground, the criminal's head held in a leg lock. Damian has one hand on the ground for balance as the other is held out by his ear. He taunts, “What's that? You give up? I can't hear you over all the laughter...” END ID]

[zevrans-archive]

.

[ambersky0319]

also untelated but still work related

today was

interesting

[thats-a-lot-of-cortisol]

2 & 3 from section 1 for peri and 7 from whichever section has a more interesting #7 for diodore -moss

oooh these are fun ones!

2. Describe their tent set-up (outside and inside) (Peri)

I think Peri's tent is constructed similarly to Gale and Astarion's (boxy, fabric walls, little covered area outside). Deep blue fabric w/ golden astronomical embroidery, mostly the sort of thing you see on star maps. Little golden tassles around the edges of the tarp (?) and the doorframe. He'd have a small, circular, dark wood side table short enough that you can use it sitting on the ground, and a dark blue pillow next to it; there would be some parchment and a bronze miniature astrolabe on the table. The inside would be just. full to the brim with the gaudiest night-sky-themed pillows you've ever seen. No bedroll, no palette, just a nest that would put those cube pits in trampoline parks to shame. There would be two bird perches for his familiar Medani: one taller one next to his tent and one shorter one under the overhang. The shorter one would have a crow-sized bow-tie hanging from it. Rugs on rugs on the outside area ofc. 3. What would their character quest be titled? Why? (Peri)

This is a hard one! His tav ending involves taking over the Waterdeep arm of the Harpers, so I think his arc would have something to do with that. He'd be pretty bitter about being dropped into another near-apocalyptic mess when dealing with the last one a few years prior was supposed to be a one-time thing. Something-something ptsd in a world that doesn't have the words for that yet, something-something 'once a hero always a hero', something-something the weight of responsibility...he's a planeswalker so I think part of it would be whether he decides to stay on Toril long-term and directly help rebuild the Waterdeep Harpers or if he continues to run travel around afterwards, so maybe The Far Traveller/The Far Walker?

Harpson/Fae-son are also potential options. "Fae-son" nods to him being a changeling without it being super obvious (like Astarion's "The Pale Elf"). It would also mimic his backstory reveals from RoT ("oh he's not 'from here' so, like, the Feywild" -> "OH he's not from here"). 7. Describe their arc. How would a player help resolve it? What choices can be made? Can your Tav be turned down a dark path, or pulled to a lighter one? (Diodore)

Buckle up because we're in for a long one here. I've thought about Dora's story arc a lot because she's the first of my tavs that I truly made for the game while having full control over her backstory, etc. (versus Corentin, who had their arc baked into the story as a durge). Dora's a paladin of Corellon (oath of ancients) and her story arc as a companion would have to do with whether or not she should accept capital-r-Redemption, the process by which a drow can be truly "freed" from Lolth and rejoin the ranks of the rest of elven society. It involves all of the Redeemed drow's memories being erased and them being reincarnated as a surface elf. The implication seems to be that without that, regardless of a drow's actions, they'd be thrown back to Lolth when they die? Or at least that their eternal fate is unknown (which is the way I prefer to think of it for. personal reasons). Under normal circumstances, Dora would be a long way from Redemption being presented to her at all (she's not even 200 yet and has only been on the surface for a couple decades), but like with the other gods' Chosen among the companions, near-apocalyptic circumstances tend to speed up those sorts of things.

Of course, you'd have the themes of faith & relationship with deity when they're all unequivocally real and are also mostly all assholes; maintaining or breaking generational cycles; facing the unknown; morality when none of your choices are "good" (and how that interacts with morality vs self preservation); power vs freedom; identity outside of the people who made you; etc. The choice would first be presented to her sometime in late Act I/early Act II, likely the first long rest after the group resurfaces from the Underdark and you've probably gotten some of her backstory already. I have no idea how Larian would have characterized Corellon, but he's considered one of the more benevolent/open-minded deities iirc, which could be interesting to see contrasted with Mystra, Vlaa'kith, and Shar. How much that open-mindedness would extend to a drow, even one who has been a faithful follower even before she escaped to the Surface (and who inherited that faith from her father), is unclear. At the beginning of the game she would be leaning towards accepting Redemption, despite her own misgivings about whether or not she would still be her in that case.

Her final decision (at the ending pier scene) would depend on the relationship she has with the PC and the other companions. Her best ending, imo, would be her not accepting Redemption but continuing to be a force for good. If she has a good relationship with the PC, she would have something to lose. I think seeing the House of Mourning would affect her too. After all, the thing Corellon is offering to her as a way to find peace is the same thing the Sharrans are using as a way to manipulate and control others.

She's viscerally aware of how she was socialized and very actively chooses "good", so pushing her towards a darker path would be incredibly difficult but not impossible. If you side with the goblins she'll leave immediately, and turn on you if she's in your party when you attack the grove. But if you decide to try and control the cult in Act II, depending on your over-all actions before then and how you've interacted with her, you could disillusion her to the point of convincing her to break her oath. That path would entail convincing her that controlling the cult is actually the best idea. I'm sure there would be other times that her oath could break that wouldn't necessarily lock her into an "evil" path, especially with how Oathbreakers are handled in the game. Knocking out Minthara instead of killing her outright and letting Auntie Ethel go in Act I instead of killing her are two things that come to mind.

If she doesn't choose Redemption she would be at the epilogue party, of course. I'm a bit undecided on what would happen if she does choose Redemption. She may not be there at all, w/ Jaheira, Halsin, Minthara, and/or Astarion mentioning running into her in her new, reincarnated state. Or she would be there, confused, and mention how the PC seems familiar in a way she can't quite place. In that case, she would ask them how they know each other and mention something about feeling a twinge of grief looking at everyone, but that she doesn't know why she feels that way. It would be up to the PC how much they tell her (if they tell her anything at all).

[inkykeiji]

No fr, I saw Hazbin fans on TT who ACTUALLY THOUGHT Alastor's last name was "Altruist". Like. They didn't comprehend it was a word he was mockingly attaching to his name after his performance in the finale.

oh my good god. once again i say, the media literacy (and possibly literacy, period) is buried beneath the ground like...that’s actually concerning. unless they were young teenagers who just didn’t know what the word meant,, tho idk if young teenagers should necessarily be watching hazbin but that’s a different conversation for a different time.

[chaotic-aro-incarnate]

BL romance trope ask game - 4, 10 and 18 :D!!

Yay! ^-^

4) Long Term Pining

First thought immediately goes to Guardian (2018). Nobody does long term pining like C-Dramas lol and Shen Wei gives everyone a run for their money in this category. I'm so normal about him and Zhao Yunlan.

10) Bodyguard

Look I am a NLMG girlie through and through. I love them so much. Is the show messy and full of abrupt tonal and genre shifts? yeah! was it necessarily the best idea to hire your estranged fisherman son to work as a bodyguard right after your boss was assassinated? not really! (like when Nueng shows up back to school again at the end, this time with like actual bodyguards, maybe that should have been the starting plan? instead of making your 18 year old son go undercover) But hey, I love this show and I love them and their complicated power dynamics made all the more complicated by being two lonely gay teenagers

18) Slow Burn

Ok I'm going to cheat here a little bit with a definition of slow burn but I'm going with Traige, mainly because of the slow burn/fast burn paradox of time loop romances! Because we don't know how many loops Tin went through exactly (he said it was countless), it was probably years worth of time he spent trying (and failing) to save Tol. Like we obviously don't see every loop he went through, but it took him so many loops to finally fall in love with Tol. Like that was definitely a slow build up internally if nothing else. Meanwhile for Tol he gets his bi awakening in the course of a week. Thus the slow burn/fast burn paradox of time loop romances!

[bubblsu]

“Okay, but this is actually such a good song!” The blonde commented, as she smiled at Slightly. Ever since he told her about the lyrics he had been writing at the ball, yet forgetting to bring them along with him to show her, Bubbles had found herself curious. She wanted to see exactly what he wrote, and if they were good enough for the collaboration the two of them were planning on doing. Not like she doubted Slightly and his song writing skills, but as a musician and song writer herself, the blonde can be critical about lyrics sometimes. This was not one of those times, however, the superheronie glancing back down at the sheet of paper as she once again looked them over. “Do you have a title in mind for this song too?” Bubbles then asked. "I’m gonna guess it’s Electric Touch, but I didn’t want to assume unless you had an alternative name in mind? ( @slightlyconceited )

[exactly24bees]

Can’t ever go into the garrus tags. None of you people understand him like I do

[bleue-flora]

(what prison?)

just two best friends living their cottagecore life with their dog (ignore the fact they are in prison)

[sheisoverhere]

Peeta Mellark is an integral member of the four D12 victors. He is literally the sunset on the reaping! How is this not clear? I’ve never wanted to report people for bad literary analysis more and I’m only half joking. It has forced me to commit a cardinal sin: analyze in anger!

1. Him being chosen by absolute accident is the point. Not only does he represent every single other tribute who simply gets chosen because they live in a messed up country but he represents how even with some odds being in your favor (older siblings, merchant family, being white, being popular, etc.) you are still very likely to be victimized by the oppressive structure of Panem.

2. When Haymitch says, “But she was smarter than me, or luckier” - the luck is all the people around Katniss who created the circumstances for her to lead a successful revolution (her father teaching her to hunt, the arena having woods, Rue healing her with leaves, Thresh not killing her, Haymitch consistently giving her support, her mother teaching her aspects of medicine, on and on and on) and Peeta is the number one, most important part of her luck in the first book. She has someone in the games actively putting her life before his… are you kidding? There is legitimately no better luck than that.

3. Even if we take Katniss out of it, Peeta is so impactful as a victor because most of his scenes would not be cut/doctored. What’s there to edit out? Instead, the viewers get a full view of him loving a girl so selflessly, using trickery and strategy instead of violence, keeping himself alive through art, joking on literal death’s door, and sharing so much of himself with the audience it becomes harder for them not to see him as a real human boy. How rare do you think that is for the games? Haymitch and LGB are caricatures of themselves in the games, playing roles that flatten them down. Even Katniss becomes one dimensional on screen without Peeta (and Rue, of course). It is also heavily implied that he does not kill anyone during the games (in a straightforward way) and even if you count Cato or the girl from 8 or even foxface, it’s never him hunting them or seeking out a kill - again how rare do you think that is to see on screen for Games viewers?

4. I didn’t think this needed to be said but: Katniss dies without Peeta in the first games. a) she goes for the bow and dies in the bloodbath; b) she is hunted and killed by Careers; c) she is killed by game makers because there’s no love story angle to keep them from just burning her entirely; d) she dies from tracker jacker stings or Cato because Peeta doesn’t defend her or tell her to run… I could go on…

5. But even if she does win and wins alone - the victory means as much (I would argue less than) any other rebellious victor winning, certainly less than Haymitch’s win. The biggest rebellion for their games is that two of them win! This is legit the only thing that distinguishes them from any other sympathetic, kind child who would have won the games. Like if Haymitch or Finnick or Wiress winning isn’t jarring enough for the Games to end… why do you think Katniss killing Peeta and winning solo would be? It would not.

6. And finally, I cannot stress this enough: There is no peaceful end to the rebellion or the trilogy without Peeta. “Peeta’s a whiz with fires” (HG) for a reason! Collins, over and over, shows us how fire can get out of control and destroy even those who are innocent and who you love (Gale, Beete, Peeta’s family, Haymitch’s family). If everyone really burns, there’s no one to clean the ashes. The reason not everyone burns is because of people like Peeta who can coax the flames in a way that is nurturing and consistent. I mean…. “Peeta fashioned some kind of incubator” is such an obvious detail. Those goslings don’t hatch without Peeta, life does not go on in peace and joy without Peeta.

It is no coincidence that when Maysilee says Lenore Dove got the “jump on us all” (in being a rebel), she is referring to LD using orange paint to make protest art!

We must stop pushing Peeta Mellark out of the narrative! He is literally the sunset on the reaping!

[martyrbat]

batman: the knight #6 • batman annual 2022 • dc pride 2023

[ID: Three panels from separate comics to draw parallels. In the first one, Minhkhoa Khan and Bruce Wayne are fighting in the snow after their mentor, Luka, was shot dead by Minhkhoa. Minhkhoa throws him into the ground next to Luka's bloodied corpse as he tells Bruce, “Luka was a master painter... who threw his brushes away.” Bruce shouts that he's insane but Minhkhoa corrects him, “No, Bruce. I just have vision... you and I could be the greatest artists alive... (— but you're too much of a coward!”)

In the second photo, Bruce and Minhkhoa are fighting a group of armed criminals together some time in the near future. Minhkhoa has his Ghostmaker mask on that covers his upper face as Bruce wears a black mask that's similar to Zorro's. They're in the middle of a quarrel with Bruce telling Minhkhoa not to be reductive before Minhkhoa continues talking, “This is an art. An artist doesn't let someone else handle their paintbrush. We've given our life to this. You can't just bring in others and expect them to be able to do what we can.” Bruce argues, “What's the point of it if we don't help others and share what we learn?”

The third photo is a closeup on Ghostmaker's helmet after he compared a battle to a dance. His internal narration reads, ‘Some say I feel nothing. But I appreciate art. I respect it.’ END ID]

[qardenofeden]

“kei, do you ever think about how strange it is that we've never fought?” you ask, limbs tangled with his as you cuddle on his bed.

it’s 10:03 PM and you’re doing your best to fight against the chilling, icy atmosphere of tsukishima’s room. for some reason, he likes to sleep like a vampire.

“do you want to?” he offers with an arm wrapped around your shoulders. tsukki doesn’t even open his eyes when he responds, too sleepy to entertain another one of your late night overthinking sessions.

“no,” you say calmly, “but we’ve been together for 7 months. we must either be like, the greatest couple of all time or the exact opposite.”

you feel his chest rise and deflate against your head as he lets an overly dramatic sigh.

you knew tsukishima kei wasn’t one for pda. hell, it was one of the things you loved about him. he knew how to make you feel loved without having to scream it to the world.

like that one time on one of your first dates, when you had accidentally fallen asleep on the soft grass of the park while waiting for his weekend practice to end. you woke up with a hand massaging your scalp.

“how long have you been waiting there?” you giggle, rising from your slumber as you rub your eyes awake. he pulls away, casually avoiding your gaze. “why didn’t you wake me?”

kei only shrugs, “you looked peaceful.”

or that other time you got sick for a week and couldn’t make it to school, so he immediately visited you as soon as you got better and brought his backpack with him.

“i got two copies of all the homeworks due next week, so you don’t have to ask the teachers for them.” he unpacks his notes and fishes out two pens from his bag before turning to you. “come, i’ll teach you everything you missed.”

your teachers praised you for how responsible you were, and told you how much they appreciated that you took the initiative to study.

yeah, you totally did that.

or like right now, and all the other nights you’ve spent at his place. because unbeknownst to you, tsukishima kei sets up his bedroom every single time you visit. he tidies up, cleaning even spots that you would never think to look at. but most importantly, and tsukishima knows this routine by heart, he turns the a/c to the highest setting so you’d be forced to cuddle against him underneath his sheets.

“the former,” is all replies with, and you scoff, rolling your eyes.

“but seriously though. how lucky are we to never have fought even after seven months.”

tsukki sighs again, before reluctantly revealing, “we don’t fight because i make it a point to always agree with you.”

you’re taken aback by his words, sitting up slightly as you look him in the eyes, though his are still closed as he tries to focus on sleeping.

“...huh?”

“idiot,” he teases. maybe he thinks calling you names will cover up for how unbelievably sweet he’s being right now, “why would i want to argue with you?” he shifts, trying to subtly move his face away so you don’t see him fully.

“but i can’t always have my way, you know. a relationship should be 50/50, right?”

“not ours.” he presses your head back against his chest, and you hear his heartbeat fasten a little. “you’re the boss.”

BONUS: “and you’ve never paid in your life anyway. you don’t believe in that 50/50 bullshit.” “hey!” “i don’t even know what your wallet looks like.”

@kokokoula this one’s for u <3

[westkauai]

Guajome Adobe January 2024