#haha jokes guys

[randyfuturedirector]

I really wanna kill someone

[chloesimaginationthings]

Who do you want FNAF to collab with?..

[calvinandhobbes]

i love the fly 1986 because it answers the age old question of would you still love me if i was a bug with a pretty resounding no

[bunnyboy-juice]

you guys know butch =/= taking T right? you guys know dyke masculinity is not correlated to being transmasc right? you guys know that even your silly jokes where you flatten butchness to taking T/being transmasc is extremely transmisogynistic right?

[rystiel]

that annoying moment when getting left for dead in the trunk of a car in your 20s comes back to haunt you 40 years later (take a shot every time ford says “stanley”)

[rendevok]

Act II ~ The Challenge

A tapestry for chapter 2 of Let No One Sleep by @azalawa-scroggs on ao3

[the-chat-who-got-the-cream]

the absurdity of some of the lines in the finale have been rotating in my head like a rotisserie chicken and IM NOT EVEN FINISHED-

[doctorsiren]

Hello again. Yes, I'm requesting more of Ford because he makes me so unwell. These are my favorite shots of him but I wasn't sure which to pick so it's up to you! Sorry for the poor quality of the second one.

😁 as a fellow ford enjoyer, how about both ? (sorry dipper i removed you)

[vaguely-concerned]

To the ‘themes I am picking up on in Veilguard’ list, let's go ahead and add what I have a sneaking suspicion will actually turn out to be The theme:

— the world has changed and can never be as it was again.

— I have been changed and can never be who I was again.

— in this simple unavoidable truth there is endless grief and endless hope.

And I… may be getting a bit emotional about it haha. Let me show my work a bit: 

if da:o is a game about people who are already dead or half ghosts in some form (through societal forces, psychologically, functionally, literally, in body, through the joining etc.) coming together anyway to save the world from being swallowed by total nihilism and despair (symbolized by the blight) through the power of love and friendship and also this sword/potential heroic sacrifice that I found, da2 is a game about people who have lost their homes and been set adrift finding and building new homes in each other (while completely failing to save the world. also through the power of love and friendship. as well as years of petty bickering <3 we must imagine kirkwall if not happy then worth having been because the love was there the love was there and that's the only sanctifying force we can ever have in this doomed world and city of ours), and da:i is a game about old stabilizing-but-unjust comfortable lies vs. disruptive but potentially liberating uncomfortable truths, and the power of friendship to help us distinguish the one from the other and navigate through them...

folks… I'm starting to think that veilguard might be a game specifically about moving towards recovery and acceptance after trauma — about how even in this flawed, severed, scarred state, what is here right now is worth loving and worth caring for. even in an imperfect and impermanent world and self, there is worth and joy. and of course the first real tragedy — and threat — of Solas is that he just cannot find it in himself to accept this and move on, to let go of what was, the regret won’t let him go or he won’t let go of it. which means that even though on the surface it’s Elgar’nan and Ghilan’nain (and the will to subjugate and violate they represent) who are the main villains, the real antagonistic force in this story beneath that is the Dread Wolf’s despair. A despair Rook must make an answer to by the end of the game, one way or another, compassionately or with righteous fury, triumphant or pyrrhic.

The world will change again and again and so will you — BUT the crucial element is that so will everyone else who exists along with you, you are fundamentally not alone in this existential truth. all we’ll ever have is each other and my god that is plenty, my god that is enough!!! Which is the second thing Solas just can’t accept, he keeps himself separate and completely alone out of an awful mix of fear and pride and feeling himself unworthy of anything else. Rook and the player want to save the world of Thedas because it’s where everyone we love lives, Solas wants to go back to the past because that’s the only neighbourhood where he can still visit those he loved — and the person he himself was, before. A very sympathetic and human instinct/trap to fall into when touched by trauma, I think, if only it wasn’t backed by godlike power, a fundamentally oppositional personality, and a catastrophic lack of therapy to make it literally everyone else’s problem too lol. It’s varric and solas’ banter about the man on the island and where meaning in a life comes from all over again, writ large and with detail work — and the added idea of ‘what if there are also other islands out there, though. With other people on them that you could find if you reach for each other’. Rook with the best of intentions has to make choices to which there are no perfect outcomes and live with what happens — and not cut themselves off from everyone else around them even when there is regret or shame. You get back up every day and you make a life with other people doing the same and you do your best, and that’s the only victory this world will give you. In the end, that is more than enough, that is essential. And I um. I love that. So much. It’s why some of the writing clumsiness on top can’t hurt me because this thematic spine is so solid and so beautiful to me. It’s DA2 all over again that way for me personally — I forgive this story for what it isn’t and couldn’t be, and I love it with my whole stupid open heart for what it actually is. Thank you for coming to my TED-talk and goodbye etc.      

(For my fellow TLT heads out there — you know what this story is reminding me of most of all, actually? It has some big Nona the Ninth vibes down there in the deep. It’s about… the horror and unspeakable beauty that can only be found in liminality, and the role of love in making that basic fact of existence bearable. And also even more unbearable at the same time. I'm so sorry.)

[toffeesbabbles]

enough of drawing ink happy- ink emo time

[equill]

Another Otsutsuki?!

we’re messing up the timeline for this one. (I lost this crack idea but then it came back… the abyss stare back and I jumped in.)

anyways, now some kids meeting the new kid

Panel 1: There’s something wrong here.

Comic 1: Attention.

they’re both in the same boat

Comic 2: Day Off (with confusion.)

he just a little insecure,, (kakashi still told him to get it together)

back to the future now

Comic 3: What. (huh?)

Panel 2: very tiny.

[nightlocked-in]

“peeta is bisexual” you guys are losing the vision. peeta isn’t even straight. katniss INVENTED sexuality for him. whatever katniss identifies as, he’s like “yeah, i’ll take that one” no questions asked

[humming-fly]

the origin of meta-knight's self consciousness

[bumblingbabooshka]

Thinking about marriage/women's rights on Vulcan Some may think that T'Pring not being allowed to divorce Spock was because he was going through the pon farr but if she were allowed to divorce him at all she probably would have done that a long time ago, confirmed by T'Pol when she's speaking with Koss, who isn't suffering from the pon farr. She says that he can choose another mate (without invoking a fight it seems: note the difference between a 'mate' and a 'challenger') and after he makes it clear that nothing she says will change his mind about marrying her, she finally threatens to declare a kal-if-fee. It's clear that Vulcan women cannot divorce/refuse to marry a man they've been betrothed to under any circumstances if A) He himself doesn't consent to ending their marriage or B) She doesn't have someone else waiting in the wings to be given to in his stead. Though, if the challenger she selects fails to win the fight, she'll have to marry her betrothed anyway unless (again) he decides he doesn't want her after the challenge. That seems like an incredibly unfair system, heavily biased towards men. SNW is an alternate universe in many obvious respects but most egregiously in that T'Pring has a lot of non-canonical agency over her relationship with Spock. It's interesting to me that Vulcan society has women in many positions of power and treats women as equal to men from what I've seen despite these laws. We don't really see Vulcans exhibiting a misogynistic attitude towards women in general but in TOS (perhaps because of its general writing style but it's still interesting to note) both Sarek and Spock take on patriarchal attitudes specifically regarding wives. Amanda says that 'of course' Sarek commands her because "he is a Vulcan and I am his wife." It's worthwhile in my eyes to note that she specifies 'wife' instead of attributing this attitude to women as a whole. Again, with TOS' writing style it wouldn't be out of place for her to say "he is a man and I am a woman." Spock, while in a pon farr induced irritation, states that it's "undignified for a woman to play servant to a man that isn't hers" - again implying that there's something specific about being a Wife in Vulcan society which is different from being a woman in general and demands subservience to a husband. This could perhaps stem from the extreme sense of ownership that Vulcan law has permitted men to have over women. A woman legally cannot point blank refuse marriage. There is no option which guarantees she won't have to marry her betrothed other than death. When T'Pau speaks of T'Pring she refers to her as being 'property' and Stonn, before being interrupted, states he's made 'the ancient claim' - we don't know what this is because he gets cut off but it's obvious they're both using the language of Vulcan law. Men are permitted true freedom to choose. If a woman wants to choose someone else to be with there is no option available to her other than the kal-if-fee which might result in the death of the one she wants to be with. And, if her lover fails, her husband can still just decide he wants to marry her and she'll be forced to. T'Pring gives two scenarios: One where Spock 'frees' her and one where he doesn't - it's still ultimately his decision which is clear when he ends the conversation with "Stonn, she is yours." This again isn't just because of the pon farr as T'Pol also goes through this. Koss can choose another mate and when the option is talked about there's no implication that this would result in any sort of fight (both by the casualness of its mention and by the fact that there's no formal word for it unlike the kal-if-fee.) Also, the fact that Koss does eventually grant T'Pol a divorce and it's all fine means that T'Pol isn't lawfully required to have another man waiting if her HUSBAND doesn't want her. It's ONLY required if SHE doesn't want her husband. Tradition must take precedence over individual desire UNLESS!!! You're a man. Then it's fine. Like, your parents might not be happy but legally you're golden.

[apollosgiftofprophecy]

Concept: In The Burning Maze, I think it would have been cool if one of the crossword puzzles in the labyrinth had been a mathematical equation.

Specifically, a mathematical equation on mathematical logic, such as negations.

Why? Because Apollo is the god of mathematics and I think it would be funny if Grover and Meg were standing there, staring with horror at:

~(~(p^q))

"What is this nonsense?" Asks Meg, a literal sixth grader who has never before encountered college-level math.

"I...I don't know!" Responds Grover, anxiously wringing his hands. He also has never come across something like this before. "I never went to high school!"

"Is it code for something?"

"The little carrot there looks kinda like a Greek Delta- is Daedalus related somehow?"

"A carrot-what?"

"The carrot!" Grover points at the symbol between the 'p' and 'q'. "It looks like the Delta symbol!"

"Oooh. Okay."

The sentence below the odd thing reads;

Solve my riddle,

Or play second fiddle,

You can find me in education,

For I am the ________!

"...What does that mean?" Grover whimpers.

Meg looks stumped.

"...negation," Apollo's staring at the strange equation. "'Solve my riddle, or play second fiddle. You can find me in education, for I am the negation!'. That's the missing word in the rhyme."

They stare at him. "How do you know that?" Grover bewilderedly asks. "It makes no sense!"

"Math logic," Apollo simply says. "This particular one is...about first, second-year level in college, I'd say."

Grover closes his eyes, muttering; "No wonder I couldn't solve it." as Meg stares first at the equation, then at Apollo.

"What even is a negation?"

"That," Apollo points to the squiggly lines. "It cancels the truth values out, giving you the opposite of what's inside the parathesis."

"...What?"

Apollo huffs. "The 'p' and 'q' both represent something, like two parts of a sentence. The carrot can be upside-down or right-side-up, representing 'or' or 'and' in that sentence."

"Which way is up when?" Grover looked to be on the verge of tears as the realization math did not, in fact, end with numbers or numbers and letters.

"Uh..." Apollo made a 'V' with his hands. "If it's like this, it's 'or'. If it's like this," he made a tiny pyramid with his hands. "It's 'and'. Imagine a line through the center, like an 'A'. That's 'and'."

Grover rubbed at his eyes. "Too much," he whimpered. "Too much."

Apollo gave him an awkward pat on the shoulder. "In this case," he said. "It's saying 'and'. The negation, well, negates their values, so it becomes-" he pats his pants and looks in his pockets. "Anyone have a pen and paper...?"

Blank looks met his. "Okay, then...then just imagine a squiggly line in front of the 'p' and 'q'. That's what the first negation does. Then the second one negates that negation, taking the squiggly lines away."

Breathing in, he finished with; "So our mathematical answer would be, 'p and q', written with the carrot right-side-up- like the 'A'."

The tunnel was silent.

Then it was broken. "How do you know all that?" Meg demanded, looking extremely confused. "That makes no sense. I thought there were numbers."

"There are," Apollo patiently explained. "But this is a logic problem, and they don't do numbers."

"Never before have I been grateful to not to have to go to college," Grover rubbed at his temples. "Algebra was bad enough. Now this?"

"Hey!" Apollo looked slightly offended. "It's all quite fun, really, when you figure it out! Besides, we didn't even have to solve it!"

"Then why did you?" Meg asked.

Apollo stared at her. "Because you asked me too-!"

"Nope." She blew a raspberry. "None of us did."

He closed his eyes, as if praying for mercy.

"Anyway," Apollo gave both of them the stink-eye. "Math and music were quite intertwined back in the day, so the Muses and I are quite adept at it- Thalia's the geometry queen, and whatever you do, do not say 'Bet you can't solve this in a minute' to Urania. She will make you look stupid."

"Bet that's not hard."

"Oh, shut up."

insert cackle from Meg

"ANYWAY," Apollo gives her the stink-eye. "Ancient Greece was a breeding ground for mathematical minds- Pythagoras, for one, who was my son to boot! Even Hestia enjoys looking over Hephaestus's construction equations in her spare time."

The other two stared at him, as if shocked the gods would find math, of all things, fun.

Apollo awkwardly glanced away from them. He didn't know what their reactions would be if he told them of the many contributions he has made to the world of mathematics. For some reason, silly mortals didn't seem to appreciate the hard work put into them!

Sighing, he said; "Uh, Labyrinth, the answer is 'negation'. We got side-tracked there for a bit."

One hallway in front of them glowed with the answer. Without another word, they quickly speed-walked down the passage-way.

[saulathan]

Dirk strider attached