#how do you have SO MANY RULES

[lesdemonium]

by and large I think TSA employees are the worst and I forgive them to a point because they are dealing with the general public and some of them are really awesome but by and large they're also on a huge power trip at all times

[sysig]

can i ask for larry and kabu.... is it allowed......... if not i can ask for something else lol

Day 2 - Warm feelings

[swordscleric]

I'm only halfway through the second phase of Predathos (which, to be clear is an incredible vibe for a bossfight, love a good head & hands/multitarget-same-entity boss) but I cannot shake the feeling of disappointment and just dissatisfaction I have had with this campaign that definitely started with Dusk/Yu, got followed up handily with the first Delilah/Sun Tree fight and then has been unfortunately reinforced with every discussion surrounding the Prime Deities since Hearthdell. This campaign is fascinating to pick apart, I have been really enjoying pulling apart why it isn't working compared to C1 or C2. But as much as I'm having fun dissecting where the worldbuilding has led to the current weaknesses in the gods' argument or reading other people's incisive commentary on the lack of personalities on the Ruby Vanguard's end, the "girlfailure" nonsense, etc etc, man do I wish this campaign was better than it is.

There are so many avenues of improvement -

Matt telling everyone to prep and write characters for this campaign instead of a C2-esque character-focused campaign.

Matt working religious organisations into the world properly.

The cast engaging with Marquet as a genuine location rather than set-dressing.

Otohan, Ozo and the rest of the Vanguard having more than "*insert snappy line here*" for their personalities.

No Delilah.

Bell's Hells having an iota of curiosity for anything outside of their own selves, including but not limited to: the gods, religious worship, the Elemental Titans and why they were sundered, how the people of Exandria feel about the gods, Vasselheim and its role in suppressing information about Predathos, Ludinus Da'Leth's plan and how it would still break the world if they did it in his place

I don't know why all of this fell into place in the way that it did, but it did. We can endlessly speculate why - the cast resting on their laurels after C2, not having enough time between the animated shows and Daggerheart and Candela Obscura and, and, and - but at the end of the day I really do hope that whatever form the final campaign wrap-up takes, they burn the damn questions asking the cast "what if the world was made of pudding and this character and this character kissed?" and instead pick questions that get them to introspect for a potential Campaign 4. Otherwise I don't know what will happen, but it sure as hell won't be Mighty Nein part 2: Issylra Boogaloo.

[kanjichris]

"why don't you want him to know how much you love him?" "that's a little personal. he knows." "uh-huh."

[s0fter-sin]

one of my favourite aspects of supernatural that you very rarely see in paranormal shows is that sam and dean are already versed in the world they live in. there’s no sudden discovery of ghosts and demons and now they have to learn about them along with the audience; they are born into it and already know all about it. it allows the audience to follow their personal story instead of also trying to figure out this new world and its rules

the first season is full of knowledge we never see them learn; “w*ndigoes are in the minnesota woods or- or northern michigan. i’ve never even heard of one this far west.” […] “great. well then this [his gun] is useless.” (1x02), “you don’t break a curse. you get the hell out of its way.” (1x08), d: “it’s a god. a pagan god, anyway.” […] “the annual cycle of its killings? and the fact that the victims are always a man and a woman. like some kind of fertility right.” […] s: “the last meal. given to sacrificial victims. d: “yeah, i’m thinking a ritual sacrifice to appease some pagan god.” (1x11)

almost every episode in the first season is a monster they’ve faced before that they then explain to the audience in a way that should feel patronising; like it’s the same speech given over and over again but instead, the audience almost feels included in the knowledge. it’s stated with such an innate confidence and comfort in said knowledge that it feels like we already knew it too; “spirits and demons don't have to unlock doors. if they want inside, they just go through the walls.” […] “the claws, the speed that it moves; could be a skinwalker, maybe a black dog.” (1x02), “it's biblical numerology. you know noah's ark, it rained for forty days. the number means death.” (1x04), “no no no, not the reaper, a reaper. there's reaper lore in pretty much every culture on earth, it goes by 100 different names.” […] “you said it yourself that the clock stopped, right? reapers stop time. and you can only see 'em when they're coming at you which is why i could see it and you couldn't.” (1x12)

they already know and, at least in the first season, already have what they need to kill whatever they’re hunting; already know to salt and burn bones for spirits, fire for a w*ndigo, exorcisms for demons, a silver bullet to the heart for shapeshifters. there’s only three times in the entire first season that they run into something new to them; 1x14 when sam gets his first vision that leads him to another psychic, 1x16 when dean calls caleb for help on the sigil he put together and he tells him about daevas, and 1x20 when they find out vampires are real- and they only don’t know that bc john thought they were hunted to extinction and not worth mentioning

(there’s also technically two half instances if you count one of them knowing something the other doesn’t - sam figuring out the tulpa in 1x17 and dean already knowing about the shtriga in 1x18 - but those still rely on sam and dean having prior knowledge)

even when they’re uncertain about facing something, it’s not bc they don’t know what it is; it’s precisely bc they know what it is and acknowledge that it’ll be a difficult hunt (“i don't know, man. this isn't our normal gig. i mean, demons, they don't want anything, just death and destruction for its own sake. this is big. and i wish dad was here.” 1x04)

so much of the tension in paranormal shows typically comes from the main character(s) not knowing what is happening to them/the people around them and having to find out how to resolve it. supernatural is unique in that it operates more like a police procedural. the tension comes from solving the clues and identifying patterns to figure out who (what) the killer is and intercepting before they can take another victim

it’s such a different tone to go for when compared to other shows that came both before, during, and after its run. it sets sam and dean on even footing with each other since they both have the same knowledge going in, and it puts them in a place of authority usually reserved for an outside character

the shows i compare spn to most is charmed, buffy and teen wolf; every main character in those shows are brought into the paranormal world knowing nothing, putting them on the same level as the audience, and they have their mc interact with others already knowledgeable about that world in order to overcome their problem/monster of the week. the audience organically learns about this new world as the characters learn about it. it’s a sound writing strategy that prevents “as we already know”-style exposition but something that complicates it is if your world building isn’t unique or intriguing enough, this slow introduction can become boring

we’ve seen shows like these before; sitting through the same tropes of characters learning to use their powers, struggling with no longer feeling normal/relating to the regular world around them, and not knowing how much they can trust the people already involved in this new world gets repetitive. all three shows eventually reach the same level of comfort with their new world that spn starts with but if the characters aren’t enough to draw you in, you can end up dropping it before they reach that point (and often, before the overarching plot can really kick in and evolve the show beyond the villain of the week format)

it’s the superhero origin movie in tv format; dragged out and overplayed. dropping the audience into an established world of course comes with its own problems but you also have the benefit of pre-existing established character dynamics that let the audience slot in like they’ve always been there instead of just getting to know all the characters while the characters also get to know each other

sam and dean already knowing about the supernatural lets the audience immediately get to the core of the story; the conflict between sam and dean, the search for their father, and the mystery of what killed their mother

[turtleblogatlast]

One of the biggest things that makes me see Leo as trans is absolutely the size of his carapace in comparison to his brothers’.

And I’m not talking about height! I’m specifically looking at his shell here, because when you compare him to the others, particularly Donnie who is nearly the same height as Leo, it’s very clear that Leo’s carapace is much longer in proportion to the rest of his body.

Like - standing side by side, even though Donnie is shorter his carapace ends noticeably higher up than Leo’s does. And I like this not only because it really helps push the idea that Leo could very likely be trans (or intersex!), but it’s also just a fun design difference between them.

(It also lends way to future scenarios of Donnie eventually getting taller than Leo, but sitting down still has Leo being the taller one haha.)

[egophiliac]

I was wanting to try doing an art piece in the style of the signature spell poster art pieces you create. But I’m not really the best at coming up with a composition for such a thing.

Do you have a process for how you come up with the compositions for them?

oh, awesome! it is an INCREDIBLY enjoyable style to work in; I hope you have fun with it! :D

I'm not great at putting my thought/art process into words, so my apologies if this doesn't make a lot of sense, but I'll try! my first step is always to do a LOT of thumbnails to figure out both the idea and how I want to show it; not trying to do a real sketch or anything, just little doodles to figure out what exactly I'm trying to portray. (I also call these "garbage passes" because they're not meant to be any good, they're just there to throw things out. aha. ha. ...anyway.) I think it's important during that first stage to really focus on the idea and the layout and not to get too bogged down in the actual drawing yet!

I tend to save my final thumbnails, so I'll use 'em as examples (I posted the ones up through episode 5 here if you're interested!) (and, uhhh, spoilers through episode 5 also in this post, hopefully that won't be an issue!)

the main thing I try to think about in composition is balance -- not necessarily in terms of symmetry, but in where each element is placed and how much space it's taking up. remember, empty space is still space! it's also really important to think about the parts that don't have anything in them, as much as the parts that do!

personally, I like to divide things up roughly by both halves and by thirds -- there's a lot more in-depth info out there on why the "rule of thirds" in particular works well visually, but in short, our brains tend to focus on things that are placed closer to imaginary division lines, instead of in the exact center of an image. so even when I'm doing something that is very centered and symmetrical, I try to keep that in mind and generally aim around those for landmarks like faces/eyes (or...where they would be, anyway) and other focal points.

it's not a formula of "the character's face should be in this division of this grid" or anything, more like "our minds like to focus on these areas, let's think about how to use that", if that makes sense! and of course rules are made to be broken, art is lawless anarchy, and so on. but it can be a good starting place for deciding where you want to put things!

(blue - thirds, red - half)

and against the finished versions, because they do usually end up changing a lot (including the empty space of the border):

(...these actually lined up a lot better than I thought they would. :') it makes me look like I do things way more intentionally than I do.)

other stuff I just try to keep in mind is that our eyes like following arcs and paths, which can be a good way to guide the eye:

and frame and control the focus:

honestly, composition is one of those things I feel like I struggle with a lot, so I'm not sure how much of this is helpful or actually makes sense outside of my head. but hopefully it helps a little! it's all just stuff to think about while drawing and not anything hard-and-fast, so don't, like, stress out about making sure things are lining up exactly on the thirds or anything. again, it's more "our brains think these are the dopest parts of the rectangle" than anything else! take advantage of the cool parts of the rectangle!

NOW GO HAVE FUN DRAWING seriously though, it is always super cool that other people like this idea and style enough to want to do it themselves and for other/their own characters! thank you! ❤️❤️❤️

[spaciebabie]

at first getting diagnosed with cptsd was like, "yay my trauma has been validated (it always was valid)!" and i really thought that was going to be it, but then i started to do research as i do whenever i realize i have something and learned that!! the way i experience socialization is!! quite horrid actually!!

[koszmarnybudyn]

Two doodler prophets in the world where they didn't have to be.

[therentyoupay]

im completely feral over all your jelsa stories!!!!!! do you ever write established relationship jelsa or have any headcanons about what they would be like together in a serious relationship or marriage????

THANK YOU SO MUCH. 😭😭😭😭😭😭💕💕💕💕🙏 thank you thank you nonny for this super sweet ask and this really lovely question and all of your love and support!! 💕💕💕💕💕

i have... never actually written established!relationship (in any fandom), now that i'm thinking about it? that said, i guess i can come up with a quick list of some headcanons, maybe? 😂 i will have to think about this more, but for now, here's a quick drop:

elsa is an early riser; elsa helps jack create more sustainable sleeping patterns and habit formations 😂

when jack gets Impetuous Urges to Do Something Rash and Impractically Spontaneous, elsa will ground jack, reminding him to think before acting. (he occasionally Still Does It, anyway.) elsa knows what she signed up for, lol.

jack loves to play Harmless(!) Pranks, just to watch elsa’s reaction. (he is no longer allowed to sneak up on her after The Incident).

they also quibble over the definition of "harmless" and the specific logistical implications of that; for a while, jack was banned from further pranking, but then he got more creative at showing elsa that pranks could be wholesome and genuine, in which they could both be in on the joke. however, due to elsa's deeply-rooted Need to Excel and her (Not-so)Secret Competitive AF Streak, her retaliation in escalating the Cleverness Prank War quickly resulted in jack's prompt implementation of the Prank-Free Zones and Time Periods. (no, he was not scared.)

elsa, usually reserved, has learned to let her playful side show more often with jack. she might still pretend to be exasperated by his antics, but sometimes it's part of the game (or habit).

elsa sill struggles with opening up emotionally sometimes, but she progressively feels safe enough to share her innermost thoughts and fears. with time, she confides in him more about her worries. she still never likes the idea that jack sees her Imperfect Parts, but at least she can tolerate the discomfort (and, yes, take comfort in it) now

(jack loves elsa's Imperfect Parts, and jack admits that he is Weirdly Proud and Competitively Honored to be one of the only people, even including anna, who gets to see them. he also is strangely Comforted and Validated that elsa is, in fact, not perfect because for a while there, he was pretty freaked out and intimidated by how fancy she is.)

until he realized that no one ever let her actually be a Weirdo before, and once he realizes the Truth of Elsa Also Being a Secret (albeit perhaps more Subdued) Weirdo, the Universe Aligns.

jack listens to elsa's Big Conversations intently, activating varying levels of Serious Mode.

jack is getting better at recognizing the moments when elsa needs him to play and needs him to listen or Give His Opinion or any combination of those things.

jack learns that it's not always about Saying the Right Thing (which he is not very good at, anyway, or so our Serially Unreliable Narrator thinks), but rather being able to read elsa's mood and anticipate what she might need (even if she is not aware of it herself yet).

elsa is meticulous about planning and preparing for special occasions.

elsa likes traditions! jack likes tradition only because elsa likes them, lol, and hey, okay, these are more fun than he thought?? (who knew fun could be organized??!!?)

so he really wants to show (off to) her by pulling off Incredible Planning Feats in her honor, too (they do not go as smoothly, lol).

jack will often go out of his way to spontaneously create something meaningful, a moment or a gift or a gesture, that reminds elsa that he cares. he is big on words of affirmation, gift giving (but like, souvenirs that he collects on adventures like, "i saw this rock and it reminded me of your cousin olaf, we should put it on the window after we paint his face on it"), and acts of service, as well as physical touch and quality time. HE WANTS LOVE. he wants TO BE LOVED. he wants to prove that he is worthy of being loved.

(and elsa has to get him to Chill Out sometimes, remind him that he doesn't have to Do Things For Her/Anyone in order to be deserving of care; he is more than what he provides for other people.)

(jack gets its, and appreciates it, but also, the Urge to Provide and Protect is still strong, even after so much time, and sometimes Old Habits Die Hard.)

i get the sense that he'd be the type to he wake elsa up in the middle of the night to take her on a surprise adventure, or convince her to Do a Fun Thing without any preparation (/warning).

and she would Be Alarmed at the Lack of Plan (especially if/when jack Did Not Think This Through), but he also took precautions to ward off Concerns by pacifying her with tea, or reassurances that yes, he did call ahead to make sure the restaurant was open before they left the house, of course he did, he would never just leave home without double-checking beforehand (and frantically googles it two minutes later when he thinks she's not looking; she is, naturally, and even occasionally pretends not to be).

elsa approaches conflict with a desire to resolve things Calmly and Logically. she tries to understand jack’s perspective, even when she disagrees, and she’s careful with her words, not wanting to escalate the situation.

however, she can sometimes withdraw emotionally, fearing that she might say something hurtful if she’s too overwhelmed.

jack was initially (and, honestly, still is, even though he understands more now) hurt by her tendency to shut down when she Feels Too Much, and understands (although it's still hard) that elsa needs time to process her feelings and organize her thoughts.

jack also helps elsa actually Feel her Feelings, instead of just trying to intellectualize and analyze them. (she hates it, BUT sees the value. jack lives for these moments in which he realizes that he's actually contributing positively to her life and helping her in some way, rather than just being a burden or a nuisance, as was/is his fear.)

his initial reaction might be to push for a resolution quickly, but he’s also deeply afraid of Creating Distance between them, so after the first few fights, he really makes an effort to find the right balance between Pushing Hard Enough and Not Pushing Too hard, so that he doesn't drive a wedge between them as they work things out.

jack FEELS intensely, and can be so stubborn. he does not always have the most precise vocabulary or tools to describe his thoughts and feelings, or identify the root causes of what is actually going on inside him; sometimes elsa asks a lot of insightful and guiding questions that help jack come to the conclusions himself, and other times, she Puts Into Words the very thing that he had been thinking or feeling, but could not name, and it is very reassuring to have someone who understands him well enough to be able to do that.

after conflicts or arguments, they take time to Decompress and reassure one another (especially if at least one of them, if not both, was Overthinking again).

when they argue (and healthy couples do, remember!), it’s a dance of patience and understanding: elsa might need a moment to Collect Herself, and jack learns to give her that Space while also making it clear that he’s ready to talk whenever she is, and that he is going to try very hard to be Rational and Patient About It.

in the end, they both prioritize their relationship over any disagreement, always finding a way back to each other.

[vaguely-concerned]

Origins is of course the DA game most closely in conversation with and playing around with Tolkien (right down to the walking talking poetree haha) -- and even more so than most works in the larger western fantasy tradition derived from Tolkien's work that DA:O also hails from and owes a lot of its Stuff to, what makes the game so great to me is that it's doing so very deliberately, and is subverting and deconstructing those tropes and entrenched ideas in some very interesting ways without at all denigrating what it's commenting on. (it doesn't have the almost disdainful undertones of the vein of fantasy that seeks to make the world more 'realistic' ala the more tedious reactions to G.R.R.Martin's work, for example, despite having the darker fantasy bent to it.) among other elements it adopts, what I find the most fascinating is the choice to use the same literary device/conceit Tolkien did in ostensibly only having in-universe biased sources and works to deliver the world through (which I feel is an underappreciated thing about his approach but is part of what makes his world so enduringly compelling and real-feeling -- the feeling of real scholarship devoted/applied to a made-up world. the grounding effect of a good diegetic footnote about source criticism, truly).

many things to be said there, and I'm glad each following game has taken on different perspectives and lenses and traditions to view the world of Thedas through because if you stick with that one too closely for too long I fear we could teeter precariously close to Pratchett's famous and bitingly accurate accusation of most modern fantasy of that era just being about rearranging the furniture in Tolkien's attic lol. and while you could accuse DA2 (my perfect wife who has never done anything wrong in her life to be clear) of many things, that's not one of them, they are pulling on some completely different strings for that one and both the game and DA overall is better for it, to my mind. as so many things in this series: worth staying with and exploring for an installment even if it might get stale if all of it was like this! people are understandably sad about the elements from previous games that they liked which were lost along the way, but that capacity for reinvention is to my mind a huge strength of dragon age as a whole.

(I think Veilguard is coming in as a close second in Tolkien conversation-ness if only in outlining/revealing the worldbuilding that indeed may have been planned since DA:O around the animosity that SHOULD by all rights exist between dwarves and elves in this universe (as per Tolkienesque tradition standards). but doesn't really because you see: politics and the many pitfalls of conservation of knowledge over the ages. our ancestral enmity got semi-intentionally lost between the floorboards of history and you know what. maybe for the best. the humans are already up to so much shit you gotta keep your eyes on them at all times you can't be brawling with each other in the deep roads while they're still around getting up to their nonsense or they'll just pile up even more of it)

[poorly-drawn-mdzs]

Ghouls night out

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[coolnonsenseworld]

Omg your instagram story is so right! I can’t believe I’ve never even noticed that, probably because in fanon keith and shiro are so close that I’d forgotten that isn’t canon :0

Deserves this awesome quote which I had to dig out of my sideblog reblogs

[anendoandfriendo]

You've seen "excluding neurodivergent people is ableist" and now understand "neurodivergency is disability" but now get ready for for this one:

Neurodivergency can be disability but not every single neurodivergency is, actually. Yes, even those who technically could qualify for a diagnosis under the DSM or ICD may consider their neurtype to be beneficial to them, actually. And some neurotypes can be adjacent to the DSM and ICD without actually falling into them!

Neurodivergency can be disabled but in the way all squares are rectangles but not all rectangles are squares.

The people seeing themselves as more abled for a neurotype that's disabling to you are not your enemies.

Break free of your chains, stop letting the DSM and ICD, the biggest perpetrators of ableism, define us and our communities.

[dykedvonte]

An independent Courier would actually hate being in charge or enforcing standards in New Vegas. At least in my mind.

They made Vegas independent but I feel like that playthrough/style so clearly makes it apparent it isn't for them. They are making Vegas a place where people can live freely, like how House genuinely didn't care what people did but without the behind-the-scenes Big Brother surveillance he did. Having every family, faction, and other influence group or person comes to them about alliances or rules would be draining, and boring, one note.

In an independent Vegas, The Courier is also Independent. They like getting rid of lines and borders that impede freedom, they like to help give people the tool but I don't believe they want to be the one to shape it.

[butch-bakugo]

Why are vetted accounts sending people stuff like this.

I mean it's clearly copy-pasted and sent to multiple people but this isn't even a donations ask. Imma guess the reason people aren't responding is because you're accusing them of not doing enough for Palestine and sending it to multiple people who you clearly don't check because I've been posting about and for Palestine since oct 7th when I learned about it.

Also yes he is looking for donations, you can check his account and find it. Why are you sending this guilt trippy stuff to people and accusing them of not caring enough? You don't know me? You send these to multiple people so your clearly not checking the account in question. This dose nothing to help you personally or the Palestinian cause, it just pisses people off and makes them question vetters.