#i am going to maintag this i think

[utilitycaster]

I am very excited for Unend and I have absolutely no insight into what it will entail but I do want to offer a gentle warning regarding what I'd like to call, for the CR audience anyway, the Campaign 1 to Campaign 2 problem.

I found in the early-ish days of Campaign 2 there was an immense focus from some parts of the fandom on what previously seen characters were doing, rather than the current cast of characters, and at times a bitterness that we weren't just showing the same characters 25 years down the line. Which was silly, because we got a great story with new great characters and saw the world grow before our eyes, and there were even some small nods without them overshadowing something new and exciting.

I feel this way about Unend: again, I know nothing, but I don't think it will be heavily focused on characters introduced in Midst or Moonward at all. I think it's an opportunity for a new cast of characters to explore new things in the same world. While I suspect the islet of Midst may show up simply because it's a strategic location for an exploration vessel to stop given how the cosmos work, the story is explicitly going to be taking place as far away from Midst as possible, since they're trying to find the extremes of the cosmos, not the middle. I don't think we're checking in extensively with past characters, and I think that's great! Get excited for new ones!

[medicalunprofessional]

juggalo nemesis (…evil augustus) and horror punk butcher. Very important i think

[griancraft]

I love Jonnit so much he’s so fucking cool,, him and Travis are REALLY fun god. I just finished episode 8 which is, so so early in this.

[hewmitcwaft]

FUCKING TELL US ABOUT THE COPPER INLAYS

OKAY BEAST CALM DOWN HERES AN INFOGRAPHIC THING I HOPE THIS FEEDS YOU WELL

[cha1cedony]

*crawls out from the fiery depths of writer's block* I PUBLISHED FIC AGAIN

Whenever I have really bad writer's block, I use a word randomizer to choose three prompt words to work with. Lately, I've been working on a bunch of these oneshots, and I just finished the first one!

It's Wilsons angst! What else is new :) Lincoln and Casey talk about (or, rather, do everything to avoid talking about) familial tension and grief. This probably appeals to nobody but me but ENJOY! :D

PS: I am working on some other oneshots in this "series" of random prompts (they're not interconnected in any way), but I'm also working on my ongoing series! I pinky promise. I just want to make sure they are good, and I haven't been totally loving my writing lately, so I'm doing some shorter exercises like this to help me get back into the swing of things. It's going well so far! ^_^

[moe-broey]

Mani voice Collect My Pages

ELABORATE. ELABORATE FUCKING SHITPOST. That I simultaneously put WAY too much effort/thought into, while just. Giving up and half-assing it near the end LMFAOO

This was. An extremely funny characterization realization moment for me though, writing something else w Mani. The thought of, "Wait why the fuck does it have the same exact cadence of the Green M&M post???"

Anyways I absolutely cheated by editing this LMFAOO I'll put the typically edited version under cut! (For lighting/color correcting ect ect) Also a link to the post I'm reffing!

[typicalcommondandelion]

Shitty photo I know. Request done for @edens-garden

Ft. Player 2, generic nightgown, and skylight blush concept courtesy of @/8o8o8o8o8

Oh also bush btw that's bush. I know it looks like strange crotch darkness. It's bush.

[minobe-household]

i say she isn't in an relationship going off of canon but the real ones know that's a lie. she's married. to freddy fazbear

[mcybree]

Im doing a lot of thinking abt why roleplaying feels different/less natural for me in beastlife s4 in comparison to s3, and i think it’s because there’s ways i know i should be feeling (based on the perception of my character— when i was fresh out of s2 nobody knew enough about my guy to have opinions) vs how i am feeling. I’m catching myself thinking, “it wouldn’t make sense for my character to [blank],” and it’s like… what do i mean by that. what do i mean that this feeling im having in-session “wouldnt make sense for my character” to feel? It might be surprising to other beasts who know me for one thing and expect consistency, i guess?? but in s3 i just acted on feelings and then shit happened. what. why am i trying to enforce a character that does not exist when the strength of mcrp lies in its improvisational nature. I didn’t write this guy on purpose, why am i trying to write him now

[sparky-is-spiders]

Jon whose monstrous feelings make more sense than their human ones. Jon who has always felt alone, two-steps removed from their peers and the people around them. Jon who struggles to voice their emotions, to even understand them, unless they are coming from this terrible thing growing inside them. Jon for whom emotions have always been a powerful, hostile, alien force. Jon who is constantly reaching for all the feelings that everyone else seems to have and understand naturally. Jon holding their own feelings up to the light and feeling frustrated and empty until they see something else staring back. Jon who has never felt whole or fully present in reality until the birth of the new world, when they are finally perfectly grounded and present.

[spraykit]

ten (10) likes and ill make This specific frame of tr125 the background on my school laptop

[impulsivedecisionsat3am]

it’s a good sign when i’m listening to goth music. it’s a bad bad bad sign when i am listening to midwest emo

[erstwhilesparrow]

what's up it's time for me to have life series derangements again. you ever think about scott smajor? <- an entirely rhetorical question

a little while ago, i was like, "oh, it'd be fun to me if cleo in double life looks at martyn, looks at scott, realizes which of those two people is going to be more dedicated to helping them survive, and makes a decision that is both tactical and emotional, where even they can't be sure where the division between those two motivations is." and that IS fun, especially in light of martyn then teaming with scott in limited life, maybe because he's now seen what scott's like. however, actually, out of [cleo, scott], i think maybe i had the wrong guy! (relevant here: scott suggesting to cleo in secret life that the best thing to do once etho's on low enough health is to have him let her kill him to get extra hearts. cleo's pov saying, "i couldn't.")

the thing about scott that i think about sometimes is. at the double life finale. scott has the tnt that whole time. he's the one holding the flint and steel, he's the one who calls pearl to spawn, he's the one who gets his final word in and decides when and how they'll go out. "you deserve it more," he says to pearl, as if he doesn't know full well this will kill them both, as if he couldn't hand over the explosives to pearl and let her decide. there are ways to read this that are. deeply cruel. it's the same thing he did at the start, right? yanking the rug out from under pearl, making decisions about their relationship on his own and then forcing her to deal with it, knowing it's come down to just the two of them and snatching this last choice out of her hands too. there are, also, kinder ways to read this. by "you deserve this," he means pearl deserves the win, of course. she deserves to win the game, because it is a game and they are playing it, and after this much, she shouldn't have to figure out what to do about scott, too. he should just give it to her, make this as easy as possible.

i think... it's not even that scott loves throwing himself on other people's swords -- there are other people in the series for that type of thing. i think it's that scott has figured out that throwing himself on someone's sword is a useful thing to do, not just for his allies but for himself. oh, we can tell each other about his loyalty and trust and love and sacrifice, and he can tell that type of narrative too! but there's an element of business, or practicality, or calculation to a lot of it. i think the story that gets out and lingers IS more often about loyalty and trust and love and sacrifice and maybe that's there too, but telling someone, "oh, yeah, you can kill me for the time / hearts / victory, go for it," is also a way of shoring up alliances, of ensuring you stay in people's good books, of reminding people you can be trusted and relied upon. it's a death game, but it's also a social game! your reputation is a tool, and your life can be a bargaining chip. (relevant notes: he yells for martyn to kill him when he's the last yellow left in limited life. lets cleo knock him off the tower in limited life to get some time from him. in his secret life finale, once he gets down to fewer than ten hearts, he goes looking for gem, throws her all his good items and tells her she has to kill him. talks about deliberately saving / not saving the one gift heart per session for trade deals. he thinks this stuff through, when he can.)

this also, when you start putting focus on it, makes it really easy to read scott as just straightforwardly manipulative and cruel. i don't know how interested i am in that. i think it's important that watching scott, i find myself surprised a lot at how often he keeps promises, offers food, shares information. he is honest and generous when i think other people would not be. there are, as demonstrated by the other players, funnier or less complicated or more secretive ways to play the social side of the game. whether that just reinforces [scott is always on-purpose carving out a more positive reputation for himself] or adds more interesting dimensions in other ways, i don't really know either? but i feel like understanding him as purely sadistic flattens him somehow. he tells gem in his secret life finale he's going to stay loyal to his day-one alliance above all, no matter what, and even that is tied up in him trying to convince / remind gem that her loyalty should stay with scott and impulse, but i think it's often like this with scott.

it's cleo and martyn (and also scar, i'm pretty sure, but he's cleo's ally in limlife so.) specifically that he gives up time to -- he'd rather his allies get the time (in limlife) and health (in secret life) than anyone else. and it's not that it's not tactical -- even teaming up with cleo in double life, where he gives the justification to pearl that he and cleo already bonded: because they're not soulbound, they've got two health bars between them for pvp instead of one the way the other soulbound pairs do. but he also just. likes cleo! makes the choice over and over to stick with her. i think it's hard to separate out how much of any given choice scott makes is motivated by [this is a tactical / social advantage] from how much is motivated by [i like and care about this person] because those things blur together so often. certainly i can't separate those two, can't say, "oh, this time he was being calculating 100% and this time he was being much more emotions-first nice." i don't know that i want to be able to do that, and i don't know that scott can tell either? it's both of these things at once, and it works, so there's no real reason for him to try separating them.

my examples are from secret life because that's what i watched most recently, but scott loves to remind people how well he knows them and is startlingly good at knowing / guessing / pretending to know what other people are like. he gets a task where he has to get people to say 'i love you' back to him and at the end, he rattles off the list of people he knew would say it. he's halfway up a cliff and etho calls to him, asking him to come back down; after some back-and-forth, etho admits he was trying to stall so bdubs could get away, and scott replies, "i know you were." and like. i don't always believe him! he did fully climb back down the cliff to talk to etho. i'm sure some of the time when he says stuff like this it's true -- these are people he knows fairly well, of course you can predict some moves -- but i wonder how often he figures something out mid-conversation, goes, "oh, okay, this is what we're doing," and adjusts accordingly as if he knew all along. (relevant note: when boat boys start chasing pearl around after going red and scott gives up on trying to convince pearl to appease them, he switches to hurrying into the midcentury modern whateverthefuck and setting his spawn there so he's not running back from spawn to get his stuff when pearl dies.)

i wonder how much that contributes to the blurring motivations, the idea that scott himself doesn't necessarily go into these interactions really thinking about the tactical advantage all the time, but maybe he'll tell himself afterwards that that's what that was. i've been thinking about the limited life finale (when am i ever not thinking about the limited life finale) and the like million different ways i've thought about scott and martyn's motivations going into and coming out of that final betrayal ("betrayal"?), and how "i wouldn't have it any other way" is still something i like to come back to chew on sometimes. like, yeah, that's his closest ally, and he's already won before. that does in fact work out great for him. i think, maybe it's like that. oh, okay, this is what's happening, scott thinks. i knew it. this works out great for me, and i knew it all along.

[faghypnotizd]

✧･ﾟ: *✧･ﾟ:* ~ this song catchier than chicken pox is, I bet your house is where my other sock is... *:･ﾟ✧*:･ﾟ✧

[purecommemasolitude]

Every so often recently I’ve been thinking about how the first time I read The Outsiders was when my grade eight class studied it and I did not recognize the name Paul Newman at all to the point where I genuinely thought he was just one of Ponyboy’s classmates who’s mentioned to make the world feel more lived-in but not actually relevant to the plot and so he never comes up again. And while I really liked the book I never got as into it as I am now and so when I followed @/hotvintagepoll this year and saw him there and actually got into vintage films I never made the connection because I couldn’t remember the opening passage. And then when I reread it more recently this year because of the musical reawakening my affection for it I STILL didn’t make the connection until I was trying to remember the opening passage on my own and thought his name before going “wait no that’s a movie guy. Isn’t it?” and it wasn’t until I actually paid attention to the lyrics of the musical & the context in which Paul Newman is mentioned in not one but two songs and also googled Cool Hand Luke that I finally understood that Ponyboy was actually talking about actor Paul Newman.

[picklewednesday]

thinking about how Zane Ro'Meave is autistic is such a healing yet heartbreaking experience. The only person who truly cared for him for most of his life was his mother. His father didn't believe that he was dating Nana, especially before Garroth got a girlfriend. His own father found it unlikely for him to find love. He made his first friend when he was like 26. (I haven't really mentioned the traits that lead me to believe he is autistic but I would be happy to talk about them)