#i cannot recommend

[mslanna]

fnished applying the pattern of the first sleeve, can now apply the trim and also cry over applying the mirrored patern on the second sleeve

did I make sure the patterns are on the correct sleeves? no will I redo- *mangled noises of throttling* also no

[dani-ellie03]

I’m reading Riley Sager’s The House Across the Lake and one of the characters mentions she went to Camp Nightingale as a kid. Said camp was featured in his The Last Time I Lied.

I then proceeded to grin like a doofus because The Last Time I Lied is not just my favorite book of Sager’s, but one of my favorites in general.

I love when authors drop little Easter eggs like this. :)

[poorly-drawn-mdzs]

Hey now, Let her cook!

[lazylittledragon]

i read legends and lattes recently and now i just think karlach should have a coffee shop

[bixels]

It's crazy how Dungeon Meshi's manga can feel more cinematic and emotional than the anime to me, even when they're practically the same. Compared to the anime, this moment is such a heartbreaking gut-drop. The way Kui uses negative space and flat compositions to create a sense of horrific stillness is so key.

The way the text (Senshi's monologue) is sequestered to an empty corner of a panel or huddled away from the edge of its text box is not only a great way of showing Senshi's headspace (fearful, isolated, dissociating), but creates a visual representation of pause, as if you hold your breathe after each line. The first panel puts us directly in Senshi's perspective too (compared to in the anime, which puts us as an outside observer over Senshi's shoulder). The detail of the door and bricks so effectively implies that he stared at it for so long, waiting and hoping, that its image is burned in his memory. The wood grain, the brick arch, the number of rivets. The lack of dialogue in the second panel shows a moment of realization too –– "he's dead" (also a great example of the Kuleshov effect). And it's that pause that creates a beat and sets a great rhythm to his headspace, like a music rest: "He never came back." (oh god.) "I'm all alone." Finally, the third panel's negative space, cropping Senshi, shows how truly alone he feels. Without his family, the world ceases to exists. Under shock, he traps himself in a 1-foot radius, too scared to even perceive a world outside its boundaries; a world that can hurt him, kill him, make him disappear with it. There is only his body, the stone beneath his feet and against his back, his thoughts, and that awful bowl of soup.

Even though they're a series of flat images, there's an implicit reading of silence in Senshi's realization and horror. Kui influences your experience to slow down and take your time.

Compare this to the anime, which fills every shot with dialogue. The pacing is fast; we never get to sit in silence like we do with the manga. The horizontal frame allowed the boarders to add Senshi, turning the composition into an over-the-shoulder shot, which takes us out of Senshi's POV. They also added a zoom-out in shot one, which adds unnecessary energy to a very somber scene. The tightening on Senshi as a close-up reaction shot also dulls the moment. In the original panel, Senshi stares ahead at the empty space to his left as a shadow surrounds his mind. It not only shows how Senshi's senses are dulling and his world is shrinking (setting up panel three), but shows how terrified Senshi is of what's in front of him, how the air itself becomes pitch black and opaque, how Senshi is surrendering himself to fear. The pacing is understandable and necessary; this episode packed a lot of story content together. It's just a shame because it really (imo) deflated one of the most nauseating moments in Dungeon Meshi.

[hot-coco]

recently read through the entire Lackadaisy webcomic + extra comics, and I think I'm in love with this series.

The artwork is amazing, and the story is fantastic.

[ghelgheli]

Often when trans women ask me when I'm performing next, and I tell them that it's a queer/trans event, they will tell me that they'd rather not go because they do not feel comfortable or safe in those spaces, that they have been dismissed or belittled at such events before. Even trans women who are dyke- or bisexual- identified often don't feel welcome or relevant in queer/trans spaces. And whenever a trans woman or ally points out aspects about the queer/ trans community that contribute to these feelings of irrelevancy and disrespect—such as the way our community coddles those who support trans-woman-exclusionist events or who make trans-misogynistic comments—we are described as being "divisive." This use of the word "divisive" is particularly telling, as it implies that "queer/trans" represents a uniform movement or community—a "oneness"—rather than an alliance where all voices are respected.

Julia Serano, Whipping Girl. Published 2007.

[mwagneto]

how i sleep using cracked spotify premium apk instead of paying and using newpipe apk instead of youtube and using firefox instead of chrome or opera and not paying for any streaming services and downloading movies and shows straight onto usb drives and not connecting any of my accounts and never giving my full name anywhere and not logging into google anywhere and never seeing a single fucking ad no matter where i go

[boombox-fuckboy]

I did a list a while back, which I still stand by

Does anyone have any recommendations for wlw audio dramas? I just want sapphic main characters. So many audio dramas have sapphic relationships but not as like the main relationship yk. I prefer horror and scifi

[imaybeabear]

Got a recommended article today, and boy oh boy, collider, do I have some news for you

[glitzbot]

more Helluva Bang art! this is a scene from @sirens-scales phenomenal stolitz regency AU: Gentleman in Need of a Scoundrel

[sandflakedraws]

the song came on my shuffle and would not leave me alone until i penned this i'm so sorry

[syn4k]

seriously though, Alan Becker's Animator vs. Animation series is fucking legendary and for good reason. don't let the fact that all the characters are stick figures delude you into thinking it's a joke. AvA and its spinoff series, AvM (Animation vs. Minecraft) are both well written, complex stories with well-rounded characters and complex arcs that take themselves completely seriously and are also masterclasses in 2d and later 3d animation.

both series include original soundtracks mainly composed by Scott Buckley and they now have a full team of professional animators working on them, even though the project was started by just one guy (Alan). despite having zero lines of dialogue, they clearly and masterfully characterize every single character that's involved by depicting their body language and actions alone. there is love and dedication poured into all of these projects and it shines through in every second of playtime.

also, these feature some of the most jaw dropping choreography and visual effects in fight scenes that ive ever seen in 2d animation ever. the one in AvA s2 alone is higher quality than most fight scenes in almost all modern professionally made movies, in my opinion. alan and his team consistently push the boundaries of what can be done with animation both visually and conceptually and they never fucking miss. like ever. this shit goes so hard

in conclusion: just trust me on this one

[poorly-drawn-mdzs]

Welcome to the Dungeons of Fear and Hunger.

[rodatirhaalo]

I think my favorite little parallel between Ascended vs Spawn Astarion has to be this little, probably even unintentional, detail in the epilogue:

Mr Vampire Ascendant, when confronted about freedom, asking the pc if they'd prefer sleeping in the dirt over "living" in his prescribed decadence.

Meanwhile, if left as a spawn Astarion is like

*Passes several chairs, rugs, a pile of pillows, and two log benches to plant his pretty little ass in the dirt*

"THIS DIRT'S THE BEST! I LOVE DIRT!!"

[askdocjwatson]

hi!! this question is for sherlock!

what is your opinion on weighted blankets? :D