#i started this THREE WEEKS AGO

[sunnycrisp]

i present to you a comic of my ocs marcy and jamie with little context. divorce win. mae is their kid btw

[0039pf-third-blog-hooray]

[steelsartcorner]

shadowheart has fallen to the make-everything-hades-game-forever fever... her boons definitely make for the strongest cast builds in the game

others in this style (ish): the dark urge (OC); minthara (bg3), Karlach (bg3), gale (bg3), halsin(bg3), lae'zel (bg3), wyll (bg3), astarion (bg3), kotallo (horizon)

p-please... my pen.... someone take it away

[arcane-gold]

it’s a tradition!!🎄

pls join me this year for another #ocmistletoe in which we all draw our ocs kissing. this year my rook rel is giving out kisses !!

[repmet]

@rwrbsource & @rwrbmovie’s rwrb appreciation month bingo: favourite scene

I'll break the sound barrier for you.

[geomimetry]

oop

[finished piece]

[demaparbat-hp]

Almost

[ninjigma]

QuinObi Week Part 5/5 - First / Previous / Bonus

Day 5: Desert Husbands Track: 'We Belong' - Pat Benatar (Spotify / YouTube)

They belong together~

One final kiss to make it a kiss for every day of QuinObi Week! This was so much fun to once again be a part of, I already can’t wait for next year :3

I hope you all enjoyed the week as much as I did! And if you liked these be sure to check out the other works shared on the blog below!

@quinobiweek

[mattodore]

guy whose “extended one-night stand” regularly deploys polish to call a little mouse

[mihotose]

pieced together a short timeline now that ive replayed the game. followup to this

november 7 '50 - date of issue of harry's new badge

november '50 - klaasje arrives in martinaise

december '50 - the strike begins

january 29 '51 - harry is assigned the two drunks case

february 4 '51 - soona arrives at the church

february 12 '51, overnight - the next world mural appears

mid february '51 - joyce arrives in martinaise

krenel arrive in martinaise

around february 28 '51 - lely's birthday

sunday march 4 '51, 23:30-00:15 - lely is killed

thursday march 8 '51, past midnight - klaasje calls the rcm to report the body

friday march 9 '51 - harry arrives in martinaise

afternoon - ruby flees martinaise to the fishing village to hide from harry

night - harry tells people about the investigation and shows everyone his gun

saturday march 10 '51, night - harry crashes his coupris and parties all night with the union of moribund alcoholics

sunday march 11 '51, morning - harry leaves the alcoholics

night - harry listens to disco before trashing his room

monday march 12 '51, around 08:00 - ruby flees to the feld building

08:30 - harry wakes up without his memory [DAY 1]

[moeblob]

Happy Birthday to Ferdinand von Aegir!

I actually made 33 emotes, affectionately known as Aegirglyphics to some, for my own personal use on discord. However, I figure why not share some of them! They're free to use for discord servers/icons/pfps or whatever. However, my only request is Do NOT use them as subscriber emotes on Twitch. You can make them free follower emotes but you are not to make them locked behind a paywall.

[sea-changed]

i. Reading Looking For The Good War has, among many other things, I think really helped me to clarify and articulate what I find so disquieting about "Points" as an episode. (Which is not all of it! There are certainly plenty of scenes that I find fascinating and/or enjoyable to watch.) But:

"It is much easier to tell a sentimental war story with a happy ending, in which valor eclipses causes and reconciliation triumphs over everything--a comedy, in other words--than it is to tell another, unsentimental kind of story." (page 89)

This is what it is, exactly--"in which valor eclipses causes and reconciliation triumphs over everything" could more or less be the logline of "Points." This is most egregiously evident to me in the scene of Nazi general's surrender, but the scene where Winters tells the Nazi officer to keep his sidearm is also I think highly indicative of this drive towards reconciliation, however rotten, above all else. And Samet articulates that wonderfully, and articulates as well the cost of this type of narrative:

"Yet sentimentality does more than shape the way we commemorate wars. It informs all those cultural and sociological attitudes in the shadow of which wartime and postwar policies are crafted, and it prevents a more productive and enduring sympathy that, in cooperation with reason, might guide our actions and help us become more careful readers of war's many ambiguities and false seductions." (page 83)

ii. The layers of dislike I have for the Nazi general scene are manifold; the mirroring of Winters and the Nazi general and thereby Easy Company with the Nazi soldiers feels incredibly sinister, perhaps most aggressively so in its weird push to rehabilitate the Nazis as soldiers, and thus to both foreshadow (within the world of the show) and echo (in the world of the audience) the archetypal defense that Nazi higher-ups would put forward at Nuremberg and beyond, that they were just following orders.

iii. The mirroring of Winters and Easy Company with the Nazis is clearly intentional, and somewhat bizarrely explicit ("You've found in one another a bond that exists only in combat among brothers") and maudlin (the panning shots over the Nazi soldiers' faces and wounds), and by the end the urge to parallel the two leaders and the two armies--indeed, to collapse one into the other, in order to make them functionally the same--seems to cause a sort of scriptwriting amnesia about who these words are actually being said by and to. Once again the greater historic context makes this especially chilling, Operation Paperclip being perhaps the most salient point to evoke. (I am also haunted, forever, by a statistic that Michael C. C. Adams cites in The Best War Ever, that a September 1945 survey of American GIs found that 22% believed the Nazi treatment of Jewish people to be justified. Granted, this survey would not have been taken using modern sampling methods, and who knows what the sample size was to begin with or what soldiers in particular were being surveyed. But still.)

iv. The scene leans heavily into the idea of a unique soldierly bond that unites not only each individual army within itself but bonds the two armies together. ("You've found in one another a bond that exists only in combat, among brothers who've shared foxholes, held each other in dire moments, who've seen death and suffered together.") Besides being disquieting for reasons I state above, I think it's notable that the Nazi general's speech emphasizing the brotherhood of soldiers happens directly after the short scene between Winters and Sobel, wherein Winters chides Sobel on a point of military ritual ("We salute the rank, not the man"). Sobel is outside the brotherhood; he doesn't understand how to be a soldier; whereas the Nazis are within the brotherhood, so much so that they are allowed to articulate its terms. (This is egregious no matter what, but becomes all the more so when it is framed as a Jewish man being excluded from the "club" of military brotherhood while WASP Americans and literal Nazis are allowed in.) (Meanwhile, Liebgott occupies a sort of bizarre placement in this scene, there to ventriloquize--indeed, perhaps neutralize, or even legitimize--the Nazi general's words, but not speak for himself.)

v. This gets to another point that Samet makes that stuck out to me, about the inherent tautology of military culture. She quotes William Styron, who in a 1964 review of General Douglas MacArthur's memoir said:

"Anyone who has lived as a stranger for any length of time among professional military men, especially officers, is made gradually aware of something that runs counter to everything one has been taught to believe—and that is that most of these men, far from corresponding to the liberal cliché of the super-patriot, are in fact totally lacking in patriotism. They are not unpatriotic, they simply do not understand or care what patriotism is. [...] A true military man is a mercenary [...] and it is within the world of soldiering that he finds his only home." (Samet quotes Styron on page 233; I'm quoting here from the full review)

The point of being a soldier is to be a soldier; the point of the military is to have a military. She also has this to say--especially saliently, I think, for obvious reasons--about Ambrose, and his perspective specifically in Citizen Soldiers:

"By means of emphasis and convenient omission, Ambrose preserves his focus on unity, not division; right, not wrong; liberation, not subjugation. Paradoxically, given that he makes so much of American idealism, he often subordinates a consideration of causes altogether to a veneration for the magnificence of the army itself. The creation of that army, rather than the victory it made possible, becomes 'the great achievement of the American people and system,' just as the nation's 'greatest nineteenth-century achievement' had been, according to Ambrose, 'the creation of the Army of the Potomac' rather than the end it eventually secured--the abolition of chattel slavery." (page 46)

Here we are back to the first Samet quote from above: valor eclipses causes and reconciliation triumphs over everything. To be a military man--to be part of the club, the brotherhood, the "bond that exists only in combat"--is to "subordinate a consideration of causes altogether to a veneration for the magnificence of the army itself." The country and the cause that the Nazi general and his soldiers fought "bravely, proudly" for become sublimated, while that bravery and pride, stripped of more specific meaning, is extolled. What matters, by the time this scene happens--and it's the last scene in the core section of the episode, followed only by the close of the frame structure with Winters and Nixon and then the baseball scene-cum-epilogue--is not the American cause that Easy Company was fighting for, and certainly not the Nazi atrocities they were fighting against, but rather a reconciliation that views the experience of war as preeminently important. Sobel, who did not experience combat, is dismissed; the Nazi general, who did, is legitimated.

vi. And that, I think, is the core of the message that Band of Brothers promotes. Fandom often refers to the show in passing as propaganda, but I'm not sure that really gets to the heart of what it is, in the end, saying. I would suggest that it's not merely propaganda; it's a recruitment poster. It's not selling truth, justice, and the American way (or if it is, it's doing so only incidentally); it's selling the experience of being in the military as a transformative and ultimately positive one, that unites (a certain subset of) men through the unique crucible of battle, beyond any concerns about what, exactly, one is fighting for. So long as you know when and how to salute, you too can be a part of the brotherhood.

vii. All of which gets back to the scene earlier in "Points," when the Nazi colonel surrenders to Winters. The colonel first makes the explicit parallel between the Nazis and the Americans, and between himself and Winters in particular: "I wonder what will happen to us, to people like you and me, when there are finally no more wars to occupy us." He serves to explicate here more or less exactly what I was saying above: he sees himself and Winters united as military men, above and beyond their particular countries and causes.

Winters doesn't look thrilled about the comparison--but then almost immediately tells the Nazi colonel to retain his surrendered sidearm. I suppose this is supposed to read as magnanimous and fair-minded on Winters's part, but it also serves to reinforce the Nazi colonel's own words, validating the colonel's prioritization of their shared military positions above and beyond their allegiance to the countries and ideologies they were (at least nominally!) fighting for. As the scene itself shows, giving up a sidearm is an expected part of the surrender process, both practically and symbolically; by refusing it Winters is stepping outside military precedent--indeed, bending over backwards--to help the Nazi colonel retain dignity as well as firepower. On its own it is, I think, a frustrating and uncomfortable scene; in the broader context of the episode it sets up and reinforces the Nazi general's speech later on and the ways that Winters and the show itself find meaning in paralleling and reconciling the Americans and the Nazis with one other. (The Nazi colonel knows how to salute; and when he does so, Winters salutes him back.)

viii. Of course it's historically true that American soldiers tended to identify with German soldiers and civilians much more than they identified with people from Allied countries, as Samet herself and even the veteran interviews at the beginning of "Why We Fight" document. (And I don't believe that paralleling the Americans and the Nazis is necessarily something to be dismissed out of hand.) But because the end of "Points" is so overtly sentimental, paralleling the Americans and Nazis serves not as an indictment of American soldiers' amorality but rather as a rehabilitation of the Nazi soldiers and officers as soldiers and a paean to military culture divorced from meaning or cause. As Samet says--"valor eclipses causes and reconciliation triumphs over everything." The military, as an institution, whether it be American or Nazi, becomes the greater good of the war; while the causes those militaries were fighting for become not only secondary, but recede entirely.

[marcelineuntitled]

fanart for This Is Not The End by @kings-highway

potentially my favourite fic ever!! <3

[littlespoonevan]

.

[figofswords]

i love to cook and i love food! i love cooking and i love eating! i love making food and then eating it! wait what do you mean i have to do this three times a day every day for my entire life and also dishes and grocery shopping and

[bogkeep]

fletcher from this episode of drawfee!! jacob keeps designing characters that really appeal to me...