#not to mention all the videos

[poorly-drawn-mdzs]

Happy one year anniversary to In Stars and Time!

[metamorphesque]

source: learn4artsakh

To those who claim 'It's only the government; the people are innocent,' — this is for you.

to learn more about Artsakh and Armenia, please visit the website learnforartsakh.com

[awesomeferret10]

Okay, question: @danielhowell @amazingphil

What the fuck was this entire video? Genuinely??

(Video compilation of the many times they implied they fuck, also some general unhinged times. Tagging them because I actually can’t take this shit anymore. I was not prepared.)

[fairsweetlonging]

new idea: shen yuan transmigrates into a pidw version with abo dynamics, but he doesn't know about it.

he knows what abo is, but it's so far removed from his expectations that it simply doesn't cross his mind at all. with that, cang qiong is a respectable, upstanding sect, so there is no growling, claiming, scent pushing or primal instinct stuff going on. people also don't mention it, as it's simply not relevant most of the time, and is considered rude to discuss unprompted.

shen qingqiu, of course, is an omega (the characters who make the best omegas are the ones who would hate it the most), but he has suppressed it with his qi for most of his life because he doesn't want to be seen as weak. the other peak lords assume he's a beta.

now, i'm not a traditional abo dynamic fan, but, there is something very appealing to me about the nesting and scenting aspect of it.

it starts out slow and painfully oblivious, with shen yuan assuming cultivators must have a really good sense of smell, and it's simply book logic that every character seems to have a signature scent. all those romance novels always mention characters smelling of pine and flowers and scotch and leather, so this isn't a foreign concept. liu qingge, for instance, is the bai zhan war god, girls fall for him left and right, it's only natural he smells of musk and deep woodsy notes, like the earth after it rains. right?

besides that, shen yuan has always been a homebody who loves his creature comforts, so him getting extra blankets and pillows and soft fabrics for his bed to curl up in isn't odd at all. or him collecting soft pretty things. shen qingqiu already has fans and night pearls and hair ribbons and silky clothes, so nothing changes.

then without-a-cure hits.

the poison breaks down the suppressors that the original shen qingqiu put in place, and his body starts restoring the balance. this worsens the cravings, and sets off his omega instincts.

he gathers more blankets, but it doesn't fill the need, like there's something missing. then liu qingge forgets his outer robe in his house after a meridian cleansing to deal with an emergency, and that robe ends up in his bed. he tries to reason it's a comfort thing—he wore his dad's sweater when he was young and had nightmares, and liu qingge does smell very nice, so is it really that strange that he holds it at night and presses his face against the collar where the scent is the strongest to soothe himself?

his own scent starts to develop as well, much stronger than the mild, watery green tea flavor from before, and people notice.

thing is, though, that there are many formalities and rules of conduct around omegas, one of which is not to bring up their status in any improper or unbidden way. so even though the alpha lords now notice a very distinct omega scent coming off their shixiong, they can't mention it out of societal pressure. so, they don't.

shen yuan still doesn't notice a thing.

the first time liu qingge smells it is during their bi-weekly cleansing session, when shen qingqiu leans in and liu qingge gets a mouthful of green tea, bamboo and honeyed jasmine, soft and sweet and pleased and so very content it sets off his alpha brain and he has to rein himself in before he starts releasing his own pheromones like some inexperienced teenager—

he's only just grown used to their amity and their habit of sharing tea and cakes after the cleansing, but now shen qingqiu is sitting there smiling at him and smelling like—like liu qingge is spoiling him and, making him feel safe...

he doesn't bring it up, downs his tea, and leaves.

meanwhile shen qingqiu keeps happily nesting away, filling his bed with all kinds of soft fabrics, some clothes of other people that he's trying really hard not to think about. everything is going well, binghe just turned sixteen and the girls are calling him an 'alpha', so his little bun is growing well into his protagonist charms! yue qingyuan comes by more often, acting a little strange but shen qingqiu is used to that by now. he looks very bashful offering him a ribbon of his, a pretty silver one that smells of incense and ozone, and shen qingqiu happily accepts it.

one time binghe comes back bruised and scuffed from a fight with bai zhan disciples, and shen qingqiu tsks at the strange smells on him, do those brutes ever bathe?? he rubs his hands over binghe's sleeves to try and get some of it off, and his poor bun must still be in shock because he stares wide-eyed at his shizun. he must also be getting forgetful because shen qingqiu finds that same robe still unwashed a week later in binghe's bedroom.

he also loves it when people brush or play with his hair, it's his favorite part of the evening when binghe helps him take down his hair for the night. the combs feel so nice on his scalp, if he could purr he would! (binghe's heart sobs quietly behind him, in complete disbelief his master is purring at him).

his icy, lofty demeanor has all but shattered, because now every time he tries to act aloof, like when yue qingyuan gives him a present or liu qingge shows up on his doorstep, his sweet, pleased scent betrays him.

the opposite is true, as well, when without-a-cure flares up and he's in pain and his scent goes sour and distressed, even when he's waving everyone off saying he's fine. the entire house smells of burnt tea leaves and ash after a nightmare, and shen qingqiu is very confused when liu qingge comes to pick him up for a meeting but then refuses to leave.

anyway he doesn't find out until after the conference when airplane tells him to keep his acrid scent under control, his house is starting to stink.

[ettadunham]

i've connected the dots

[velichorus-k]

The second installment of this comic right here. In which the gang hangs out :) pages under the cut!

[catliker49]

Surprise!

Quite literally! I have Finally drawn again! I am so Happy! My style is a bit rough.. or perhaps I should say... ruff! (Haha, sorry!) but that's just because I have not drawn anything other than my Final Piece for the past few months!

OH!! SPEAKING OF! I GOT DISTINCTIONS IN EVERYTHING! HAHA! (The highest grade for everything! Yay!) OOH! And! Final thing.. I am starting to use my name for my Signature, so, if you can spot it, that is why it does not say Catliker :O)

[dandp]

The way we've manifested almost every piece of content we've wanted over the past year or so except for when we get convinced we're getting a new day in the life and we whiff so fucking hard every time

[nerdylittleguy]

"we're on opposite sides!"

"we're on our side!"

[applepixls]

lizzie's special section of jimmy's castle actually is doing crazy things to my brain

like grian going "sounds like a job for bossy ol' me"

and the way grian said "impulse and joel turn around" and impulse immediately and literally blindly just went "turnin' around."

skizz trying to find grian so he could shoot him fdgujdf

[hindahoney]

So many of you are genuinely monsters and you think you're the heroes. Forgive me for not believing that any of you ever actually gave a shit about Palestinians, as you sit here in your pro-hamas rallies with swastika flags while you chant "gas the jews!" and tear down posters of kidnapped hostages. You glorify Hamas, the terrorist organization that uses and abuses Palestinians, that shoots them if they try to evacuate from zones that Israel has warned they're going to strike.

You have been silent for decades while Lebanon and Jordan keep their Palestinian population in refugee camps. You have been silent when no other neighboring country has given Palestinians citizenship status that would enable them to live a comfortable, normal life. You were silent when Palestinian Islamic Jihad and Hamas rockets misfire and kill innocent Palestinians. You were silent when Hamas steals aid meant for civilians. You were silent when Hamas dug up water pipes from the ground so that they could make more rockets.

If you were silent then, you're using Palestinians as a mask for your Jew-hatred. If you want to really advocate for Palestinians, keep the same energy for every country, not just the only Jewish state, and try to educate yourself on what Israelis have been doing to try to help Palestinians, because I promise you it's way more than you've ever done in your life.

[front-facing-pokemon]

[felassan]

Paste Magazine: 'Dragon Age: The Veilguard‘s Creative Director Talks Restoring the Lore'

Rest of post under cut due to length and possible spoilers.

"“I was the one cinematic person who always snuck their way into all the writing meetings because I love storytelling,” [John] Epler tells Paste. “I love narrative, and they wanted me to be Narrative Director on the franchise.” When the Creative Director position opened up later on, Epler was primed for the role thanks to his experience across multiple aspects of game design.  ‘They wanted someone who had a good relationship with the people on the team, who could work across disciplines, and who knew the story,” Epler explains. “You know, knew the franchise and its storytelling. Because I think for Dragon Age in particular, narrative is such a core part of the franchise’s identity. They wanted someone who could operate in that space, but also knew how to work with gameplay, work with design, work with art, and that was something that, with both QA and cinematics, I had learned to do. I think just a history of being always willing to do whatever was necessary and also having good relationships with most people on the team helped me out.” As creative director on Veilguard, Epler worked with a team that fluctuated in size from a dozen to several dozen depending on which phase of development it was in. And given Epler’s history with cinematic design, that team worked closely with narrative to craft the kind of epic story Dragon Age and Bioware are known for. “Storytelling is huge, probably the biggest part of Dragon Age: The Veilguard,” Epler reminds us."

---

"Paste: When you’re bringing back a series after a decade, how do you decide what threads to pick back up on, which characters to use, which lore to focus on, etc.? John Epler: It is going to sound very cliche, but it is true: It honestly comes as we build it. We knew a couple of core parts of the story. From the end of Trespasser, for good or for ill, we pretty much determined where we were going and what we were going to be doing. It was about the chase, the search for Solas. Solas had been very clear in his ambitions to end the world at the end of Trespasser. And, you know, at the end of the very final scene of Trespasser, we stabbed a knife, a dagger, into the map on Tevinter. So we kind of knew we wanted to go to Tevinter. We knew we wanted to chase Solas. Now that said, as the story started being constructed, and we discovered, okay, where else do we want to go, what characters make the most sense in this story, that kind of determines what lore threads we want to start pulling on. So without getting too much into spoilers, obviously, Scout Harding has a story that’s very focused on the dwarves and their history; Shery Chee started writing Harden’s ark, and realized, okay, this is actually something we’re going to want to dive into more deeply. Belarra’s story is very focused on the ancient elves, not just the gods, but who they were. So that became a lore thread we wanted to pull on.  As far as returning characters for us, it really does come down to who has the most to say about what’s going on in the world. Who is the most likely to be involved in this particular story. And I think, most importantly, this is something that we always talk about, is who has more to say in their story, whose story isn’t over. Because one of the things that I don’t necessarily want to do, I don’t want to bring back a character just so they show up and then disappear. That doesn’t necessarily do that character justice, but it also contributes to what you do see in some franchises, which is a sense of small world syndrome, where there’s literally 30 or 40 important people in this whole world, and they all somehow know each other.  But again, you know, you see Morrigan in the in the previews, and as we’re writing the stories like, well, of course, Morrigan, who is the daughter of Flemeth, who was at least an aspect of the goddess Mythal, one of the ancient elven gods, she probably has something to say or something to do in a story about the last two elven gods escaping. So, yeah, it comes down to who has something interesting to say, who has something more to say in their story, and who do we feel makes the most sense for where we’re going and what we’re doing."

"Paste: Sticking to the long gap between the last two games, what are the challenges in trying to make a satisfying continuation of that story without making it impenetrable for new players who maybe weren’t old enough to have really played Dragon Age in the past? John Epler: Well, I think it was funny because, on the one hand, yeah, the challenge is, you’re trying to tell another chapter of a story that’s been dormant for at this point nearly a decade. But it’s funny because I do think that actually ends up working to our benefit. For the second question, we cannot assume anything about what players remember. Because even people who were playing Origins, were playing Inquisition, all the DLC, they may not have done so for quite some time. And obviously some players are going to like—I mean, I see it all on social media, people doing their final Inquisition playthrough before Veilguard, which is great, but you have to assume that people don’t remember everything that happened. You have to re-onboard them back to the world, back to the lore, and you’re also bringing in new players. I think honestly, for Veilguard, one of the things that’s worked the most to our benefit is that this is a continuation of that story, but the context changes so dramatically within the first hour. You know you’re going after Solas, you know the first mission. We’ve always said we wanted it to feel like the last mission of a different game. But then you get to him, the ritual crumbles, the gods come out. And now, even if you’ve been following this story up to this point, for everyone, it’s just a sharp left turn. Solas is no longer the central antagonist of this at this moment, it’s now these two new figures, which means Rook, you know, you as a player character, but also the player themselves… You need to bring them back into this story, because nobody, including the people who’ve been playing forever, know what’s going on at this point. So it’s actually a really great way to do the first couple of hours, because you can’t assume everyone is coming into it with the same level of grounding in the story itself. Some people are gonna have more lore. And one of the things we do try to do is, anytime we introduce a proper lore term, I use Venatori as an example, we always try to pair it with a more commonly understood phrase. So “Venatori” and “cultists” always go together in the first few hours of the game. “Evanuris” and “elven gods” always go together in the first few hours of the game, but done in a way that doesn’t feel like the game is like, “Hey, don’t worry, we’re going to tell you everything.” It feels natural the way the people in the world talk about it. So you encounter Strike and Irelin, two of the Veil Jumpers, early on, and they use the terms interchangeably in a way that allows players who don’t know as much about the world to get what all these things mean. Like I said, it’s just the context of the stories. The story shifts so dramatically in those first couple hours that everyone is catching up, even the characters, even, you know, Harding is still trying to figure out what the heck is going on."

"Paste: Speaking of what’s going on, in Veilguard we have a new character as the protagonist, Rook. What’s happening with the Inquisitor and the protagonists from the first two games? What are they doing in this world now, assuming they survived their games? John Epler: One of our storytelling philosophies is, for us, especially when it comes to importing, is unless we explicitly say so, assume that those characters are still around. So what we do, because this is the story of Solas and the Inquisitor has a very direct tie to Solas, the Inquisitor does show up in Veilguard. I’m not going to tune into spoilers, or what the role is, but it would have been very strange for us to tell the story of Solas without having the Inquisitor involved, because, again, they were part of that story. As to the previous two protagonists, they’re still around; that said, their personal arcs, their stories that they were part of in their games, aren’t as directly tied into this story, either narratively or geographically. We’re now in the north of Thedas. So the Hero of Ferelden, who you know, if your hero survived, one of the things we talked about is they were looking for a cure to the Calling. They’re not going to necessarily be involved in this because they weren’t tied to the elven gods, and the blight is still present elsewhere. And Hawke, depending on what you did in Inquisition, may be deep in the Fade, or they may have gone to work with the Wardens and also engage with the Hero of Ferelden at some point. So we’re not going to say much about them because they’re not directly related to the story, but we want players to understand the fact that we’re not saying anything about them because they’re still alive. They’re still doing something."

"Paste: A lot has changed in the world of games and game design in the last decade. How has the creative process of creating a Dragon Age like Veilguard changed over that time? How was making Veilguard different than Inquisition? John Epler: I’d say the biggest change for me has been leaning much more heavily into pre-production on everything. So one of the things that we’d done on Inquisition, I was a cinematic designer on it, we didn’t really have the sense of storyboarding, of previsualization the way we do now. But with Veilguard, one of the things we did very early on is we built the entire story in Twine so we could play through and see the interaction points, see the word branch, and get the sense of how it was flowing, how it was coming together. Beyond that, very heavy use of previsualization, whether storyboards or actual white box, in-engine—or, I say “in-engine,” but, you know, in Maya—models, moving together, figuring out how these shots work. But I mean, ultimately, a lot of the same processes are in use now that we did then. Writing does peer reviews, they still do the same peer reviews. Take your work, you put it in front of the group, and you basically say tear it apart. Let me know what works, what doesn’t work. But I do think the other thing that’s been a great change since Inquisition is there’s a lot more sense of… if you’re building a level, you’re not just bringing in the level designers and level artists, you’re bringing in the gameplay people, you’re bringing in writing, you’re bringing in, you know, all these different groups to kind of build the feel, build the shape. Not to say Inquisition wasn’t collaborative, but I will say, as someone who worked on it, I felt much more like each pod was kind of an entity onto itself, you know, doing this thing, but not really touching the other parts of the game. In Veilguard, we very much wanted people to understand how their work fit into the whole that we were building. So there was a lot more sense of collaboration. And then, you know, more practically, COVID happened while we were making this game and brought work-from-home, remote work in general. I’m doing this interview from my basement right now, but in general, people are working more distributedly, so there becomes a much higher premium on communication. And like, we use Slack pretty extensively, and the sense of like, talking to people as much as you need to, as much as you can communicate broadly, and information sharing, I think, has become a much bigger part of it."

"Paste: So having the different departments less siloed, like it used to be, how has that impacted the day-to-day experience for a Bioware employee. Are they working more or less hours now that things are more collaborative? John Epler: I think it depends on who you are. And, I mean, I’d say generally less but again, it depends. I will say for myself, I have difficulty because of work-from-home. And this is a personal thing. I don’t always have the best separation between work and life because sometimes it’ll be like, nine o’clock at night and you’ll be like, oh, you know what? I just had this really great idea, I’m going to hop on and do something about it. That used to mean driving back to the office. So I will say now I’m not in the office, which is great. For me, one of the greatest things about this has been, I have a personal rule of I don’t ever do work between the time my kids come home and when they go to bed, which means I get to be fully involved as a parent. But then, like I said, 9:30 comes along [and the kids are in bed], and, you know, I think because I’m creative director, it’s a little bit different. I gotta jump in and be like, oh, I want to do this. So I think, you know, it depends on the person. But I think what it’s done is, in general, allowed a lot more freedom in defining your hours. And we do have some people who are not morning people, so maybe they don’t get up and jump on as early, but then I’ll see them later at night, and they’re doing the work that they would have done. And I think that freedom for me has been, and I think I can speak for a lot of people, has been probably the best part of how things have changed."

"Paste: So something else that’s changed in games over the last decade, I guess it really became standard right before Inquisition came out, and it’s something that’s been a constant problem for many people who are creatives in many different mediums. But some of the fans and fan accounts online and how they react to games and designers and games media, starting with what they call GamerGate. What are your thoughts on that type of fan interaction and how has it impacted the Veilguard team? John Epler: Anytime you get fan feedback, the question I always ask is, what is it that they’re actually saying? And, you know, sometimes it is literally what’s coming out, what they’re typing. But a lot of times, from whatever group it’s from, there’s a sense that they’re speaking to something deeper, something that’s, you know… I think ultimately, for me, it comes down to understanding and being confident in your vision which means you take the fan feedback, you can look at it, you can decide what you do or don’t do with it. But one of the most—I don’t want to say challenging, but one of, I think, the easiest traps to fall into is a feeling that you need to be, “oh God, they don’t like this, and they don’t like this, change this, change this.” And I think there’s a sense of, if you have a vision that you’re comfortable with, are confident in, you continue to stick with that vision, you can make make adjustments, make tweaks based on what people get excited or don’t get excited about. But I think the other side of it is, when you’re releasing news, you’re doing press events, you’re talking about the game, you’re only giving people a small slice and a decision that may, for them, like, “I cannot believe that, why would they do this,” makes a lot more sense when you know the context of the decision as a whole. And I’ll say it for myself, one of the bigger examples of this was when the Yakuza series went from action to JRPG, turn based RPG, and I’m like, “Oh, this is so weird. I don’t know. I don’t know how I feel about this. You know, this feels like a very strange shift.” When I played the game, like, “oh yeah, holy smokes, this makes so much sense.” They made it make sense narratively. They made it make sense from the gameplay perspective. So I always try to remind myself, like we know the game as a whole. We know all the pieces and how they fit together. When you get that feedback again, you can look at it. Some feedback is obviously better than others. Some feedback is more, you know, is more interesting, and more does more for us than others. But again, it comes down to know the game you’re building, be confident in the game you’re building, and don’t try to design by committee, because ultimately, everyone has a different thing that they want out of the game, and a lot of people, even themselves, will have two very contradictory things that they want out of a game. So you have to be careful not to overreact and water down what you’re building into something that I would describe as, you know, mushy. You don’t ever want to be in the mushy middle. You want to make a strong statement with your game and how your vision evolves, and stick with that."

"Paste: Where do you hope to see Dragon Age go from here? John Epler: Honestly, I love telling stories in this world, and I think one of the fun things about the ending of this game and some of the seeds that it sows for the future is the sense that everything you thought you knew, maybe you weren’t as right as you thought you were. And that stuff like using the unreliable narrator. It’s fun to be able to take that and apply it to things that you as a player experienced, and then see that there’s an additional layer. Context that you didn’t have at the time that now throws into questions some of what’s going on. So again, I’m trying to be as vague as possible to avoid spoilers. But I do like the idea of—because one of the things, the other side of it is Thedas is one continent in this world. There’s still a whole other world out there. And I think, you know, for myself, I kind of want to know what’s out there. I kind of want to know what’s going on in a world where, over the last 15 years, Thedas has almost ended the world three times by themselves. If you’re from a different continent, how are you feeling about that? I’m gonna guess, probably not great. So I think there’s a lot of fun stories to tell there. We haven’t said much about the rest of this world. So there’s just this giant blank canvas for us to start playing in, which I think is, for me, the most exciting thing about moving forward with this franchise."

[source]

[strange-anni]

i Prfer BoyZZ

is what it says when you read it counterclockwise and start with the i

[eldritchqueerture]

"What teenage girl did this to you in high school, James. And why are you inserting fanfiction about her into an article you stole instead of going to therapy?"

[buthappysoverrated]