#or learned rather

[stingrachelmha]

I completely forgot about this MightMic/PresentMight comic I made becuase it’s a total fever dream but anyway it was inspired by an image that appeared on my Pinterest timeline of Mic seducing Toshi like this but then it refreshed and I never saw it again

[gibbearish]

love when ppl defend the aggressive monetization of the internet with "what, do you just expect it to be free and them not make a profit???" like. yeah that would be really nice actually i would love that:)! thanks for asking

[larkiethings]

LET THE CROSS STITCH HIT THE FLOOR

[thehmn]

When you have a significantly younger friend:

“Why is she still doing that? If she keeps it up I’ll have to tell her to stop! Doesn’t she know- No wait, she doesn’t. She hasn’t been through that yet”

A year later

“There it is. I didn’t see it happen but she stopped”

[tyttetardis]

Finally managed to record a bit of David at curtain call 😍

Brilliant seeing this incredible production once again - and getting to see what's different and what isn't 🥹🥰

(Please don't repost ☺️)

[puppetmaster13u]

Prompt 131

Okay, so first of all Dan would like to say it’s not his fault. Ellie was the one to bring some unknown object into the speeder and Jazz was the one driving. Or had Sam been driving- didn’t matter! It wasn’t his fault, he wasn’t the one shooting at them, he wasn’t the one to break whatever, he was not the one to open a stupid portal, and so it wasn’t his fault! 

So why is he now like, five years old, and why is the speeder crashed in some sort of corn field. Why is everyone- except for Jazz whose now like six- also like three at most?! And- oh fuck the door just opened and… okay that’s a kid. Like, nine at most. 

A kid and an adult, who he hadn’t noticed at first so again, it’s not his fault if he hissed at them and tried to hide his not-siblings behind him. It’s also not fair they’re apparently stuck to ghost speak for who knows how long, but at least they can understand the people. 

“Martha, get some blankets, it’s happened again!” 

[dontron-9000]

Cass’s Apocalyptic Series has a death grip on my heart... and has been ripping it to pieces with this latest update.

But I trust Cass, and their reassurance that there will be a happy ending; and that it’s not the end for Uncle Tello.

Unfortunately, that triggered something in my brain that I absolutely had to get out before it killed me.....

Please accept this meme to help cope

@somerandomdudelmao​ I am so, so fucking sorry.....

[molinaesque]

Cooper and Lucy mercy killing turning ghouls

[serpentface]

how do you come up with the ways cultures in your setting stylize people/animals/the world in general in their artwork, i.e. jewlery, rock carvings, statues, etc? Each culture in your world seems to have a very unique "art style" and I love it a lot - makes them seem that much more 'real'. This is something I struggle with a lot in my own worldbuilding and I'd love to pick your brain if possible 😁

I think a starting point is to have a research process based in the material realities of the culture you're designing for. Ask yourself questions like:

Where do they live? What's the climate/ecosystem(s) they are based in? What geographic features are present/absent?

What is their main subsistence method? (hunter gatherer, seasonal pastoralist, nomadic pastoralist, settled agriculturalist, a mix, etc)

What access to broader trade networks do they have and to whom? Are there foreign materials that will be easily accessible in trade and common in use, or valuable trade materials used sparingly in limited capacities?

Etc

And then do some research based on the answers, in order to get a sense of what materials they would have routine access to (ie dyes, metal, textiles, etc) and other possible variables that would shape how the art is made and what it's used for. This is just a foundational step and won't likely play much into designing a Style.

If you narrow these questions down very specifically, (ie in the context of the Korya post- grassland based mounted nomads, pastoralist and hunter-gatherer subsistence, access to wider trade networks and metals), you can direct your research to specific real world instances that fit this general idea. This is not to lift culturally specific concepts from the real world and slap them into your own setting, but to notice commonalities this lifestyle enforces - (ie in the previous example- mounted nomadic peoples are highly mobile and need to easily carry their wealth (often on clothing and tack) therefore small, elaborate decorative artwork that can easily be carried from place to place is a very likely feature)

For the details of the art itself, I come up with loose 'style guides' (usually just in my head) and go from there.

Here's some example questions for forming a style (some are more baseline than others)

Are geometric patterns favored? Organic patterns? Representative patterns (flowers, animals, stars, etc)? Abstract patterns?

Is there favored material(s)? Beads, bone, clay, metals, stones, etc.

When depicting people/animals, is realism favored? Heavy stylization? The emotional impression of an animal? Are key features accentuated?

How perspective typically executed? Does art attempt to capture 3d depth? Does it favor showing the whole body in 2 dimensions (ie much of Ancient Egyptian art, with the body shown in a mix of profile and forward facing perspective so all key attributes are shown)? Will limbs overlap? Are bodies shown static? In motion?

Does artwork of people attempt to beautify them? Does it favor the culture's conception of the ideal body?

Are there common visual motifs? Important symbols? Key subject matters?

What is the art used for? Are its functions aesthetic, tutelary, spiritual, magical? (Will often exist in combination, or have different examples for each purpose)

Who is represented? Is there interest in everyday people? Does art focus on glorifying warriors, heroes, kings?

Are there conventions for representing important figures? (IE gods/kings/etc being depicted larger than culturally lesser subjects)

Is there visual shorthand to depict objects/concepts that are difficult to execute with clarity (the sun, moon, water), or are invisible (wind, the soul), or have no physical component (speech)?

Etc

Deciding on answers to any of these questions will at least give you a unique baseline, and you can fill in the rest of the gaps and specify a style further until it is distinct. Many of these questions are not mutually exclusive, both in the sense of elements being combined (patterns with both geometric and organic elements) or a culture having multiple visual styles (3d art objects having unique features, religious artwork having its own conventions, etc).

Also when you're getting in depth, you should have cultural syncretism in mind. Cultures that routinely interact (whether this interaction is exchange or exploitation) inevitably exchange ideas, which can be especially visible in art. Doing research on how this synthesizing of ideas works in practice is very helpful- what is adopted or left out from an external influence, what is retained from an internal influence, what is unique to this synthesis, AND WHY. (I find Greco-Buddhist art really interesting, that's one of many such examples)

Looking at real world examples that fit your parameters can be helpful (ie if I've decided on geometric patterns in my 'style guide', I'll look at actual geometric patterns). And I strongly encourage trying to actually LEARN about what you're seeing. All art exists in a context, and having an understanding of how the context shapes art, how art does and doesn't relate to broader aspects of a society, etc, can help you when synthesizing your own.

[reasonsforhope]

"The world's coral reefs are close to 25 percent larger than we thought. By using satellite images, machine learning and on-ground knowledge from a global network of people living and working on coral reefs, we found an extra 64,000 square kilometers (24,700 square miles) of coral reefs – an area the size of Ireland.

That brings the total size of the planet's shallow reefs (meaning 0-20 meters deep) to 348,000 square kilometers – the size of Germany. This figure represents whole coral reef ecosystems, ranging from sandy-bottomed lagoons with a little coral, to coral rubble flats, to living walls of coral.

Within this 348,000 km² of coral is 80,000 km² where there's a hard bottom – rocks rather than sand. These areas are likely to be home to significant amounts of coral – the places snorkelers and scuba divers most like to visit.

You might wonder why we're finding this out now. Didn't we already know where the world's reefs are?

Previously, we've had to pull data from many different sources, which made it harder to pin down the extent of coral reefs with certainty. But now we have high resolution satellite data covering the entire world – and are able to see reefs as deep as 30 meters down.

Pictured: Geomorphic mapping (left) compared to new reef extent (red shading, right image) in the northern Great Barrier Reef.

[AKA: All the stuff in red on that map is coral reef we did not realize existed!! Coral reefs cover so much more territory than we thought! And that's just one example. (From northern Queensland)]

We coupled this with direct observations and records of coral reefs from over 400 individuals and organizations in countries with coral reefs from all regions, such as the Maldives, Cuba, and Australia.

To produce the maps, we used machine learning techniques to chew through 100 trillion pixels from the Sentinel-2 and Planet Dove CubeSat satellites to make accurate predictions about where coral is – and is not. The team worked with almost 500 researchers and collaborators to make the maps.

The result: the world's first comprehensive map of coral reefs extent, and their composition, produced through the Allen Coral Atlas. [You can see the interactive maps yourself at the link!]

The maps are already proving their worth. Reef management agencies around the world are using them to plan and assess conservation work and threats to reefs."

-via ScienceDirect, February 15, 2024

[odetoscavengers]

ooh… how about an anthro comb jelly? or maybe a parasitoid wasp

A couple people suggested some marine inverts so here they are :^)

Not even sure these count as anthros at this point LOL but thats ok

[coffeeanddaggers]

*Steps up to the mic and clears throat*

VORGOTH IS THE ONE WHO TEACHES MANFRED ROCK PAPER SCISSORS.

Thank you for coming to my Dead Talk

[epicfirestormer]

Will never get over how Starscream and Skyfire's relationship is always doomed. There's never an iteration of them where they both stay on the same side at the end. They always end up being against each other, tearing each other apart (whether intentionally or not). They always end up losing each other, be it by a snowstorm, by the war, or by death itself. They never receive a happy ending together, one if not both of them is doomed to suffer.

Skyfire is doomed to be an Autobot, by forces out of his control. Starscream is doomed to be an Decepticon, by his own self destructive tendencies. They are both doomed, because of who they are. They always try to save the other, in their own way. But it never works. They are doomed to fail, whether they stay together or not.

[your-stranger-halfblood-things]

Leo: You made me cry...

Nico: Baby-

Leo, hand on his heart: Don't use pet names for me now

Nico, sticking his tongue out: I'm not. I'm calling you a baby

Nico: It's an insult

Leo:

Leo: Willlllllllllll, your boyfriend is being mean to meeeeeeee

[barksbog]

sound on to hear the dangerous attack snorbino!

[stellanix]

(genshin impact spoilers incoming)

one aspect of furina's characterization that's pretty understated but that i really really really love is her intelligence and curiosity. usually in genshin, when a character's intelligence is an important trait of theirs, there are aspects of their design, writing, voice acting, etc, that very clearly tell you "hey this character is smart." albedo, for example, wears a labcoat, is always saying big sciency words in a calm, rational tone of voice, and other characters are always talking about how smart he is

but furina? nothing about her on the surface suggests that she's a "smart" character - quite the opposite, in fact. superficially, she's introduced as a bratty, conceited, overconfident person who actually has no idea what she's doing. we eventually learn in the archon quest that that was all an act, but even after she regains her freedom, nothing about her really seems archetypically intelligent, at least at face value

instead, furina's intelligence is always shown rather than told (the only exception being nahida's voiceline about her). she had an intelligence network across teyvat feeding her information, and we saw in the flashback how she directed researchers to study the prophecy and potential ways of stopping it. before things like lyney's trial or directing the two musketeers, she'd stay up all night planning and piecing things together all on her own. she loves learning new things, she has lines in the teapot about how, when she's interested in something, she wants to become the most knowledgeable person in the topic, and also how she'd like to disassemble the teapot itself to learn how it works, and she's quick to learn new skills (like surfing). and, of course, she's well read, and quite possibly teyvat's foremost expert on the performing arts

i like how furina sort of defies the concept of character archetypes. she's initially presented as an archetypical bratty, dramatic, spoiled popular girl, but that was a role she forced herself into because it's what people expected of her. but the real furina, while still retaining some of the flamboyance from her archon persona, doesn't really fit into a clear mold. she's smart without being a super-genius, and she's kind without being a soft-spoken doormat. it makes her feel multifaceted and real, and i really love that!

anyway, this is why it makes me mad whenever i see people calling furina stupid, cuz she's not!