#or was actively ignoring post-it

[hinamie]

long way home

[non-stick-pansexual]

If your trans activism ignores, excludes, infantilizes, or actively targets trans men and transmasculine folks, you need to re-evaluate your activism and your stance as a trans ally.

You do NOT get to ignore and exclude trans men just “because they are men”, that’s antithetical to trans activism and actively harms the community as a whole. As a trans community, and as a greater queer community, we need to do better.

[arcanegifs]

[neenarchive]

sesshomaru strolled onto our boxy little tv screens 24 slutty slutty years ago and immediately upstaged the entire cast by being a toxic freak in a cunty little outfit

[myokk]

Guess which outfit I wore on my only public outing to the grocery store today and what I’ve been wearing to draw outside, clean like crazy, and give my dogs a spa day😭😭

Plus my studio ghibli redraw of Seb and Eloise🥹🥹🥹 they look like BABIES😭♥️♥️♥️♥️♥️♥️♥️♥️

[gammija]

a nuance that gets a bit lost in martin 'murder' blackwood is that while he's definitely not against a good killing, it's more of a fun couple's activity rather than true heartfelt passion, you know?

i mean, twice he's had the opportunity to have Jonah get shanked, and he foils them, even though he wants the guy dead. Like, murder is always an option, but he usually tries other, less direct methods first - in fact id say that his trying to be clever and moral still leading up to the end of the world is exactly what drives him to say, ok well fuck it then, let's get our murder on

[gloriousfckingpurpose]

anyways. now that we have an actual face character. we’re done drawing victoria white now right. right.

[girlanachrotism]

Two Crew be upon ye

[linkedin-offficial]

MERRY CRISIS ‼️ (they all hate this)

[simbistardis]

If your takeaway from the Black aromantic texts is 'see this is why romance sucks and its not real and its just a performance!' you've failed to engage in the text. Black aromantic text or at least so far from what I've collected isnt romance negative. Like at all. As in there isnt really a romance negative aspect like Michaela Coel and Kimberly Butler who expressed their *personal preferences* to not participate in romance instead of giving a moral judgement of romance altogether. Or, romance negativity is actively addressed in the sense the author doesn't support it like Tyger Songbird and Sherronda J Brown who've specifically said they want romance, friendship, sexual relationships and community to be valued equally not for romance to be abolished altogether. Like the running theme across Black aromantic theory is that the pedestal romance is put on needs to be removed, not an active removal of romance and love themselves. In fact I found a Black aro text specifically detailing the ways Black love is actually aligned with aromanticism in the sense they both subvert conventional white romances and not it's enemy and that's one of the texts that got reblogged *the least*. Along with the one talking about antiblackness in the aro community too conveniently enough.

If you actually engage in Black aspec texts and theory, not just give it a quick reblog but actively read them, multiple of them, you'll see that romance and sex too from Black POVs is complex because of antiblackness, and so romance and sex are complex based on different factors like that and others, so abolition and removal of desire just isn't the move. The same reason Black asexual theory isn't just 'ew sex is evil' no its 'lots of different sexualities are marginalised'.

If you're only looking at Black aro texts but Black aromanticism in general just to springboard your personal repulsions or worse, reactionary rhetoric against marginalised forms of romantic attraction, you're not only doing a massive disservice to these writers and activists you're doing a massive disservice to Black aromantics who need their work too.

[idkwhatimdoingbutslay]

The Hitler and KKK jokes were never funny tbh

[el-bellanaris]

Veilguard’s lack of identity as a game and Rook’s lack of an ownership over their own story is so interesting and insulting for the latter part.

With the lack of identity as a game it comes from the devs focusing more on giving all of that to the factions then to our actual faction that we spend the entire game working in which is the veilguard. They get symbols and unique armour and we get to spend the entire time getting lore drops about Solas. When back to Origins it was about your character becoming a grey warden and that united the games identity, 2 is about Kirkwall so the symbol of the city is meaningful and iconic representing your hawke’s journey and obviously the Inquisition has its own symbol for an organisation your character is the head of.

Rook doesn’t get some uniting motif to attach to their story because they don’t really get to connect to their world. Now a big reason that is because the game is all visuals and cool moments and no world building that requires depth or complexity. Another reason is that the game was born out of the ashes of another so the world doesn’t actually belong to what the actual game we got is about. As a result there’s no actual world for Rook to connect to except the factions but again the factions aren’t Rook’s story they’re their past and the story of their companions. I find this interesting because it's a pretty basic concept that you want your game to have an identity. And all three other games focused on creating one so Veilguard not having this strong identity makes it feel like its very actively missing something.

Rooks journey then is also both disconnected from the actual game that is happening and also actively written to discredit Rook’s ownership over the game. This intentional feature is what makes it feel insulting at times.

There has to be some reason the main character of a game is you and not someone else and with a game this uniqueness needs to carry your whole gameplay. In Origins it lies in your character being a grey warden, you and Alistair are the last available wardens to fight the current blight and fix the political issues using the blight as a scapegoat cos it serves to help your cause continue its operations. Now you or Alistair could be the leader of your group however Alistair by design takes a backseat he doesn’t want to be a leader which is something that ties deeply into his character and character growth. It’s a very deliberate choice that both makes Alistair pretty interesting and makes sure your character doesn’t get undermined. This choice is a narrative choice that allows your character to feel important through out the choices you make and in the finale as without you or Alistair no one else can actually end the blight and having both people allows for a variety of endings.

Rook’s uniqueness in the narrative plot lies in your little blurb at the beginning of the game but it’s not particularly powerful or holds its weight over the game. Getting plucked out by Varric for having a good heart doesn’t really correlate to having the ability to kill a god and any of this stops mattering once the opening of the game is over. This is another miss by just selecting different plot points from previous games to make up Veilguard without considering how it actually correlates to actual game you’re making. Like Varric loving Hawke and defending them to Cassandra works as a narrative point because the stakes aren’t high. But when the stakes are literally fighting gods being good pals with a guy doesn’t really cut it.

The other side of video game main characters being unique and standing out is not always but often a power only they can wield. Other characters can have similar powers but theirs must be unique and is what you’ll use in fights. Inquisition did it really well having the anchor, no one else can use it as it’s literally implanted into the Inquisitor’s body and it ties directly into the overall narrative and used often when exploring. The inquisitor also gets to claim ownership over this power through having it the entire game and only finding out its source right at the end since it was belonging to someone in their inner circle. Again by design your companions weren’t written to overshadow your Inquisitor with what made them unique as a main character.

But Rook gets a dagger that belonged to Solas and is introduced by showing him using it to begin the plot of the game. Now this dagger is a regular dagger, Rook keeps it attached to their body and goes about their days and it doesn’t necessarily need to be wielded by them. The real crime here is that all we get from it is to summon our companions powers to help ur character jump up onto rocks. Both overshadowing our character and ruining the daggers ownership to Rook. It’s no longer something only Rook can wield rather it’s just a reason to call over someone more helpful. We as the main character have to literally take a back seat regularly cos the game couldn’t even give us a unique power in a game where everyone else gets nonsensical abilities. Intentionally designing the game the insult your character for considering themselves as important.

And if that doesn’t help Rook feel less important another aspect of the game is it literally saying the squad needs to work through their personal issues before fighting the gods cos their problems are causing infighting. But Rook doesn’t get to have any personal issues, so once again they take the backseat for some epic moments that belong to their companions and they get a thanks for the help sticker. Several aspects of the game are intentionally made to feel like your character is just a camera to watch other people do stuff because Rook wasn’t written to actually fit into the game they exist in.

Which is so baffling, I don’t think I’ve ever played a narrative game where this happens. Where I’ve spent 60 hours playing just for my own character to feel like the odd one out and for the game to actively make me feel like I should feel grateful I’m even here just to be pitied with a dagger that calls better people to my rescue. The contempt BioWare has for its own title, the devs who made dragon age exist and for people who spend money on it for them to have profits is crazy.

[oldmanpusspuss]

rpf is the only thing that can save you

[toebeans-mcgee]

Please, don’t forget about the women in Afghanistan.

This image is not at all a commentary on Islam and/or of the different head-coverings that a woman may choose to wear while respecting her faith. Wearing a burqa/burka does not equate to an inherent lack of rights/freedom. This is also not a criticism of the Barbie movie. This is a statement about the brutal treatment of the women and girls in Afghanistan (as well as in Iran). 

I loved the Barbie movie and think it’s a very important and empowering film. However, it is a bit jarring when I’m scrolling through my phone, listening to the Barbie soundtrack, and I come across an article detailing the mounting horrors these women face in these countries. There is so much happening in the world, and it all needs news time, but the virtual media silence on this topic is frightening.

Even though my country isn’t perfect (especially so after June of last year), it’s easy to lose perspective on how privileged I am. 

The many different flavors of western feminism aren’t for everyone and every culture; to think so would be privileged and tone deaf. There is no "one-size-fits-all" kind of empowerment. But, objectively, what is happening to women and girls in Afghanistan and Iran is abhorrent and cannot be forgotten. 

If Barbie can be anything, then Barbie can be an advocate and an activist. Do what you can, Barbies.

“I am not free while any woman is unfree, even when her shackles are very different from my own.” ― Audre Lorde

[100-yardstare]

I was watching that new King Candy video on YouTube by Randomalistic and it got me thinking a lot about Wreck-It Ralph again, specifically about some background lore of the universe and the entire concept of the code and what it means to be alive in the arcade.

In this scene specifically, we are literally shown that code equals what is going on in the game. In the entire movie, "the code" is referenced like a god. You follow the code, you will be okay. If not, well... that could mean the end to either yourself or your world.

It's interesting to note that by dying outside your game you don't regenerate, yet manipulating the code itself like King Candy did didn't "delete" Vanellope. She was just made a glitch, which seems like a reasonable consequence of trying to delete her code. Perhaps it could explain why she couldn't leave the game Sugar Rush itself because her code was unstable, so the world's natural instruction to preserve her and itself would be to not allow her to leave.

But going beyond rules of the world of Wreck-It Ralph for a second, this is a cool reference to basic programing, which is essentially designing data into a sequence that a computer can interpret and execute. While the characters in Wreck-It Ralph are very much programs, they are also meant to be alive, and so, as this smart guy named Podolsky once said, "[there is a] counterpart for every element of the physical world." I don't remember where I read this part, but there were scientists talking about subatomic theory and how everything existing or anything that has existed is in some sort of quantum blueprint, parallel and expressing you, me, and that dog pissing on your tree outside into existence.

I AM GETTING TO MY POINT NOW

So my theory is that while a character may die and be unable to regenerate if something happens to them while they are outside their game, this doesn't necessarily mean that their code still doesn't exist.

Vanellope's code was attempted to be destroyed by King Candy, but that plot was a failure. He couldn't even modify existing code, like possibly changing the color of the salmon room or redesign Vanellope's kart because that's just what the code dictates. It's there and its permanent.

King Candy being an invader to Sugar Rush makes him not part of the game, and thus even though he was able to create an insert Sugar Rush character for himself to inhabit or essentially a "skin" to wear if you wanna be creepy about it, at the end of the movie he is gone. Dead as a door nail. He has no original code to refer back to because Turbo Time was unplugged, so he doesn't even have a source code that even remembers him as an individual. It's like a second death.

[bealittlesblog]

MY BEAUTIFUL WIG CAME TODAY, I LOOK SO CUTE WITH SHORTER HAIR, I WASHED IT AND SPRAYED GLOSSER ON IT AND IT SMELLS SO GOOD AND NICE ME SOO HAPPIIII💗💗💗💞💞💞💞☺️☺️☺️🎀🎀🎀🤭🤭🤭🎉🎉🎉😊😊😊😚

Moots - @l1lprincessti @stardewkiddo @sodaslittleplace @sweetsugarpuff @applecider03 @sleepybby00 @furyyroads @sunni-flutters @mx-scargot @sparkle-song-bunny @tearyeyedsealpup @hesperiacove