#outside in the city it's different

[soryualeksi]

I found a Youtube channel of some local, uhm, blue light enthusiasts? Basically people SUPER into everything EMS and stuff and super into the vehicles lol.

Anyway, not sure how I feel about videos taken RIGHT outside my work filming the yard entrance with just. Documenting which Great Amazing Cars come out and why (like, sometimes with history of the individual car?).

I don't think it's anyone who works here or at least not on a regular basis, because usually people are like "the ambulance fan people are back and I'm uneasy ;_;" when they station outside lol.

Like. Good hobby? Love this shit? Love cars, too, love big cars, love ambulances? But somehow it's scary to get filmed and not talked to, because people are... fans of your work. (We have literally no entrance requirements lmao come join us it's what I did lmao.)

Was glad to see they pixilate our faces tho because every time they happen to film my car I make this O_O deer in the headlight "I'm autistic and I don't like my picture taken" face gdjrzjfz.

Like, I really don't wanna shit on their hobby, but I think I'd be more at ease to be filmed at like. The hospital. Where all our cars inevitably congregate anyway. Than actually being filmed driving the car out of the garage and onto the street at our home station. Where we just. Exist.

Oh, I think I get it, you know?

"Outside", like at a hospital, we are actively in Work Mode and whatever, document the Work and the Vehicles as long as you're not being a nuisance.

But when we're just leaving the station, we're only Getting Into Work Mode and also it's our place to just. Exist. Chill. Not in Work Mode. (It's something like a home tbh.)

Anyway, much rambling.

I don't wanna shit on their hobby, I just don't personally feel at ease with people filming us at the entrance of our home lol. Wait at the hospitals, maybe. Dunno. It's uncomfortable to me, personally. Not forbidding anyone anything and also maybe I just don't Get it. (The cars are amazing ok big reason I choose the job. They're so good.)

Ramble ramble.

[sevenines]

i saw this tweet and found it interesting for two reasons. one is that some people base how good cartoon network would be to toh by how it treated su, and despite the fact that su’s treatment by the network was considered poor at the time, now its thought to be exceptionally good in comparison to modern shows.

two is how exactly su got impacted by a limited budget. a common criticism is how characters like connie, peridot, and lapis are left out of missions. but balancing a lot of characters is not only hard but also costly (extra animation, extra voices—it’s been revealed that the show is limited to a set number of characters per episode otherwise they’re over budget). animation mistakes are not uncommon since retakes cost extra. the entire reason the original show got cut short was due to loss of funding!

[poorly-drawn-mdzs]

End of Empathy (time for violence)

[First] Prev <–-> Next

[westrangecollectionkoalaposts]

Hiding, Waiting, Reading

Neris Week - Day 2: Mirrors | @nerisweek

Both Nesta and Eris were shown reading in moments of waiting during the books, they both hide themselves in different levels, they both wait for a right moment, for a better future...

Here is the same drawing but cut to see details, I tried coloring Nesta and Eris but it was looking weird without drawing their faces, which I tried to do, but It was pretty much awful, so I just made their silhouette, also I am more used to pixel art, so some stuff are kinda "pixeled" hehe:

[ruvviks]

Following the chilling conclusion of All That's Left's first season, Mac and Layla and their friends find themselves scattered across a divided Los Angeles a year after their successful return to town. Matrix Corp has taken control— "With humanity's best interest in mind"— but with our protagonists' knowledge of Opportunity's destruction and Houston's unexpected fall, they know better than to trust the corporation and its near military-sized security force. Closed district gates separate them from one another and a new threat lurks just outside the city's walls— but resistance is on the rise, and it is only a matter of time before truth comes out. [SEASON ONE HERE]

taglist (opt in/out)

@shellibisshe, @florbelles, @ncytiri, @roseeway, @stars-of-the-heart;

@lestatlioncunt, @katsigian, @radioactiveshitstorm, @estevnys, @adelaidedrubman;

@celticwoman, @rindemption, @carlosoliveiraa, @noirapocalypto, @dickytwister;

@killerspinal, @euryalex, @ri-a-rose, @velocitic, @thedeadthree;

@kanos, @swordcoasts, @ordinarymaine, @claudiawolf, @strafethesesinners

[brown-little-robin]

zombie au intro post time!!

So Mob was a zombie for a hot minute. (a few months). Ritsu gets Mob all the way to Salt Township, a community in the process of perfecting a zombie cure. Salt doesn't cure every zombie in the world—they do as much as they can but it's a question of limited time and resources. Besides, cured zombies need taken care of after the fact, too. But perhaps the single most important value the community collectively holds is protecting their kids, and Ritsu and Mob are from here, originally, back before their parents moved them away from the epicenter of the zombie apocalypse. So of course they're eager to cure Mob. The adults in charge of the curing process are very impressed with Mob's health and lifespan, which was Ritsu's doing, but they warn Ritsu that the cure doesn't always work 100% and it's a long process, and Mob's having lived for so long with zombie disease will make his reaction to the cure unpredictable.

Ritsu swings between overprotective paranoia and brief bouts of simple shell-shocked relief to be back in a human community with adults to take care of things. He allows them to give Shigeo the cure (regularly, it requires innumerable hospital visits)—provided Ritsu gets to monitor his recovery, provided Ritsu gets final say on whether to continue with it or not, provided Ritsu gets a house to himself to take care of Shige in. Given that Ritsu is extremely mentally unwell but has a strong sense of responsibility that will hopefully keep him stable as long as his brother relies on him, Salt Township authorities agree to his demands. There aren't really enough adults to go around, after all. So Ritsu and Shigeo live alone.

Mob recovers, slowly, painfully, but he recovers. The main thing Ritsu was hoping for was that Shige would get his clarity back, and he does, mostly! Shigeo remembers things, slowly putting his neural connections back into place. He grieves his parents very quietly. After about a month, he starts speaking again.

(The first thing he says is daijoubu. I'm fine.)

(Ritsu finds his gaze flinching away from his brother's sharpening red eyes sometimes, at first, overwhelmed by Shigeo's new presence. There's a hot tight ball of pain in Ritsu's chest and he doesn't understand why he's reacting like this while Shigeo is objectively getting better. Ritsu is too terrified to admit it out loud to anyone, but he misses his brother as a zombie. the simplicity of it, he thinks, sickened by himself; he misses the simplicity. but anyway.)

Mob's still slower than he used to be. It takes him a while to think things over. He reacts slowly to things. It takes patience to hold a conversation with Mob. Also, his strength doesn't seem to be fading with the cure; if anything, he seems to be getting stronger as the cure works its way through his system, purging the milky, vague fog it wove through his brain and organs. Mob is left with raw strength he doesn't remember how to control, and the more aware he becomes, the closer to the surface of his mind he rises, the more he grows to fear his new body. the potential he has to hurt someone—the way his numb fingers feel metal door handles as soft, malleable, the way he absentmindedly bites through the rims of glasses—he tries to hide it as much as possible.

Mob's still got zombie-style insomnia, by the time he's declared officially human again. He refuses to show his strength, even when the doctors plead with him, so no one knows exactly how strong he is. He's probably still inhumanly resilient to injuries, but that doesn't get tested. His pain sense is still dangerously dull, although he gets flashes of agonizing sensitivity every so often—is the cause of his numbness psychological or physical? does the distinction even matter?

Mob was docile as a zombie, and he's docile while he's being cured. The remembering process takes a lot out of him. And some of the things he remembers—

flashes of light. uncomfortably loud popping sounds. salty taste, crunchy. salty taste, wet. little brother's eyes. walking. walking. flowers. flashing lights. little brother screaming. vague alarm. rain. being pulled, refusing to move. plants. fluffy animal moving in front of him. little brother's voice singing. little brother's head on his shoulder. little brother holding his hand.

Some of the things he remembers are—

little brother screaming. himself growling.

something between his teeth. hunger.

Some of the things he remembers, he forces himself to un-remember. Some of the emotions he feels about it, he forces himself to un-feel. Keeping Shigeo safe cost Ritsu too much. He can't make his little brother take care of him again. He has to get better faster so he can be a good big brother again.

Daijoubu. Mob is fine.

[dungeons-and-dragon-age]

DA2 is the best DA game actually because not only you are are a refugee, but your whole friend group except one (1) guy are also all refugees in some way or at the very least foreigners in the city, and you get to see all the different ways they do and don't struggle to adapt and fit in and make a new home

[icewindandboringhorror]

finally finished all of one character's entire quests/optional dialogue/questions/etc.... 100,000 words... .... aughhh

[clarityroses]

Characters and expression 👁️👁️

[sydney-carton-of-sour-milk]

The Many Illustrators of A Tale of Two Cities 15: Charles Keeping

Keeping This One Brief

Our second in the spooky subseries is a set by Charles Keeping, a famed English illustrator, children's book author, and lithographer who, among his many other accomplishments, illustrated the entirety of Dickens's work for the Folio Society.

This set is unique among all those we've seen so far, both for its recentness (call its publication date a Bowling for Soup song the way it's "1985"🤪) and for its source:

Rather than being from a large public resource like the Internet Archive or from my own personal scans, these are all coming from the personal blog of Derrick J. Knight, a fellow netizen who just so happens to have scanned the illustrations of the book he was reading and uploaded them to the Internet for all to see.

Out of gratitude and respect for giving these precious rarities of illustrations to the public, I'm going to keep this post simple and straightforward, with no post-notes.

Here they are (fair warning, a couple of these are pretty gory):

That's it! Thank you, Charles Keeping and Derrick J. Knight!

& the standard endnote for all posts in this series:

This post is intended to act as the start of a forum on the given illustrator, so if anyone has anything to add - requests to see certain drawings in higher definition (since Tumblr compresses images), corrections to factual errors, sources for better-quality versions of the illustrations, further reading, fun facts, any questions, or just general commentary - simply do so on this post, be it in a comment/tags or the replies!💫

[martyrbat]

habeas corpus – detective comics #1086

(ID in alt!)

[cranberrymoons]

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[cain-e-brookman]

Happy Worldbuilding Wednesday! So, I know a little bit about the gods of your setting, but how does your average citizen worship? Which gods get the most attention and which are less well known?

ahh, thanks for the ask! i need you to know, every time i'm asked about world building i become this image

this is undoubtedly going to get long so answer under the cut

the the short answer is: it depends. i think i mentioned in my post about Raschic but i'm not sure, but there are the 8 main gods who give power to one of each of the Mage Kingdoms. (Light, Shadow, Fire, Water, Plant, Stone, Sky, and Force. This doesnt really matter for the context but there it is.)

So Mages are expected to be somewhat religious, but depending on the god they're tied to, it changes what that looks like. The Sea God isn't horribly concerned about day to day life of his Mages, but they must still do certain rituals and pay proper tribute to allow them to remain attached to him for their power and immortality. As such, the kingdom of the Water Mages as a whole isn't super immersed in religion. On the other hand, Shadow Mages are very devout, to the point where even those without magic are still incredibly religious because it's so steeped in the culture of the ruling Mages.

even when you get into human kingdoms, it's going to look different depending on who a person is and what they do. Uslaria, (the setting for my current WIP) has the most concentrated group of witches in the known world, so much so that one town is known for being the unofficial capitol for witches. everyone in Uslaria can tell you a bit about the Goddess Lythis, Grandmother of Witches, but few actually worship her. a farmer in Uslaria might pray to the Sky God to bring his godly children through with warm winds and generous rains, may also pray to the Goddess of Stone to bless his crops with good soil, may also attend festivals or holy days for the main pantheon if they live close enough to a city or town that might make a big to-do about it, but as far as most gods go, especially the main pantheon, they're so distant from the reality of most people. gods in the minor pantheon, like the Trickster, are more the topic of superstitions and tales to tell by a fire. day to day worship might be done for a lesser god residing in their area, or sometimes house gods that follow a family line, but the names of those gods are too intimate to the area to be remarked upon outside of that circle.

tl;dr: the average citizen (except maybe in the Marshes with the Shadow Mages,) only really cares about the gods that affect them and treat any others with a distant respect. (for the most part)

[wizardnaturalist]

fascinated by this idea that hector went to his death nobly, accepting? he died begging

[dent-de-leon]

if you were in Aeor when some wizards (who no one really likes) mentioned they were just cutting off the whole ward and shooting it off to space somewhere else, because they believe the world is 100% going to end, how would you even respond to that--

[fictionadventurer]

It sounds like Joe and Ken focused on telling stories, stories that being stories focused on the world and characters they knew. While Pete's were more focused on delivering a message with story flavored wrapping.

This is very much the case, but the difference seems to go even deeper than that, to a fundamental difference in worldviews that affect how they approach story.

Episodes written by Joe Fallon and Ken Scarborough respect children as people. Children have been shaped by their experiences and have unique personalities. Children are curious and have brains--they are driven to explore new things and can draw conclusions from what they see and do. Children are already people who deserve respect, and like all of us, they're growing into different people as they learn new things and have more experiences. The child characters can thus be the drivers of their own stories and come to learn lessons for themselves. The child audience can relate to those characters, be drawn into the story, and learn what it's trying to teach without having every detail explicitly spelled out.

Episodes written by Peter Hirsch seem to approach children as people-in-training. They might have one or two personality traits, but instead of coming from and interacting with other elements of their background, they're just pasted on, like a sticker you can put on your Generic Child Prototype. These blank-slate children need to have knowledge poured into them so they can become Properly Educated Adults. So in his episodes, these child characters will go through their story with a question, and the adults--the real people--will tell them the information in great detail so these characters--and the watching audience--can go off into the world knowing what the writer has decided they need to know.

In Joe and Ken's episodes, flaws are funny, and can create funny conflicts that will teach the children better ways to approach problems. In Pete's episodes, flaws are horrible things that need to be pointed out, labeled, and sanded away, so these children can grow up into the perfect model of what a Good Adult should be. The first approach is engaging, and celebrates diversity of personality in a community, while the other becomes bland in the interests of shaping all the members of a community into the desired mold.

Comparing the two approaches provides a shockingly thorough lesson in how one should and should not approach writing and education. Story and character and message are all intertwined. Trying to force the message onto the story and characters makes for something bland and generic and unrealistic. Letting the characters shape the story and letting the story bring out the message makes for something much more unique, organic, engaging, and real. And yes, maybe I've come to this conclusion by spending far too much time thinking way too deeply about a bunch of shows for elementary-aged chlidren, but that doesn't mean it's not fascinating to see how, even within the same show, an writer's personality and approach to the audience can make such a vast difference in the quality of a story.