#that was quite difficult at times

[umblrspectrum]

i got lazy in the second panel

[thepeacefulgarden]

[anghraine]

I finally read a good article about Austen and eighteenth-century socioeconomics that gives rough approximations of eighteenth-century prices/incomes in modern (I think c. 2014) currency, but is appropriately emphatic about just how rough those approximations must always be given drastic differences in the economic worlds we live in. It's actually much more about the economics than Austen, and particularly about how much descriptions of "middling" incomes and what was affordable to people who had those incomes is still a conversation about a tiny, tiny elite in terms of the overall population at the time.

Austen-wise, though, the author also found room for a tangent in which he goes off on a scathing condemnation of Mr Bennet in socioeconomic terms, which I do love to see. Most baronets generally had land and incomes far closer to Mr Bennet's than Darcy's and yet Mr Bennet can't be bothered to even slightly provide for his children's futures beyond what was legally required by his marriage settlement (even the girls' meagre inheritances mostly come from Mrs Bennet's money rather than his). The author acknowledges the passage about Mr Bennet saving to counteract Mrs Bennet's extravagance and also how this is an indictment of Mr Bennet as well as Mrs Bennet, something that criticisms of him often skate past, and even points out how enthusiastic Mr Bennet is about the convenience of Darcy paying for it all in a way that can be read as funny and endearing, but also as distastefully shameless.

Anyway, it was nice to enjoy an academic text again, lol.

[devilart2199-aibi]

TFP Doodle dump 🚗💨

They are so shapey, I love it 😌

[thelastunison]

forgot to mention it before but hi I finally started reading Dungeon Meshi like a week ago and now I decided to color in one of my favorite pages so far

[illogicalvulcans]

[Fic Book Covers 11+12/?] Integrative Approaches by Nnm / @mouseonamoose

Demonology and the Tri-Phasic Model of Trauma

As soon as Aubrey Thyme, psychotherapist, had opened her office door and seen her new client, Anthony J. Crowley, sitting in her waiting area, she was observing and assessing him. At first glance, she paid attention to the following: --His clothing was expensive and stylish; --He wore very strange but noticeable cologne; --His relationship to the seat he occupied could only, very loosely, be described as “sitting;” --He looked angry; --He was wearing sunglasses. What Aubrey Thyme, a professional, thought, upon first seeing her new client was: you’re going to be a fun one, aren’t you?

Angel-Centered Therapy Through A Multicultural Lens

“I’d love to meet with you,” Davey said, apologetically, when he had been called up by a fellow looking to initiate therapy, “but I’m all booked up for months.” “Are you sure?” The fellow said, through a poor connection that crackled. Davey had been sure. And yet. Right there in his calendar was a blank spot, just a few days away, which he had somehow completely overlooked before. “How about that…I’ve got Wednesday at eleven, if you can make that work.” “What a miracle,” the fellow said, “that would be just the perfect time.”

[poorly-drawn-mdzs]

Party of one (divided into four)

[canisalbus]

To me, Machete kind of has the energy of a secondary villain/coldhearted side character in someone else's story that a lot of fans latch onto, moreso than the protagonist. Question is, would he be the villain in anyone's story?

Why, thank you! I'm actually glad to hear he gives off that vibe. I don't think he set out to become a villain but a lot of people certainly view him as one.

[swordsonnet]

Hallo mein Name ist Ebenholz Dunkel'heit Demenz Raben Weg und ich habe langes ebenholz-schwarzes Haar (so habe ich meinen Namen gekriegt) mit lila Strähnen und roten Spitzen das bis zur Mitte meines Rückens geht und eisblaue Augen wie durchsichtige Tränen und viele Leute sagen mir, dass ich wie Alma Unterwindseite aussehe (A. d. A.: wenn du nich weist wer sie ist dann verpiss dich von hier!). Ich bin nicht mit Gerhard Weg verwandt, aber ich wünschte ich wäre es, weil er ein verdammt heißer Feger ist. Ich bin ein Vampir, aber meine Zähne sind gerade und weiß. Ich habe blasse weiße Haut. Ich bin auch eine Hexe, und ich gehe auf eine Zauberschule namens Schweinwarzen in England, wo ich in der siebten Jahrgangsstufe bin (ich bin siebzehn). Ich bin ein Grufti (falls das euch nicht klar war) und ich trage vor allem schwarz. Ich liebe Heißes Thema und kaufe dort alle meine Klamotten. Heute zum Beispiel trug ich ein schwarzes Korsett mit passender Spitze drum herum und einen schwarzen Leder-Minirock, rosa Netzstrümpfe und schwarze Springerstiefel. Ich trug schwarzen Lippenstift, weiße Grundierung, schwarzen Augenkonturenstift und roten Lidschatten. Ich ging aus Schweinwarzen raus. Es schneite und regnete, also war keine Sonne da, worüber ich sehr glücklich war. Viele Popper starrten mich an. Ich zeigte ihnen den Stinkefinger.

[afoxdoeswrite]

I tend to listen to music when I'm going on walks, but Spotify recommended me that Dracula Daily audiobook version, so I figured I've have a listen. Dracula's pretty cool and all, but I always remember it being super long and kinda hard to read through in anything more than little bits, so I figured 'hey, a daily mini thing might be neat to try'.

It is incredible how that team is able to make things scary. I was walking around in broad daylight on a main road, there were dozens of people all over the place, and somehow I felt so alone listening to it that I got chills. Genuinely brilliant, I'm really impressed and this is definitely going to be my background audio for going on walks for a while now.

[eternity-death]

Okay guys now it’s time to consider…

Sunday being in love with Reader… but being unable to act on his feelings because The Dream Master disapproves of it…

The yearning in this would be INSAAAAAANNNE.

[nexahexagon]

I could say something poetic about this piece, but One of these guys is a poet who can’t say the right words at the right time, and the Other would probably stutter his way to a rap battle within three words. So I give you my vision instead and hope you understand the vibes

@silverskye13

[transferring art from my computer is absolutely nuking the quality I’m crying I’m sobbing I swear it looks sm better than this]

[tyttetardis]

Macbeth Q&A 18th Jan 2024 Part 1

Was lucky enough to get a ticket for the Member's Event at the Donmar Warehouse that took place on the 18th...with the price of the patronages I sure never thought I'd have gotten the chance, but luckily, they also let in some non-members 🥹❤️

The brilliant performance of Macbeth was followed by a very quick cleaning of the stage - thought for sure it would've taken them longer to remove the blood than like 5 minutes - followed by a lovely, little Q&A session.

The Q&A was led by Craig Gilbert (Literary manager) who talked to Annie Grace and Alasdair Macrae (Musicians and part of the acting ensemble) as well as Cush Jumbo and David Tennant.

Anyway, just gonna write down some of the stuff they talked about :) sorry if it's a bit messy! Might be spoilery if you haven't seen it yet but are going to!

To begin with Craig remarked that he didn't think he'd ever seen that many people staying behind for a Q&A before (While I was just wondering why some people even left!? Stressful!).

David introduced himself with "My real name is David "Thane of Paisely" Tennant - while Cush introduced herself with "I´m Cush Jumbo - there's only one of me".

First question was Craig asking them what it was that brought them to the Donmar to do Macbeth - to which David pretty much just replied that 1. It's the Donmar! 2. It's Macbeth! One of the greatest plays of all time in an amazingly intimate space - and that the theatre is famous for its quality of work. So he found it quite hard to think of a reason not to do it!

Cush said she'd worked there before and loves the theatre, how it's so intimate but also a great workspace. Followed by her saying she said yes because David asked her. She talked about how important it was for this play to do it together with the right actor playing opposite you.

David says Max Webster asked him about a year ago if he wanted to do the play - he gave him the dates - and since there weren't any obstacles in the way, David didn't have any excuse not to do it.

He then said that he had slightly avoided Macbeth - there sorta being the assumption that if you're Scottish and has done some Shakespeare plays before you have to do Macbeth. Which he joked was a bit odd since it's not like every Italian has to play Romeo. Then he mentioned that Macbeth is probably a bit more of a jock than he is - that it seemed more like a part for big, burly actors.

Max had laid out his initial ideas to David, a lot of which are in the final production, and David thought he seemed lovely, bright and clever and inventive plus it being the Donmar Warehouse! To which joked that he had last worked there 20 years ago - when he was 8 years old! "It's just one of those spaces" - friendly and epic at the same time where it's such a pleasure to be on the stage.

When Craig asked his next question concerning the sound of the play someone asked him to speak louder as she couldn't hear them - to which David joked that they've gotten so used to whispering. But also said sorry, and that they would!

Alasdair explained a bit about the process of the binaural sound - bit I find it a bit difficult to decipher it all correctly, sorry. He did say that a interesting part of it is that it allows them a controlled environment where they can put all the musicians (and even the bagpipes!) behind the soundproof box so "Poor David and Cush" doesn't have to shout over all the racket.

Craig asked David and Cush what their reaction was when they heard about the concept of the binaural soundscape - to which David replied that it didn't quite exist when they first came onboard - Cush joking they were tricked into it. Then she talked about her and David going on a workshop with Max to get a feeling of how it would all work - and get a sense of how it would sound to the audience, as this was one of the few times, they got to hear that side of it. Their experience of the play being completely different to the experience the audience has.

Cush said they can hear some of the sound - like she can hear some of the animal sounds and David can hear some of the stuff from the glass box - but most of their cues and information comes from timing with each other. She said they won't be able to ever hear what the audience hears - to which David joked "We're busy".

It felt like mixing medias - as it all went quite against their natural stagecraft instinct - but Cush found that in the long run it made things very interesting - like they don't have to worry about getting something whispered to each other - as the audience will hear it anyway.

David said the odd thing is that they don't really know what the experience truly is like. He mentioned that to the sides of the stage there's a speaker for them where they will get any cues that they need to hear. Like they can hear the witches - but they can't hear where they are "positioned" - so they have to learn how to place themselves to fit with what the audience hears. They don't hear everything, though. And the audio they hear is quite quiet, so it doesn't disturb what comes through the headphones.

He thinks it's been exciting - that it's a bit like a mix between film and theatre. It's happening live - but it's also like post-production is happening between them and the audience as it's going on. They just have to trust that the audience is hearing what they are supposed to for it all to make sense.

Cush said she thinks in 10 - 20 years, as these technologies has developed, doing theatre like this will feel a lot more normal - not that they will do it ALL the time, but that they will be doing it - whereas now it's still like an experiment. What Cush really like about the concept is that if was done in a much bigger theatre - then people in the cheapest seats would be able to have an experience much more similar to those in the most expensive seats - they'd be a lot more immersed into the action.

David then talks about how it feels extremely counterintuitive to not go on stage and speak loud enough that the people in the back row can also hear you. And usually, if they can't hear you, you aren't doing your job right! But then it felt very liberating. He loves it.

Cush then talked about how it felt odd waiting in the wings for a cue you can't hear - where you traditionally wait backstage and you can hear your cues, you can hear the rythm and know when it's your turn - so it was quite disconcerting to hear silence. So it's basically down to them now knowing the show and each other's timings - like if David is standing at a certain point, she knows how long she has before she needs to say/do something. So you have to watch each other more closely and really focus on what the others are doing.

David asked the musicians if they can hear everything inside the box, to which Annie replied that they get everything except some extra bits in the soundscape. But they can hear the actors on stage. Annie said it's actually a bit of a mystery to all of them what the audience actually experiences - how the big pictures actually look like - they just have to trust that it's there "Is it there?!".

Someone asked if they had had any adverse reactions from audiences to having to wear the headphones. Quite a bit of laughter all around :P then David said "There's the odd person" and something about if someone hadn't gotten the memo before turning up...but not sure how he ended the line. Then once again says that yes, there's the odd person who doesn't like it and that's fair enough.

The same audience member then said he could see the advantage of it in a big theatre where the distance is big, but not in a small place like the Donmar - to which David very quickly, rather passionately replied that it's not about projection, it's about being able to do things you wouldn't normally be able to do live - where they can speak so quietly that they can't even hear each other when standing next to each other. So even in such a small place, people wouldn't be able to hear that. It's about creating a different play - which isn't to everyone's taste and that's fair enough. But for a play that's been done a hundred and seven million times he thinks it's very valid to try and find a new way into the play - even if it's not for everyone.

Part 2

[joshuamj]

Linktober Day 8. Tunic

[doubleedgemode]

Happy summer, everybody!

This has been a big project to take and while there's stuff to improve I'm pretty happy with it. Be sure to zoom in the big picture for details and read the comic from left to right. (Needless to say, please don't try A.B.A's behaviour.. For your safety)

Bonus doodle:

[qrevo]

Emotional Support Polar Bear 🐻‍❄️✨

(Whenever you're feeling sad he will cheer you up with bear puns - he just can't BEAR to see you down!!)