#that would be totally absurd

[holdingcourtwiththevoid]

Just finished TSC and need someone to draw this scene cause of… uhh… science?

[lotus-pear]

charm stat at debonair ‼️‼️

[sableeira]

hiii long time no art and I’m late but I’m not immune to skk 109 angst

[ppeachybees]

TW: suicide mention

Reigen and Serizawa have some talking to do.

[smile-files]

i'm fighting every urge to headcanon nickel as a trans butch lesbian egg... and i'm losing...

[cent-scratchnsniff]

[trashcanwithsprinkles]

mr trashcanwithsprinkles i swear if you don't add cliffhangers we will still come back to read you don't need to resort to such horrible tactics :(((( /lh

genuinely unsure if that even counts as a cliffhanger honestly

like i'm not debating you but still. they're so fun to write;;

[phoenixkaptain]

Although on the topic of Red Dragon and the things they changed between the book and the tv show, I think it’s really, really funny how they recontextualize all of Dr. Bloom’s lines in regards to Will. Because it was Alan Bloom, in the book, but Alana said a lot of the same lines, nearly word for word! And when Alana said it, most of it could be interpreted in a romantic sense.

When Alan said it, it was just weird that he didn’t like to be in the same room as Will if ut was just the two of them. Will is his friend. He is Will’s friend. They’re pretty comfortable around each other. If Will is ever alone with him, Alan will die. And like, Will is aware of this, so-

They also changed Freddy Lounds from a guy into a girl, which is funny because honestly, you could read both Freddy’s interactions with Will the exact same way. As in, they’re both honestly amazed that Will says the shit he does. And both of them leave the audience craving to see them set on fire, but only one of them delivers.

Will is, perhaps, the most different character of all. Which makes sense. I think the idea is that Will in the show is younger, he’s uncomfortable with himself and others, he’s especially uncomfortable around people with pushy personalities because they tend to use him.

Will in the novel, on the other hand, is my dear beloved. He is exhausted. Jack Crawford comes in and says “one more time, Will, please” and Will says “no, fuck off.” Crawford weasels him into it, but Will is having none of anyone’s shit for approximately the entire time. Will calls Dolarhyde gay to piss him off (this leads to Freddy Lounds being set on fire). Dolarhyde sends him a literal voice recording of Freddy Lounds telling Will that the Red Dragon is going to kill him-

“”Reach behind you, Will Graham… and feel for the small… knobs on the top of your pelvis. Feel your spine between them… that is the precise spot… where the Dragon will snap your spine.””

-and his response is-

“Graham kepts his hands on the railing. Damn if I feel. Did the Dragon not know the nomenclature of the iliac spine, or did he choose not to use it?”

Which is very funny to me because it reads to me as Will going “pssh, amateur.”

(Will has a few moments of being very uncaring about threats against his own person. This is why it’s more effective when Dolarhyde goes after his family.)

Crawford is both different and similar in many ways. In the novel, he is a lot more clear with how he’s pushing Will. He knows that he’s pushing him to the limits, he knows he’s basically holding Will over a cliff with nothing to catch him, but he thinks it’ll ultimately be fine. Even if Will does break, if he catches the Dragon first, it will have been worth it.

It’s difficult to explain Hannibal in this book. Of all the portrayals, I feel this one is… the funniest? Like, he is a little bit obsessed. He wants Will to hang out with him. He wants Will to commit murder. He thinks Will is fascinating. Will refuses to give a serial killer (one who stabbed Will in the side) his phone number or address and Hannibal sends a fucking murderer after him. Hannibal’s actions directly lead to Will being stabbed in the face, and he sends a letter (that Will doesn’t read, but Crawford does) that ends with the lines: “I wish you a speedy convalescence and hope you won’t be too ugly. I think of you often.”

I’ve said this many, many times in the past, but there’s a reason NBC Hannibal portrays Hannibal as in love with Will. I want to use Silence of the Lambs as an example. He talks very casually with Clarice for a little while, then abruptly: “How is Will Graham?”

For this one, I think I’ll just take a picture, because it amuses me.

Of course, Hannibal also brings up Alan and Frederick Chilton (I forgot to mention earlier, Freddy C.’s been here the whole goddamn time and had the gall to try and explain Hannibal Lecter to the man who caught Hannibal Lecter), but him bringing up Will has always been funny to me. His last letter to Will says “I hope you aren’t too ugly.” It’s been a few years now, and his question is basically: “Is Will ugly?” It is…

I mean, I understand on a cannibalistic-serial-killer-from-the-80s level that Hannibal wants Will to look a certain way because he likes the way Will looks. Not on a queer level at all, it’s probably moreso because he wants Will to fit his aesthetics. Like I said, he wants to spend time with Will, and part of that requires Will’s appearance to fit. It totally makes sense in a horror novel that a character would be creepily obsessed with appearance, and Hannibal’s insistence on Will was probably discomfiting to a lot of the readers at the time.

But on the other hand, Hannibal’s obsession with Will in the modern day is really funny. Like, he just needs to know. Tell the man what he wants to know, Starling. You know Will Graham, everyone knows Will Graham, come on, tell me. It’s incredibly amusing, especially the jump in their conversation from classical paintings to Will’s appearance.

Now, the correlation could be a few things. Hannibal could be implying that Will mocked him in some way and that his punishment would be the scarring of his face. But, that would make Hannibal have a bit of a god-complex, and that’s boring. Another option is that he found Will to be reminiscent of a man in a painting. Specifically, the man in the painting they’re talking about, which is a painting Hannibal did on the wall of his cell with crayons and magic marker (yes, that is what he said he used), which makes it kind of funny because wouldn’t that be like Hannibal painting Will on the wall? If the painting reminds him of Will, then he only painted it because he knew Chilton would get the wrong idea if he painted Will. Which, maybe he did paint Will! It’s not like Clarice knows what Will looks like, and Hannibal wouldn’t just tell her.

Anyway, as I’ve said countless times, Hannibal in the books is only a bit less obsessed with Will Graham than he is in the show. Why is he obsessed with Will? The show’s idea that Hannibal was in love with Will and didn’t realize it is a very clean answer. Even if one doesn’t believe that Hannibal Lecter has the capability to love, which I would argue against since it’s disputed in the books and the tv show, his obsession with Will, an obsession akin to love, that he himself doesn’t realize until it’s too late… that’s fun.

Why is Hannibal obsessed with Will in the books? I don’t know. Will thinks it’s because Hannibal wants him to be just like Hannibal, but I don’t know if I would be so hung up on a guy for multiple years who just will not come visit or commit murder. If the books ever off an alternative, I’ve not seen it.

But, I think Hannibal wants to kill Will. I think he is a bit upset that Will saw through him and turned him in, but he’s also fascinated that Will saw through him. Will is fascinating to him. Will is afraid of himself, and that’s fascinating too. Hannibal wants to kill Will, not out of hatred, but out of a sort of grudging respect. He wants to be the reason Will Graham dies. He wants to be there as Will Graham dies. Even when he sent a serial killer after Will, Hannibal didn’t doubt that Will would live. And he wants Will to live, until he can wrap his hands around Will’s throat and watch the life drain away.

All this to say, I still have more thoughts on the Hannibal tetralogy than I previously thought.

[darcpython]

looking through all the fanart of Wayne and Raj making out is so fucking funny in hindsight. we were close lmao

[swallowtail-ageha]

Guy who said i lied about getting molested because i acted "too functional" vs tumblr blog who said i lied about getting molested because i thought alys/aemond was hot.... FIGHT!!!

[legobiwan]

I'm not slipping, he says, as the framing clearly shows him under target.

[qrevo]

got curious and looked at the MILGRAM # on twitter. sorted by latest. worst mistake of my life 💀💀

[spring-lxcked]

i know this is going to end up being Headcanon Tags again but i'm thinking about william and his Famous Casserole™ again

[deus-ex-mona]

just pals bein’ ✨pals✨

[ailurinae]

What people said about cutting the corporations out, but some other things really bug me about this.

Actually when I watch it closely, a bunch of things, but I'm just going to mention the two big ones that annoyed me on first viewing.

This is a bad waterwheel. It seems to be set up as somewhere between a high breastshot and a backshot waterwheel, but those are constructed with scoop/bucket shaped paddles, as they collect the water and the weight of it more than the speed of the flow, is what drives the wheel. Usually only the simplest undershot waterwheels (where the water flows under the wheel only, not entering from higher up) have flat blades like this. Also, those blades are too far apart (look like only 6 of them)(results in jerky movement), and... made of wood? You want thin, lightweight blades, so more of the energy goes to the load (electrical generator in this case, historically the grain mill or whatever), not into moving the weight of the wheel itself. And, even more of an issue than the bad/inefficient design... it is *tiny*. I mean, hard to get a really solid scale, but it looks to me like that thing is maybe 1 to 2 feet in diameter (~30-60 cm). And that's not a rushing, high pressure stream (and if it was and you were relying on that, you would want an undershot type). I have no idea how to attempt to calculate how much energy that would produce, but it's got to be minuscule. Like a couple watts *maybe*? I just can't imagine this being actually worth the effort of building and maintaining it.

The other big thing is the obsession with floating/flying things

The teapot isn't the only randomly floating thing we see, I think there is another container at the dinner table. What possible reason is there for that? Why would containers randomly float when the don't need to? For the tea kettle it is actively keeping it out of contact with the stove, making it insanely less efficient. Even if you say "maybe it is an induction stove"... that just means the efficiency loss is magnetic, not thermal. It's still going to be enormous.

The drone and the bus as transports make no sense, except perhaps under the most extreme sci-fi conditions. Keeping an object up in the air takes a huge amount of energy. Even if you aren't dealing with the inefficiency of using fans to push air down in order to stay up (hovercraft, helicopters, etc), it's just a bunch of energy that you could choose not to spend, by simply letting it rest on the ground. Airplanes are vastly less efficient than trains, for example. Planes can stack up a bit better against cars, but that is due to cars being quite big, and very often carrying one person and very little or no cargo. As soon as you talk buses or trains, efficiency goes way up.

That flying bus would be far better as an electric bus, or better yet a train/tram of some kind. The drone delivering one small item makes zero sense and wouldn't even it was on wheels instead. The inefficiency of such tiny deliveries would be enormous. If the drone is taking that milk or whatever from the kitchen to the outdoor dining table, just have human walk over and get it. If it bringing it in from a store at some distance, make a trip where get more items at once, and keep enough in stock at the house.

The one way the flying drone and bus *might* make some amount of sense, is if you postulate that we found an energy efficient way to make "negative matter"/"exotic matter". That is not antimatter - we know that antimatter responds to gravity the same as normal matter. Exotic matter is a theoretical type of matter that has an inverse relationship with gravity. So if it exists (and currently there is no evidence at all that it does - it is merely a way you could solve the equations of gravity), it would push away from normal matter e.g. the earth. So you could make things float "for free", or rather, there is just the upfront energy cost of making/acquiring the exotic matter, but no energy is spent in keeping the item floating. But that only works for fixed weights. If you put negative matter on an airship of some kind, it cancels out the weight of the craft, but not the weight of passengers/cargo, so you still have to lift that. If you put enough exotic matter in to cancel the weight of the craft and the cargo/people, then you have to have some way to push or hold it down when not loaded, or it will fly off into space. You could tether it when not flying, but even then, there would be issues if you tried to fly it with only a partial load, you would have to "push down" with energy to equal the mass you are missing from the rated amount. And if you overload it with more mass than the rated amount, you need to push that amount up. It is all very tricky, and airships based on exotic matter would probably end up acting a bit more like zeppelins than airplanes or flying cars or that flying drone.

The impression you really get from this, and many other sci-fi things with flying/floating cars and the like, from The Jetsons to Overwatch, is that the vehicles are dynamically generating some kind of "anti gravity field" or other energy field that in some way pushed them up without moving air to do it. The main way besides anti gravity would be a magnetic field, but that would fuck with any magnetic material in the area, and we never see that. Even *if* physics has anti-gravity fields in practice, and even *if* we found a way to generate them, and even *if* it could be done with great efficiency (all very big "ifs"), it is still power you could save by just letting the damn thing sit on the ground. Oh you want lower rolling resistance? Steel wheel, steel rail. Low rolling resistance! And we've had trains for ages already.

[agnimybeloved]

regarding that last post... not that black butler's canon has to be uplifting or have dadbastian or a happy ending to be "good" (i'm actually partial to tragedies especially the cyclical kind and would love for the series to straight up end with despair and the collection on the contract lol) but i do think that toboso's largely fumbled the found-family/interpersonal,/introspective aspects of her story and sacrificed a lot of narrative and thematic meat there for low-brow and off-putting comedy.... which is really exactly all she does with ciel's trauma as well-- shallowly using it for the purposes of trauma porn and/or comedy/inappropriate fanservice.

ciel only seems to have reasonable responses to his trauma when its aesthetically convenient if that makes sense. i honestly could go as far as to say that she depicts his trauma fetishistically-- every instance i can recall of ciel having an extreme traumatic response (i.e. vomiting, flashbacks, psychosis) is represented with (imo but honestly.... i'd be shocked if this wasn't intentional...) sexual undertones. his episode during the green witch arc doesn't have one of these moments within the episode itself as far as i can recall, but certainly i think the preceding/inciting medical emergency that forces him and sebastian to bathe together contributes to the reoccurring sexualization of "sickness" (physical & psychological).

not to mention ciel's subsequent episode is treated as the dramatic peak of his ptsd and something that he "overcomes" through sheer force of will (and the threats of sebastian... neither of which are a proper/reasonable way to handle such an extreme trauma response) and doesn't really battle going forward in the story. of course a lot of stories take this "one dramatic moment and then its fixed" approach to representing mental illness, and it makes narrative sense for toboso to want to more or less settle that thread to gear up for the important blue cult arc, but i think toboso's handling of mental illness in general goes so far beyond suspension of disbelief and tastelessness that i think she should lowkey be brained for it. the way she intermittently writes ciel's traumatic experiences as something horrifying and wrong and to be given sympathy meanwhile relentlessly putting ciel in inappropriate fanservice situations that diminish the severity of csa & pedophilia as well as disrespect the complexities of trauma and turn them into comedy... mind boggling...

overall though i think that black butler shows a real mastery of narrative arcs while falling short in terms of character arcs. most of the time these arcs are shown in retrospect with the addition of new backstory, but it feels as if the characters in present have barely grown at all... not that every story has to be character driven and a static character type makes sense for someone like sebastian, but for all that ciel is a unique and mature thirteen year old due to the circumstances of his life, he is still a thirteen year old, and one that has experienced a significant trauma quite recently at that. not allowing him coming of age-esque character arcs considering all that sort of breaks the believability of his character imo.

but i think that coattails does a lot in staying loyal to ciel's character and experiences while also respecting his trauma and bringing the depth and flexibility of adolescence to his worldview and actions that toboso unfortunately seems disinterested in. i love that aforementioned chapter of coattails and its sentiments especially with how it reexamines ciel's actions at kelvin's manor and the worldview that lead to burning it down with the children inside... not that it was an out of character decision for ciel in the moment, but i think it established a lot more severe facts about his character and worldview than toboso is willing to address in her writing and therefore feels unresolved. coattails' remedy to that awkwardness by coming full circle is so intriguing and fulfilling in contrast... it shows how adolescence and trauma can work together to so completely convince one of hopelessness and yet how just a bit of hope can change that worldview entirely. literally just the honest love of a random dog and the mundane care of a guardian... there is a cure and it is this..... what da helllll....