#themed or by area

[bigcats-birds-and-books]

not me, pining after seven (7) other books in a series as the only one (1) book of said series that i own languishes (unread) on my floor

[probablyanalienindisguise]

[remma-demma]

Thinking about people not liking what happened at the end of dawntrail like… hmm.

Did you not remember the stuff with the Yok Huy. Nobody is gone if you remember them. The phrase that’s been with us for nearly the entire game, “For those we have lost….” Emet Selch entrusting us not only with the legacy of humanity in general but specifically with the memories of the Ancients and Elpis.

Just because people are gone doesn’t mean they aren’t still with us.

But the people of Neo-Alexandria are kept from that. They can’t remember anyone they’ve lost because their memories were stolen and locked away in an eternal purgatory, unable to move on or be reincarnated. The quest where you go to the graves in Heritage Found was a big moment where I was like. Huh. This fucking sucks actually.

The endless are just computer simulations, and they exist because Sphene can’t bear to let them go. Can’t even let her living citizens mourn or carry on legacies.

And that’s not even mentioning the fact that she needs the souls of innocent *living* people to power this all.

I think it’s a really good metaphor for the digital age, becoming disconnected from our irl communities, uploading your entire life on social media. Profiles of loved ones who have passed on. AI chat bots providing temporary comfort but no real human connection. All of that technology requiring enough energy to slowly but surely contribute to the destruction of our planet.

It all seems pretty clear to me as an allegory but like, I guess some people just didn’t make that connection? Or maybe they just don’t think about all the AI stuff in the same way I do.

[nordsea-horizons]

working on new things..☁️☁️

[seven-oh-four]

marina designed the bosses in the memverse to represent the biggest traumas of those trapped in the deep sea metro:

- fighting and killing people who look just like them

- being forcibly imprisoned and put under constant surveillance

- 8-ball

[agentc0rn]

Lonely earth-bound monarch figures whose existences and legacies extend past the bounds of time and space.

[serpentface]

The wassibi, threatening you with a very bad time.

Wassibi are mid-sized (11-16 lb) solitary mustelids. This species is native throughout the lands south of the Viper seaway, thriving as generalists in a great diversity of habitats (though rarely occur in very arid environments or at high elevations). They are omnivores, using their broad noses and strong claws to dig out earthworms, beetle larvae, roots and tubers, foraging along the ground for insects, scorpions, bird eggs, fallen fruit, and small lizards and snakes, and occasionally scavenging carcasses and trash. They are particularly noted for their ability to find honey- splitting open bees nests with their claws and leisurely consuming larvae and honeycomb, seemingly untroubled by bee stings.

Wassibi are known above all else for their devastatingly noxious defensive anal gland spray. When threatened, they hiss, arch their backs and tails, raise their fur, and point their anus menacingly in the direction of danger. Should posturing fail, they will unleash their spray at the threat's face. Their anal glands have powerful muscular control and the attack is devastatingly accurate at up to 10 ft. In addition to having an atrocious stench, the liquid is mildly irritating to the skin, painful and temporarily blinding to the eyes, and can induce intense nausea and vomiting. The smell is resistant to washing, and can take weeks to fade. Most predators who experience a hit will learn to recognize the wassibi's stark aposematic coloring and avoid anything resembling it.

In addition to this potent defensive weaponry, they have dense fur and thick, loose skin, which renders them difficult for most predators to effectively grasp or pierce without risk of being bitten themselves. As such, wassibi have few consistent natural predators and are given a wide birth by most other animals. Their tendency to walk boldly in the open and sometimes even scavenge at carcasses alongside much larger predators commonly lends them cultural reputations of fearlessness. Wassibi are known for attacking large venomous snakes that potentially threaten their young, which (along with their frequent consumption of scorpions and bees) leads to common misconceptions that they are entirely immune to venom. They have no such resistance, rather their thick fur and loose skin cause bites and stings to land less effectively- most stings fail to penetrate their fur altogether, and bites often deal glancing blows that inject little to no venom.

Their biggest predatory threats come from humans. Wassibi meat is fairly rich and not unappealing to most palates used to wild game, but they are rarely considered worth the effort and risk of killing for consumption alone. They are more commonly hunted for their pelts (worn commonly by Wogan and North Wardi herders in hopes of deterring attacks from predators), bones, claws, and fat (used in traditional medicine for their purported antivenom properties). This hunting is fairly limited in scope overall, and most Wassibi populations remain stable.

[lunarelly]

i don’t think chuuya’s complexity as a character is spoken about enough honestly. one of the recurring themes in bsd is that good people do bad things, and bad people do good things, and morality is complicated and never perfect in any person because it is literally a concept of humanity.

to me, chuuya embodies this the most because while he has taken countless lives and doesn’t hesitate to do so, his most prominent lore centers around him protecting the people he cares about (the sheep in fifteen, his colleagues in storm bringer, the mafia in the cannibalism arc, he even shows concern for Dazai despite their complications).

there is no debate that he has killed and caused devastation with his ability, but he was also a child when he was burdened with the responsibility of protecting the entirety of the sheep, and was still a child when he was recruited into the mafia which would cause anyone’s moral compass to become questionable.

chuuya is loyal to and protective of the people he cares about, and his biggest moral complication is that he will do anything for them.

[rogueyami]

Found the KFC where Gojo and Geto broke up

This area is called 思い出横丁(memory lane)

[r-aindr0p]

Uhhghfdss uhh going to a (themed) bday party this evening... Been like a deer in the headlights for a week now because I'm bracing myself for something that's very probably far nicer than I imagine but ough.... kinda panicking so I do nothing instead of organizing myself :)))))

[kheprriverse]

Concept or Sketchpage of Ko'jin's possible design for my MonHun x Loz au just went up on kofi!

This was a very sudden idea that I HAD thought about before but refused to work on it in fear that it was too crazy or weird. but nah, my au my rules, we're throwing another god in there.

🌙 Full image on Kofi -> Full image (plus a tiny bit of character info) is available to members $1 and up only. The finished and final design will be available if/when its done. 🌙MonHun Blog: @ballad-of-elgado -> Not as active on there as I am here, but all my Monster hunter content can be found there under the "ballad-art" tag.

[solargeist]

any time i imagine kid xelqua lounging in grian's house, he is watching sesame street or dragon ball z, with snacks sat on the cushion next to him.

he shoves the snacks into the crease of the couch when he thinks he might get in trouble for eating on the furniture and doesn't want to get caught. (he would not have got in trouble, but now he will, just for that)

[aster-aspera]

Penelope's weaving

aka I, an archeologist, am here to review the accuracy Penelope's loom in the 2024 movie 'The Return' because I want to avoid thinking about all my papers due next week. For context, I am currently writing my bachelor paper on Minoan textiles, and while I am definitely not an expert, I do know a thing or two about bronze age textile technology

So first point of pedantry: that is not at all a bronze ago loom.

I can't say exactly say what kind of loom this is, as I've only studied bronze ago looms. Whatever kind of horizontal/draw/treadle loom this is, I can confidently state that this would not have been used in Mycenaean times. I'd say that we only see these kinds of looms in Europe from the medieval period, somewhere around the 11th century.

In the bronze age, there are three types of looms in use (as far as we know). The horizontal ground loom, the two beam loom, and the warp-weighted loom. Most traditionally, we see iconography depict Penelope weaving on a warp-weighted loom, like this beautiful vase does.

We can clearly recognize this as a warp weighted loom, because we can see the weights: they're the little triangles at the ends of the vertical threads (the warp). The warp-weighted loom is also the only loom we can find archeological remains of, as the loom weights were often made of clay (sometimes pebbles), while the other types of looms were purely wooden.

Furthermore, I have genuinely no clue what she is supposed to be doing with her weaving in this short clip. There is no visible shed, which is the separation between the warp yarns, through which you pull the weft, so that you can actually weave something.

Here's a picture of the shed, as you can see, every other thread is pulled up, and the shed can then be switched around to create a woven pattern.

In the short clip we see, she seems to just be drawing some threads through the warp, which is more than a little nonsensical. If one was weaving a smaller fabric or a tapestry, one could perhaps use a pin or sword beater to pick up individual threads of the warp to pass your horizontal thread (the weft) under, and create patterns that way. That is still not what she is doing here. Additionally, she is weaving a solid red fabric, which would not make it a very interesting tapestry.

Perhaps she's undoing her weaving in this scene? It would make a little more sense if that was what she was doing, as no one would ever be actively weaving at night! It required a lot of light to be able to see what you were doing. Candle light just did not suffice. It still looks a little strange to me, as I don't actually see any woven fabric on the loom that she could be undoing. It's all just loose warp threads.

Honestly, it kind of looks like they picked up a loom from the nearest interactive history museum and plunked it into their movie without doing any research. I think it's a little sad that when adapting a work that centers weaving as much as the Odyssey does, the filmmakers did not do any research into bronze age weaving. You really don't need to be writing a paper on this stuff to find sources for this!

I'll just leave you all with this: a beautiful reconstruction of a warp-weighted loom, with the beginnings of a tapestry as Penelope would have woven it. You can see the loom weights at the bottom, and the sticks in the middle called the heddles, which were used to create the shed I discussed earlier. This is part of the Penelope project.

[ananinidraws]

My parts for the super awesome RTGame birthday collab! <33333 This was an amazing project to take part in, i had a lot of fun, and everyone's cupcakes turned out amazingly! <3333

Of course i had to do everything Miitopia related, and add a lil Chatical John in hehehehe <3333

Anyways, happy birthday to my favorite streamer guy! <3333

[revvethasmythh]

So I went and watched all the possible endings, and it confirmed something I had been thinking, which is that the redemption ending choice is, perhaps, the most immediately regretful one--but that they all come with some form of regret. In the redemption ending, Rook has to knowingly deny themselves the catharsis of retribution (should they desire it, which, at least for me it felt difficult not to) in order to offer Solas one last, painful chance to do the right thing. That willful denial of your own catharsis feels like an immediate regret. Giving Solas the opportunity to pursue atonement might very well be the best choice all around, but it is also incredibly painful to offer that to someone who has done so many terrible things (not a small amount to you personally). Why does he deserve another chance? Especially when so many dead (including a beloved mentor) lie in his wake? Which, I suppose, is the point: he doesn't. But you offer it anyway and it SUCKS ASS, because how could it not?

I don't know how this plays with other story choices (a sacrificed Davrin or a Harding who embraced her anger, for example), but within the context of my own choices, I can imagine an immediate satisfaction to either tricking or fighting him--especially the trick ending, where you can actively name drop Varric--but it feels like the sort of thing that would feel worse as more time passes. Once you've calmed down and are able to ask yourself if that's what the people you've lost really wanted. Varric, in Regret Superhell, didn't want vengeance. He just wanted his friend to walk a better path. And Harding always believed there was another chance for anyone, so long as you kept reaching a hand out for them--even when it sucked ass. So the redemption ending feels like a sort of indignance, an instant regret for not doing worse, for not getting comeuppance, for being forced to eschew satisfaction (related: I wonder if the Inquisitor feels those things as well coming out of this ending, considering how long they've lived under the shadow of Solas' actions). Conversely, the other two endings feel like an immediate satisfaction, because you got to trick the trickster with all the wits Varric taught you, or because you finally got to punch him in the face and it felt really good. But I feel like those endings would come with a creeping regret, something that sneaks up on you later, especially when remembering the fallen and what they would have wanted you to do. Ultimately, because of that, it feels like no ending is devoid of regret. Which I suppose, is rather thematic.

[premamelody]

garden, where memories are

context