#this is completely based on vibes

[ribbittrobbit]

for @dogfennel

[jariten]

雪の日のすごし方/How to Spend a Snowy Day (Yuki no Hi no Sugoshikata), Yumiko Oshima

First published in 1981 for the second ever issue of Grape fruit

[egophiliac]

I'm trying to avoid getting spoiled so I haven't looked up what's happening in the Jp server's main story, but for my own sanity I need to ask; is the story at a point where we know whether Lilia will get better/survive his almost-empty magic reserves..? Was it a true death flag from the start or only a plot device for malleus' overblot....?

not yet! I do think they're going to get back to it eventually, but -- keeping it as low spoilers as possible -- there's been...let's just say a LOT going on in the meantime.

enjoy 7-6!!! :)

[vanilla-vivillon]

WHO IS COOKED 🗣️ 🔥 🔥 ‼️ 🧑‍🍳 🔥

[tweeterwilbury]

John Lennon and Paul Mccartney in 1964 // David Crosby and Graham Nash in 1974, Paul Mccartney on John Lennon and Yoko Ono getting together, 1985//David Crosby in a 1970 interview, John Lennon in 1961, photo by Paul Mccartney // David Crosby in 1969, photo by Graham Nash, John Lennon and Paul Mccartney's 1961 trip to Paris//David Crosby and Graham Nash's 1970 boat trip, John Lennon in 1964, photo by Paul Mccartney//David Crosby in 1971, photo by Graham Nash, excert on John Lennon and Paul Mccartney writing together shortly before John's death // Graham Nash on planning a talk with David Crosby 7 years after their feud, and on Crosby dying shortly after they planned it.

[sybbi]

Oh, good. The people who can't read a linked article on a post they reblog, much less open a separate tab and look into something themselves, are gonna tell us what is and isn't legit

[potato-lord-but-not]

Hi! I know your bio says any pronouns, but are there any you like more than others?

Just wondering because I referred to you as 'he' while talking to my sister, and she said that it felt wrong for some reason. Not that she knew your pronouns either, we were just wondering.

he and they are equally good! and she is acceptable but yk there’s o t h e r options. And I guess if you want to use other neopronouns thats cool?? except maybe ‘it’ but other than that I’m chill.

Also idk why I find you and your sister debating about which pronouns to use for me SO funny 💀💀

[youssefguedira]

I wish you would write a fic about irreconcilable artistic differences on a movie set between Joe and Nicky.

not really irreconciliable as in not solvable at all but you know i had fun with this

Joe squeezes his eyes shut, covering his face with both hands, and leans forward. His shoulders tremble uncontrollably. He takes a short, sharp breath, and another, and another, but he can’t quite seem to get enough into his lungs. There’s a lump in his throat and a weight in his stomach. He leans forward with a low, wounded sound and–

“Cut,” Nicky says softly. Then, because it takes Joe a second to hear him: “Joe, stop.”

Slowly, Joe raises his head. Wipes at his eyes and takes a few deep breaths to steady himself. Nicky’s already up, frowning ever so slightly as he looks at the camera. 

“What is it this time?” Joe manages. His voice is hoarse; he has to clear his throat once or twice. Nicky doesn’t look up. The clock on the nightstand reads 01.34, but Nicky’s changed it a few times over the course of the shoot. He has no clue what time it really is, only that it’s dark outside.

It’s just the two of them in the room. Nicky had wanted to keep this one small, just him and Joe and the camera. The apartment they’re in is nice, if a little empty, though Joe supposes that’s the point. They’re in the bedroom, Joe sitting cross-legged on the bed, shirtless, sheets bunched up over his lap, a phone lying on the nightstand behind him. One entire wall of the room is taken up by a floor-to-ceiling window which lets the moonlight in, though there’s a few low lights set up behind Nicky to send bars of silver light across the bed, because the natural light hadn’t quite been strong enough for the effect Nicky wanted. It’s otherworldly; it’s beautiful. 

Nicky still isn’t looking at him, so Joe says again, “What?” It comes out a little harsher than he means it to, but it gets Nicky’s attention.

Nicky runs one hand through his hair. Joe can’t see him well, not with the light behind him and the shadows in the room. “I don’t know,” Nicky says. “It’s missing something.”

Joe has worked with Nicky enough times before. It’s not that he doesn’t like working with him - they’re friends - but he can’t fucking read him, and so after the sixth take of the same scene he can’t help but take it a little personally. 

Joe reaches for the bottle of water hidden just under the bed and takes a long drink, mostly to keep himself from snapping. What time is it? “I can try again, but I can’t do this indefinitely, Nicky.”

“I know, I know,” Nicky says, fidgeting again with the camera, “it’s not you, it’s just–” 

“What else could it be?” Joe interrupts. He’s not stupid. This scene doesn’t work if he can’t get it right, which means the entire film doesn’t work if he can’t get it right. More than anything else, this one depends on him. No music, no camera movement, no dialogue, nothing but him and the camera. And he wants to do it right, he loves this project almost as much as Nicky does, but there’s a hollow feeling in his chest and he’s spent the last however-many-hours having a near-complete breakdown over and over again and it’s still not right. And Joe doesn’t know what it is he’s doing wrong.

“I don’t know,” Nicky says quietly. Now he is looking at Joe, and Joe can’t tell if he’s disappointed, or angry, or – or what. He’s perfectly expressionless, as always. 

Joe loves this job. And he wants to get this right. But it doesn’t mean it’s not one of the hardest things he’s ever had to do, and he’s tired.

“I don’t have much more left in me, Nicky,” he says, and this time he does snap. He wipes at his eyes again, can’t look at Nicky. He’s supposed to be making himself vulnerable, above all in this scene, but suddenly he can’t stand the way Nicky’s looking at him. “Pass me my hoodie.”

“Joe–”

“I can’t. I can’t keep doing this.” He kicks the sheets off and gets tangled trying to do it, grabs his hoodie when Nicky offers it, pulls it over his head in one fluid motion and gets out of there as soon as he can. Thankfully, there’s only Andy and Nile in the other room, Andy lying back on the couch with her feet up and Nile perched on the arm of it. They both look up at Joe as he enters, both look like they’re about to ask, and Joe can’t stand it, can’t be in here a second longer, can’t–

“We are done for the day, I think,” Nicky says behind him, startling Joe. He hadn’t realised Nicky was there.

Andy raises an eyebrow, but doesn’t argue. It’s already the second day of trying to shoot this scene: they’re running the risk of falling behind schedule. 

“We’ll find something else to do tomorrow,” Nicky says. “I’ll look over everything tonight. We will try this again on Monday.”

Andy and Nile look at each other. Nile shrugs. 

“Get some rest, Joe,” Nicky says. 

Joe shoves his hands in his pockets and doesn’t say a word.

–--------------------------------

He doesn’t get called in the next day at all, and he doesn’t interrogate it too closely. Takes the day off, pretty much, because they’ve only really got one scene left to film, and there’s not much more he can do for that. Nicky had wanted to leave it to the last, and Joe had agreed, at the time.

At about nine pm, someone knocks on his hotel room door, which is unusual on a day where they don’t have a night shoot to do. When he opens it, Nicky is on the other side. Joe lets him in without a word. 

“I wanted to apologise,” Nicky says, standing in the middle of the room and looking as uncomfortable as Joe’s ever seen him. “For last night. I was pushing you too hard, and I should not have done.”

Joe closes the door behind him. Nicky fidgets with the sleeve of his hoodie. 

“Sit down,” Joe says. 

Nicky does, settling himself on the edge of Joe’s bed, not quite looking him in the eye. Joe joins him, after a moment. 

“At the risk of sounding cliche,” Nicky says, “it’s not you, it’s me.”

Joe laughs, mostly because the phrase sounds so strange coming from Nicky and also because out of everything he’d thought Nicky might say, he hadn’t expected that. 

Nicky smiles slightly, too. Then he gets up and heads for the minibar. “Mind if I have a drink?”

Joe shakes his head. Nicky gets out a little bottle of wine, glances at the label, and takes a swig straight from the bottle without bothering to get a glass. 

“I can’t seem to get it right,” Nicky says. “You know I wrote almost fifteen different versions of that scene?”

The scene in the script itself is barely a page long. “No,” Joe says. 

Nicky nods. Rubs a hand over his face. “I wanted it to feel real. I thought if I could get it right, it would… help, somehow. I don’t know.”

It’s the exact same reason Joe said yes before he even read the script, when the whole thing was just an idea in Nicky’s head, when they were talking about it over drinks at Andy’s and Joe was in love with the idea almost immediately. He knew exactly why Nicky was writing it; he knows, now, exactly why it needs to be right. But at the same time – “I don’t know if that’s possible, Nicky.”

Nicky sighs. “I know.” He crosses back over to sit beside Joe again, takes another drink from the bottle. “But there is something missing, and I cannot seem to find it. And so it does not feel real. And I know this is not easy for you.”

“It’s not,” Joe says plainly. 

“But you know,” Nicky continues, “I could not have trusted anyone with this but you. If you had not said yes, I would not have done this.”

That, Joe didn’t know: he knows he’d been Nicky’s first choice, but he’d assumed that’s because they know each other well enough already. But it makes sense: the reason Nicky wrote the script is the same thing they’d bonded over. 

Even still, it’s a lot. “I don’t know if I can do it the way you want,” Joe says. 

Nicky looks up at him from where he’s been running his fingers over the label on the bottle absentmindedly. “If you want to stop, I can–”

“No,” Joe says quickly. “But I don’t think it’s ever going to be exactly the way you felt.”

Nicky looks away. “It is a lot to ask,” he says. “I know this.”

Joe doesn’t think; just reaches over and takes Nicky’s hand. “I know,” he says. “Trust me.”

Nicky takes a deep breath. Then he nods. "Okay."

[rigginsstreet]

I bring a real “no person is above me and no person is beneath me so I practice empathy and compassion for everyone” vibe to the function that not many people enjoy

[twistofstory]

Had fun one night and doodled an entire page in a comic format 'cus I can. ...And then forgot about it for almost a month. Finally I was able to finish it hehe Panels aren't linked by plot, consider this a stylised sketch dump/AU comic style test (I'm not planning to make a comic, just wanted to draw out some ideas I had for a long time). What I can tell for certain is that first two panels are related to the Sculptor Also, I FINALLY finished listening to TMA! After five years. On a third try. Only thing I regret is me spoilering a bunch of cool stuff three or so years ago and menaging to remember it up to season 5... At least I was only partially crashed by the finale :D This podcast means the world to me, truly. Having full context to everything is amazing and I love Martin with all my heart. Also two particular Martin-centric episodes from season 5 were very cathartic and made me feel uncomfortably seen in a way I didn't even knew I needed- (If you know you know which ones I'm talking about 😭)

[tagamantra]

tabletop role-playing games, as a medium i think, are predisposed to crafting reals, on top of it being largely an exercise of language.

i'm using "real" right now as a basic "something that is completely true thing." in a sense, role playing game design is reality-crafting.

this means that every mechanic and every word used in the game, down to the language, is a way of crafting a real wherein the players must accept that is real (within that space). the reality is the bounds of the fiction and also the major expressive influence into the player's minds. however in a very weird positivist way, what mechanics exist in a game reify what the game says is real, and what doesn't exist doesn't exactly mean something isn't real. so instead of a real/unreal dichotomy we have a real/real (in fiction)/implication(pseudo real)/unreal

so for example: a game might have Stats, Classes, and mechanics for making attack rolls. all of these are Real, and they inform the fiction (a high STR might mean your character is strong, being of a FIGHTER means you're good at fighting and you can pull off maneuvers, making attack rolls is you committing physical violence on another). So they're both real and real in fiction. the localized reality around player characters now exist and they interact with the game through these reals.

now these things might be non-diegetic (frex, a FIGHTER (CLASS) might not actually exist within the game setting, they're archetypical representations, which is something D&D 4e and D&D 5e do), but that doesn't matter: those things are now real due to game design. this means there ARE fighters in your game, even if there is only one kind of fighter that the PC is, there are still fighters.

going further, these Reals also imply something about the established game world. these are not yet the pseudo-reals: so for example, a game that has CAP Skills (skills that cap any other skills you might use while doing something within their field, such as Horseback Riding [a Riding Skill 3 might mean you can only add +3 to when you're doing Melee Combat despite your Melee Combat being at +7, etc.]) this presupposes then that someone who isn't good at Riding cannot be as effective with their martial skill despite having been skilled at martial skill for years.

is this realistic to real life? it doesn't matter: with that established within the game mechanics, that is now what's Real there. and in role-playing you must follow along the Reality crafted there. this has a number of pseudo-reals (implications) such as (cavalry are all good at horseriding, etc.) but the importance of pseudo-reals is that these are things the table (the player aspect) can interface with as they wish. those things which the player has no choice but to interface with are the highest of reals in a roleplaying game

your choice of language informs this even further. not just the fact that you choose to write it in english (tagalog, spanish, etc. expresses things and imposes different priorities when it comes to real) but the wording choice you choose. frex: having INTELLIGENCE as a Stat can be somewhat ableist. what does high INTELLIGENCE mean? aren't there different kinds of smarts, is knowledge the same? or is this an abstraction? but is it a meaningful abstraction or an abstraction brought about by historical momentum (it's what D&D used). why is INTELLIGENCE a meaningful abstraction but STRENGTH and CONSTITUTION are split? these are all arbitrary until it isn't, and you must establish a real to live in the imagined space (that is, the fiction). i'm not saying the 6 stat array is a bad thing mind you but i think it's useful to understand why you have it in there in the game. if it's just because it's the most well known stat array then that's fine i guess

finally, what reals you put into the game is inherently informed by your own worldview. it actually doesn't have to be (that's the point of creation) but commonly game designers simply inject their worldview into the games as real and recreate that real into their tabletop rpg (frex, misogynists who think its realistic for men to be stronger than women, capping women's STR stats etc.) so choosing what is real and what isn't is a matter of paradigm shifting and realizing that not all realities irl are the same (not to go into metaphysics and sociopolitical philosophy)

[astro-nautic]

Rating different inncorrect spellings of Kwazii's name I've seen

Kwazi - Most common mispelling I see 9/10

Kwazzi - Really Close just got which letter is doubled wrong 10/10

Kwasi - I used to spell it like this 😅 8/10

Quasi - Fair that's the word it sounds like 9/10

Kwazzy - Not the worst but it would never occure to me to put a "y" in it 6/10

Quassy - How do you even get here 3/10

Quazzy - Slightly better 4/10

Kwassy - Looks like sassy 10/10

Qwazy - three letters correct thats more than some 4/10

Cuazy - How my 5 y/o cousin spelt it when asked 10/10 bc it was my cousin

Honorable mention: "Octonauts" spelt "Octonaughts"

[lovingapparition]

writing a small american town in the dead of winter when a certain masked man moves into town and reader is very sad and cold

[calamitys-child]

Something something the curtains are blue or whatever but underappreciated media analysis phenomenon is when someone else reads something you wrote and points out the blue curtains that you hadn't even noticed yourself hanging up while you built it. Like fuck they sure are I genuinely hadn't noticed I just flung em up I was concentrating on the carpet. Hey that shade of blue goes nice with the carpet huh. I should get more decor in that colour. Does this make sense to anyone

[r26yz]

[nocityfolk]

— IT'S JESSE COLT ! * : album aesthetics.

tenderfoot [2019], cahoots [2022], & DOGGONE [2024].