#transcript below the cut

[muwchi]

The long awaited answer 😔 (transcription below the cut in case u cant read my handwritting)

Athena: I can't help but wonder what this world could be-

Odysseus: YOU HAVE HAIR?!?! <- Never saw her without her helmet

[todays-xkcd]

We were going to try swordfighting, but all my compiling is on hold.

Crowdstrike [Explained]

Transcript Under the Cut

[White Hat is addressing Ponytail, who is crouched on a moving office chair, holding onto a rope tied to Cueball, who is riding an electric scooter.] White Hat: Hey, aren't you supposed to be working on the— Ponytail: Sorry, that's all on hold today because of the CrowdStrike thing.

[Caption below the panel:] Protip: as long as you're not actually in charge of fixing the CrowdStrike thing, you can use this excuse for pretty much anything you want to do today.

[crispycreambacon]

Cut Through The Noise

Even as the strike ends, the Palestinian genocide has not.

Now more than ever, there are so many conflicting voices. People with their own self-serving, hateful motivations speak over us, and sometimes our own voices can turn against us. We may feel like our voice isn't enough or we aren't doing enough.

This is why it's so important to learn to shut down that noise. No matter how much people scream that what we're doing is useless or a waste of time, keep talking. Keep talking about Palestine. Keep talking about Palestine for as long as this goes on, both online and in real life. If Israel won't end their genocide, we won't end our protest.

Below is a list of what you can do and the poem transcript.

Check and spread this post which contains a comprehensive list on how to help Palestine.

Learn about the history of Palestine and how the displacement and eventual genocide of Palestinians started in 1948.

Learn more about Palestine, the myths surrounding it and the arguments debunking it.

Boycott companies who are either directly or indirectly supporting and finding Palestine's genocide.

Click a button to raise funds for UNRWA – an organisation aiding Palestinian refugees.

Attend a protest.

Help Gazans stay connected by purchasing eSims for them.

Donate to the following organizations – any amount, no matter how small, goes a long way:

UNWRA

Care for Gaza

Medical Aid for Palestinians

Palestine Children's Relief Fund

Islamic Relief

Here's another post detailing more charities you can donate to

And most importantly of all: Don't Stop Talking About Palestine! However you interpret it as – creating art, talking to the people in your life, emailing and calling your representatives, even reblogging and making posts – make your voice loud and clear!

— Poem Transcript —

There's a lot of noise right now

Screams dehumanizing poor souls

Groans from those in willful ignorance

People digging deeper and deeper holes

And it's overwhelming, it really is

I do not blame you

Sometimes you feel that your voice is too small

I feel that way too

But despite that, I urge you to keep going

And demand for what's right

Even it sounds like a whimper

You're still joining in the fight

And soon the rest of us will join

We can stand together here

We can cut through the white noise

And make our message clear

[redgoldsparks]

Has your name every appeared in the credits of a book, or is it likely to in the near future? Then you should join AUTHORS AGAINST BOOK BANS! Transcript below the cut. A version of this zine formatted for print is available to download on my patreon.

Do you make books? Yes? I want YOU to join Authors Against Book Bans! By Maia Kobabe

WHAT IS AABB? 

A coalition of writers, illustrators, editors & other book creators, standing united against the unconstitutional movement to limit the freedom to read. We support the availability of diverse voices in our libraries, in our schools, & in our culture. We pledge to band together against the oppression of literature, to speak when our voices are silenced, to go where our bodies are needed, & to fight to ensure this freedom.

Our concern is not only for the books, but for the children, families, educators, librarians, & communities who suffer when the freedom to read is challenged and taken away.

WHAT CAN AABB OFFER YOU? 

- Regional groups working on legislation to protect authors & the freedom to read state-by-state

- Online trainings on digital security, public speaking, & how to counter book challenges in your community

-Affinity groups for BIPOC authors, queer authors, authors with disabilities, indie, nonfiction, romance writers & more

-Support if your book is challenged!

-A very active discord community

Author: What if my book hasn’t been challenged? 

Maia: JOIN!

Author: Ok, but what if I’m really busy and can’t do much organizing right now? 

Maia: JOIN ANYWAY! 

Even if all you do is sign up, your membership will help lend weight to the letters AABB sends to publishers & legislators. As of January 2025, AABB has 3500+ members. Check out the recent open letter to publishers on AABB’s socials & feel free to share it with your contacts. 

An Open Letter to Our Publishers- instagram.com/p/DCzYmKcR8uq

Maia: I’ve been facing intense challenges to my book since 2021. Knowing that I am not alone in the fight against censorship is what keeps my spirits up! 

Watching the folks in AABB share information, co-write legislation, show up to library & school board meetings, & speak up to publishers about the need to protect diverse books & minority authors has been amazing! 

This is a weird & scary time to be an author, but you are not alone! Join thousands of us fighting for the freedom to read, the freedom to write, the freedom to teach, the freedom to learn, & the freedom to share our stories!

AABB on instagram / AABB on bluesky

[rainbowbutterfrosting]

I was playing ace attorney last night and had a realization of my true power. So here's some of the dream situation in ace attorney format lmao

PLEASE DON'T LET THIS FLOP I SPENT SOOOO LONG ON IT

Note:

This isn't meant to be a proper summary, I'm just having fun sldfkj

If there's errors in the video then oopsie. I'm not gonna fix them just bc it would be too much effort. (Also, some things are worded weirdly bc I took them directly from videos. Primarily with stuff Dream's saying)

If there's errors in the transcript below, then let me know!! Though I haven't captioned everything in the video, just all the dialogue and some relevant sound effects.

In case anyone's curious, I used objection.lol

Transcription under cut, though I'd recommend watching the video for music and sound effects :]]]]] I just put it as an option for those who use screen readers, have bad connection, etc.

The second week of January 2025.

Chat, as the Gallery in Ace Attorney: GET HIS ASS. SLAY (LITERALLY) hi youtube

[Gavel slams]

Tubbo, as the Judge: Trial is now in Session for Dreamwastaken.

Tubbo: Dream, your opening statement, please.

Dream, as Cody Hackins: Tommyinnit posted a video yesterday that was titled "Dream" where he said a lot of stuff about me that isn't true.

[Hold it!]

Tommyinnit, as Phoenix Wright: Is it not true that you called my fanbase a slur?

Dream: Okay yeah, I did do that. I'm sorry. Genuinely.

Tommyinnit: Good. That was the absolute bare minimum.

Tommyinnit: But what about the misogyny? And how you and your friends treat women?

Dream: You have no examples.

[clever sound]

Dream: What if I just said you're racist and called it a day!

Tubbo: You called two different women "whores." Please amend your testimony.

Dream: Ah. Yeah, but it was to my friend. She wasn't upset at all!

[Objection!]

Ludwig, as older Phoenix Wright: Lmao

Dream: Okay but I meant it in the affectionate way!!! Like in the way I've called my cat a whore.

[Loud chatter from the Gallery]

Chat: SHANE DAWSON???? HE WHAT!!!!!!! [shuttering camera] I'm lost. Are they still fighting over discs?

Dream: Whatever, that's long enough ago. I did what I could about the situation.

Tommyinnit: My video wasn't just about that. It was also how you've been awful to me. It started with early Dream SMP when-

[Objection!]

Dream: Tommy, there's no way that you actually believe this. Saying I was terrible to you with no examples or anything- like- if you don't think that my intention was to help you, then what was my intention? Why did I do all of that?

[Loud chatter from the Gallery]

Chat: BRO THAT'S WHAT WE'RE WONDERING TEXTBOOK MANIPULATION POGCHAMP Is this new lore for c!Dream?

[Hold it!]

Tommyinnit: You thrived off of holding my success over my head! You didn't treat me like an equal!

Dream: [Desk slam] I saw potential in you!

Tommyinnit: Yet you called me a promoter for saying I was working on my podcast, book, and comedy tour?

Dream: [Critical hit sound] So why is my content worth less value?! I'm sorry that I like coding and hanging out with my friends??

[Gavel slams]

Tubbo: No one was saying that?

Tubbo: You keep taking Tommy's clips out of context. Shouldn't you be more responsible with the clips you take since you're aware of the gravity of some of these claims?

Dream: [Surprised Sound] Because-

Dream: You're saying-

Dream: Uh-

Chat: [lots of periods and question marks]

[Disappointed sound]

Dream: That's a good point, Tubbo.

Dream: That's actually a really good point.

Tubbo: Thanks. :/

Jack Manifold, as Winston Payne: [while applause plays] !! Shut Up I'm Talking Patreon ONLY $7 !!

[sandeewithtwoe]

Error’s tier list

Error belongs to loverofpiggies

Ink belongs to comyet/myebi

(Rest of the credit below the cut +transcript)

Classic - Toby Fox

Fell - Underfell

Outer - 2mi27

Killer - rahafwabas

Bird - Greyscales (ao3)

Abyss - metakazkzk

Alter - friisans

Bill - hwamyong

Color - superyoumna

Cross - jakei95

Dream - Jokublog

Dance - dancetale

Dust - ask-dusttale

Insanity - u-t-f

Epic - yugogeer012

404 - vibeless15

Fatal - xedramon

Fresh - loverofpiggies

Geno - loverofpiggies

Hard - CedDrawsNear (YouTube)

Horror - sour-apple-studios (deviantart)

Lust - NSFWShameCave

Mafia - mafiatalevn

Nightmare -Jokublog

Passive - Jokublog

Reaper - renrink

Saness - Sr Pelo (YouTube)

Sanstrocity - help-tale

Trainer - friisans

Crossbones - tsunderswapofficial

Tone - shirokappa

Delta - animated Zorox (YouTube)

Wiki - Paintedhen

Transcript:

Ink: Heyyyy, Error! Whatchu doing?

Error: Making a tier list of every Sans I know

Ink: Oh! Can I see?

Ink: Woah…

Ink: Wait a sec…

Ink: Why is Killer in F tier?

Error: The Classic Sans that doesn’t even act like a Classic Sans? Do you take me for a joke?

Ink: But… He’s like a sad wet cat! I thought you like characters like that

Error: … I think you’re mistaking me for Nightmare

[mumblesplash]

alright here's the rundown. more detailed version coming soon probably. the things i do for you guys

(transcript of prologue below the cut)

It's a lavender sky this time, this world. A lavender sky deepening to aubergine over a city of neon and brass. It's beautiful in it's way, just like any other city on any other world.

I-prime hasn't bothered to learn its name.

He stands in the hotel window, watching the burnished streets below gleam with fading light. The rhythmic thrum beneath his feet signals the rousing of the club below. They're playing a song that I has never heard in his life, yet part of him remembers it all the same.

The blank-faced watch on his wrist chimes a single long tone. I-piece taps its face without taking his eyes off the path into the nightclub.

"Hello, T."

"You're not in position," T says through the speaker. Their voice betrays none of the frustration that I knows he must feel.

"I'm where I need to be," I-prime says.

"We talked about this—"

"Yes, you talked, that's what you do. I make decisions."

T-piece's response is cut off by further chimes from the watch. Short, long, short, short—then the voice of L comes through.

"There's no time," she says. "The Boss just Held onto J. It's on, it's now."

"As expected," says I.

With a snap of his fingers the air before him splits. I-prime reaches into the crack between two universes and retrieves his sniper rifle. He looks down its sights, out the window, down the gleaming street.

Someone approaches the door to the club. A tall, svelt man with a face that I-prime is so sick of seeing other people wear.

I wonder what this one's named, I-prime muses as he lines up the shot.

Izaak? Ignacius? Indigo?

As he pulls the trigger on himself from another life, I-prime knows it doesn't matter what this alternate is called.

He lost track of their names a long time ago.

[tibllec]

Ranboo: Gay highschool fucking changed you

-> Full transcript below the cut

Sneeg: Bro you snuck into gay highschool, I'm pretty sure you're up to something Ranboo: Gay highschool fucking changed you, dog Charlie: I did not sneak in, the way the district lines were drawn I had to- Listen, alright? Sneeg: I just don't believe you man Ranboo: Alright yeah, keep on speaking of the district lines, but I saw- Charlie: I'm just really good at playing a straight man, what can I say dude? I got in there, I did what I had to do Ranboo: Alright man Charlie: I did what I had to do bro, to get through, ok I needed that fucking diploma. I needed that piece of paper. Ranboo: [sigh] What did you major in? ...men? Charlie: What- Only one, dude! They only had one and you know it's men! Sneeg: [laughs] I majored in DICK! Charlie: COCK, HUH? With a specialization in BALLS! Is that what you want to hear?

[mikuchan]

Minthara having a daughter is confirmed.

I saw @alicelufenia's commentary on the patch notes and was also interested in Minthara's updated Act 2 Speak with Dead dialogue, so pulled up a save from right before then.

Transcript below the cut.

What were your ambitions before you died?

Minthara: To find a home... for myself... and my child...

Have you left anything unsaid or undone?

Minthara: Murdering Orin... raising my daughter...

[yesterdays-xkcd]

Friggin' modern tents don't have a single piece of rope.

Know Your Vines [Explained]

Transcript Under the Cut

[Picture of a green, five-leafed plant:] Virginia creeper: Vines useful as impromptu rope

[Picture of a green, 3-leafed plant:] Poison ivy: Grows in same habitat as Virginia creeper

[A woman with long hair standing:] Girlfriend: Into light bondage

[A dark image of a tree, the top of which extends above the panel, with light green vines near the base of the tree trunk:] Area around campsite: Too dark to see

[Caption below the panel:] Relationship after camping trip: Strained

[sparrowsgarden]

As I have been promising for years, the eye color chart is all cleaned up and ready to be shared! I'm totally ok with this being saved and passed around, that's why all my info is on it.

Basic image description is in alt, and a full transcript of all text in the image is under the cut.

This model has been in a process of expansion and tweaking for a very long time. Huge huge thanks to all the folks who contributed and hunted down photos, helped me name all the colors, and gave the final proofs!

Sparrow's Eye Color Chart 2025 Edition

Eye colors in cats are difficult to model because they vary to a significant extent on two axes. This is my best attempt at a general model of cat eye color based on observation and research into how eye color works across species.

Pigmentation refers to the amount of pigment in the colored layer of the iris. Higher pigmentation causes darker colors.

Refraction means the extent to which light is scattered in the structures of the iris. Higher refraction causes deeper blues or greens.

Eye colors are related to coat color, but not as closely as breed standards might have you believe! Most coat colors can have most eye colors outside of purebred lines selected to meet breed standard.

What Color Are My Cat's Eyes?

Color names are descriptive of the actual color of the cat's eyes - I chose them all to sound nice so that breeders can use them if desired. Note that breed standards have a much broader use of color names - "Amber", for example, may include much of the golden to orange range.

Colors are based on pictures of cats in full white light (such as midday sun fully illuminating the eye), and tweaked to look good on properly color-calibrated screens. Always determine eye colors based on how they look in full light.

Main Block

standard eye colors possible with most pelts

Every cat is assumed to have genes that specify some genetic eye color in the main block, but certain other alleles can depigment the eyes partially or completely, creating the lower block.

Pigmentation and Refraction are modeled here as dependent on multiple genes, which seems to best fit the wide spectrum of possibilities in cats. The actual number of genes is unknown and could be very many, but for simplicity they are shown here on a scale from 1-7.

In theory, the genetic eye colors of the offspring should tend to fall somewhere between the genetic eye colors of the parents. Then, any depigmentation factors are applied, which may result in an actual eye color somewhere below the genetic eye color.

Lower Block

occur with phenotypes which cause depigmentation of the iris.

Gray-blues: Fairly rare coloration. The cause of gray eyes in humans is not well understood, but one theory is that collagen or very small amounts of pigment in the eye alter the scattering of light.

Blues: Most common depigmented colors. Can be caused by white spotting/dominant white, colorpoint, and sometimes mocha. There are also multiple Dominant Blue-eye (DBE) mutations known which cause blue eyes as the main effect.

Albinistic: Caused by complete albinism, which also fully depigments the back layer of the iris meant to keep light from getting through. This allows the red color from the retinal blood vessels to bleed through, and also causes poor visual acuity.

Following is a list of all eye colors shown on the main diagram. Rows are pigmentation levels starting from the highest pigmentation, refraction increases from left to right.

Main Block: Copper, Chestnut, Umber, Walnut, Earthen, Olive, Moss; Ochre, Caramel, Bronze, Serpentine, Artichoke, Fern, Forest; Orange, Amber, Brass, Peridot, Avocado, Clover, Malachite; Saffron, Butterscotch, Shrub, Spring, Jade, Pine, Emerald; Gold, Citron, Pear, Lime, Mantis, Grass, Viridian; Yellow, Chartreuse, Sprout, Laurel, Mint, Turquoise, Teal; Canary, Chiffon, Honeydew, Sage, Celadon, Aqua, Cerulean.

Lower Block: Gray-blues: Frost, Opal, Flint, Storm, Steel, Slate, Cadet. Blues: Ice, Powder, Celeste, Sky, Azure, Lapis, Cobalt. Albinistic: Pink, Mauve, Lavender, Periwinkle, Cornflower, Royal, Indigo.

Combo Colors

Cats can exhibit a few different heterochromia types, most commonly a blue with a non-blue. The other most common cause for heterochromia appears to be localized hyperpigmentation, which can be caused by damage to the eye. It can also happen simply due to differing iris structure or unusual pigment migration within the iris.

It is also relatively common for the center of the eye to be a slightly different color, without being marked enough to constitute full heterochromia. My provisionary term for this is "dual-toned". The boundary between this and "true" central heterochromia is somewhat subjective.

For any form of heterochromia or dual-toned eyes, my recommendation for describing them is to note both colors with a slash. For dual-tones, I generally write the outer color before the center one.

Complete Heterochromia Blue/non-blue is commonly caused by white spotting/dominant white, other combos are rare.

Sectoral Heterochromia Blue/non-blue sometimes occurs with white spotting/dominant white. Can also be from hyperpigmentation.

Central Heterochromia Can occur due to hyperpigmentation, uneven pigment distribution, or iris structure. More common in certain breeds.

Dual-toned Irises Relatively small differences in central eye color are common in cats.

Iris Atrophy Iris atrophy due to old age can cause a distinctive lighter ring in the center of the iris.

All writing, art, and chart design ©Sparrow Hartmann 2025

Icon designs are released to the Creative Commons under a CC-BY-SA license and will be made available for download.

Go to sparrows-garden.com for more genetics resources!

[todays-xkcd]

In my new scale, °X, 0 is Earths' record lowest surface temperature, 50 is the global average, and 100 is the record highest, with a linear scale between each point and adjustment every year as needed.

Temperature Scales [Explained]

Transcript Under the Cut

Temperature Scales

[A table with five columns, labelled: Unit, water freezing point, water boiling point, notes, cursedness. There are eleven rows below the labels.]

[Row 1:] Celsius, 0, 100, Used in most of the world, 2/10 [Row 2:] Kelvin, 273.15, 373.15, 0K is absolute zero, 2/10 [Row 3:] Fahrenheit, 32, 212, Outdoors in most places is between 0–100, 3/10 [Row 4:] Réaumur, 0, 80, Like Celsius, but with 80 instead of 100, 3/8 [Row 5:] Rømer, 7.5, 60, Fahrenheit precursor with similarly random design, 4/10, [Row 6:] Rankine, 491.7, 671.7, Fahrenheit, but with 0°F set to absolute zero, 6/10 [Row 7:] Newton, 0, 33-ish, Poorly defined, with reference points like "the hottest water you can hold your hand in", 7-ish/10 [Row 8:] Wedgewood, –8, –6.7, Intended for comparing the melting points of metals, all of which it was very wrong about, 9/10 [Row 9:] Galen, –4?, 4??, Runs from –4 (cold) to 4 (hot). 0 is "normal"(?), 4/–4 [Row 10:] ''Real'' Celsius, 100, 0, In Anders Celsius's original specification, bigger numbers are ''colder''; others later flipped it, 10/0 [Row 11:] Dalton, 0, 100, A nonlinear scale; 0°C and 100°C are 0 and 100 Dalton, but 50°C is 53.9 Dalton, 53.9/50

[sevastiel]

slams fists on table.

more of your drifter and stalker. and operator and umbra.

Some drifter and stalker for now, operator and umbra later :)

I wonder how long its been since Sorren's presence was appreciated by someone who didn't demand something from him?

(Transcript below cut)

Drifter to stalker- "Thanks frrr... helpin' my sorry ass out... Lucky t' have ya..."

All of stalkers thought bubbles read "lucky to have you"

Ordis goes, "Getting blood all Over my codex table, he has a ROOM you know," Then, "If you weren't here to help..." then, "This is acceptable" as he's snuggled by a dozing drifter.

At the bottom, Hunhow says, "Shadow, what the hell took you so long?" And stalker responds, "Our drifter is an idiot."

Next panel, Hunhow goes, "So... its our drifter, now?" And stalker goes "DONT."

[hezenkoss]

So at some point in the development of Veilguard, the Shadow Dragons were apparently still around in Minrathous even if you saved Treviso, so here is a compilation of dialogue that I'm fairly certain is not in the final game but still exists in the files, featuring the Viper, Tarquin, Dorian, and Maevaris.

Huge shout out to @sydneystarlights for pointing out all the cut Shadow Dragon dialogue in this post! I figured out how to export audio for the files that Frosty crashes on so here they are.

Transcript below the cut:

Viper: There are more darkspawn in the city. Tarquin: I hate that you just know that. Viper: I can scout out the darkspawn. They can't do anything to me now. Tarquin: You are insufferable.

Tarquin: What's the matter? You're hearing things again, aren't you? Viper: I'm— Tarquin: If you say you're fine one more time, I will kill you myself. Viper: (Chuckles) I'd like to see that. Tarquin: Shut up. Go home. Viper: But everyone's here.

Viper: Supplies are low. People will come to us for help, and we won't be able to. Tarquin: The funds aren't the problem. The merchants just aren't coming. They're afraid of blight. And dragons. Tarquin: But the magisters aren't starving. Viper: It's been a while since we robbed a magister. Tarquin: I'll go. Or I'll send Marisa. You need to slow down. Viper: Sitting around doesn't keep me alive longer. I need to make these days count.

Viper: Minrathous can't take any more chaos. The Shadow Dragons will need to step up. Viper: The people need to know we're still fighting. Tarquin: We're short on hands. Barely holding together. Everyone's exhausted. Viper: The city needs us. Tarquin: You're exhausted. Viper: And the Shadows need a new leader. Tarquin: Don't look at me like that.

Maevaris: How are you feeling? Are the remedies working? Viper: As well as can be expected. Maevaris: (Sighs) If there's anything I can do… Viper: You could stop mothering me? Maevaris: Someone has to.

Rook: How are things? How's the Viper doing? Tarquin: He's started to feel and hear… things. Tarquin: He seems tired. And far away. Like his mind's somewhere else. Tarquin: But he won't stop working, of course. And I don't know how to stop him.

Rook: Spotted any more darkspawn? Viper: I haven't seen them, but I know they're there. Like a buzzing in my head.

Rook: If you need help, the Grey Wardens— Viper: I know. Thank you. Rook: You were badly injured, and you're also… Viper: You don't have to remind me. I know. I'll deal with it, as best I can. Viper: Right now, if you want to help, then help Minrathous.

Dorian: So I heard, um… Viper: Don't start. Dorian: Right, well. Dreadful situation, this.

Tarquin: It's chaos out there. And the Venatori are taking advantage. Maevaris: We'll handle it. Tarquin: How? We can barely keep the safe houses running. Maevaris: We'll find a way because we have to. Maevaris: Today. Then tomorrow. Then the day after. For as long as it takes.

[badnewswhatsleft]

rock sound #312 (nov 2024)

transcript below cut:

ROCK SOUND 25 ICON

FALL OUT BOY

A BAND THAT CAPTURED THE HEARTS, MINDS AND HEADPHONES OF A GENERATION OF KIDS WORLDWIDE, FALL OUT BOY UNDOUBTEDLY CHANGED THE LANDSCAPE OF THE ALTERNATIVE SCENE FOREVER, NEVER AFRAID TO EXPERIMENT, TAKE CHANCES AND MAKE BOLD CHOICES AS THEY PUSHED FORWARD. FOLLOWING A SUMMER SPENT EXPLORING THE 'DAYS OF FALL OUT PAST', PATRICK STUMP AND PETE  WENTZ REFLECT ON THEIR PATH FROM POP PUNK, HARDCORE MISFITS TO ALL-CONQUERING, STADIUM-FILLING SONGWRITERS AS THEY ACCEPT THEIR ROCK SOUND 25 ICON AWARD.

WORDS JAMES WILSON-TAYLOR

PHOTOS ELLIOTT INGHAM

Let's begin with your most recent performance which was at When We Were Young festival in Las Vegas. It was such a special weekend, how are you reflecting on that moment?

PATRICK: It's wild, because the band, I think, is going on 23 years now, which really came as a surprise to me. I know it's this thing that old people always say, 'Man, it really goes by so fast', but then it happens to you and you're just taken aback. There were so many times throughout the weekend, every 10 minutes, where I'd turn around and see somebody and be like, 'Holy shit, I haven't seen you in 18 years', or something crazy like that. It was hard not to have a good time. When I was going up to perform with Motion City Soundtrack, which was an exciting thing in itself, I turn around and Bayside is there. And I haven't seen Bayside since we toured with them. God, I don't remember when that was, you know? So there was so much of that. You couldn't help but have a good time.

PETE: I mean, that's an insane festival, right? When they announce it, it looks fake every time. The lineup looks like some kid drew it on their folder at school. For our band, the thing that's a little weird, I think, is that by deciding to change between every album, and then we had the three year break which caused another big time jump, I think that it would be hard for us to focus on one album for that show. We're a band where our fans will debate the best record. So it was amazing that we were able to look backwards and try to build this show that would go through all the eras - nod to Taylor obviously on that one. But it's also an insane idea to take a show that should really be put on for one weekend in a theatre and then try to take it around the world at festivals. The whole time on stage for this particular show production, I'm just like 'Is this thing going to go on time?' Because if the whole thing is working totally flawlessly, it just barely works, you know what I mean? So I give a lot of credit to our crew for doing that, because it's not really a rock show. I know we play rock music and it's a rock festival, but the show itself is not really a rock production, and our crew does a very good job of bending that to fit within the medium.

That show allows you to nod to the past but without falling fully into nostalgia. You are still pushing the band into newer places within it.

PATRICK: That's always been a central thing. We're a weird band, because a lot of bands I know went through a period of rejecting their past, and frankly, I encounter this thing a lot, where people have expected that we stopped interacting with older material. But we always maintained a connection with a lot of the older music. We still close with 'Saturday'. So for us, it was never about letting go of the past. It was about bringing that along with you wherever you go. I'm still the same weird little guy that likes too much music to really pin down. It's just that I've carried that with me through all the different things that I've done and that the band has done. So for us, in terms of going forward and playing new stuff, that's always the thing that's important to me; that there should be new stuff to propel it. I never wanted to be an artist that just gave up on new music and went out and played the hits and collected the check and moved on. It's all got to be creative. That's why I do it. I want to make new music. That's always why I do it. So something like When We Were Young is kind of odd really. It's an odd fit for that, because it's nostalgic, which is not really my vibe all that much. But I found a lot of nostalgia in it. I found a lot of value in looking back and going 'Wow, this was really cool. It was amazing that we did this, that we all did this'. That scene of bands, we're all old now, but it has taken off into such a moment culturally that people can point to.

Let's jump all the way back to the first ever Fall Out Boy show. There is very little evidence of it available online but what are your memories of that performance?

PATRICK: So the very first Fall Out Boy show was at DePaul University in a fancy looking dining hall. I actually applied to DePaul, but I never went there because the band went on tour. I think there were only two or three other bands. One was a band called Stillwell, who were kind of a math rock emo band, and then this heavier, more metallic band. And then we were there, and we had a guitar player, John Flamandan, who I have not seen since that show. He was only in the band for a week or two, and we were still figuring ourselves out. We had three songs and I had never sung before in front of people. I did a talent show at school one time when I was a kid and theatre kind of stuff where you would sing, but it was more in that context. And I was also a kid too. This was the first time ever that I'm the singer for a band and I was fucking terrified. We had a drummer named Ben Rose, really great guy. I haven't seen Ben in a million years, either, but we were still figuring ourselves out. The other thing is that all of us, with me being the exception, were in other bands, and all of our other bands were better than Fall Out Boy was. We were very sloppy and didn't know what we were doing, and so I don't think any of us really took it seriously. But there was a thing that was really funny about it, where even though we kind of thought we sucked, and even though we weren't really focusing on it, we had a lot of fun with each other. We enjoyed trying this other thing, because we were hardcore kids, and we were not the pop punk kids and the pop punk bands in town, that was like 'the thing', and we were not really welcome in that. There was a fun in trying to figure out how to make melodic and pop music when we really didn't have any history with that. It was very obvious that we didn't know what we were doing at the beginning.

So when did it begin to feel like things were finally clicking? When did you find your roles and what you wanted the band to be? 

PETE: In regards to the music, I liked Fall Out boy, way before I probably should have. I remember playing the early demos and it giving me a feeling that I hadn't felt with any of the other bands that I had been in. Now, looking back on it, I might have been a tad early on that. Then as far as the roles, I think that they've been carving themselves out over time. We've always allowed ourselves to gravitate to our strengths. Between me and Patrick, we'd probably make one great, atypical rock artist if we were one person. Because our strengths are things that the other doesn't love as much. But I think that what has happened more is it's less of a fight now and there's more trust. We have a trust with each other. There's things that Patrick will play for me or explain to me, and I don't even really need him to explain it, because I trust him. I may not totally understand it, but I trust him as an artist. On the other side of that, it's also very nice to have someone who can veto your idea, you know what I mean? It's nice to have those kind of checks and balances.

PATRICK: I had been in this band called Patterson, and all three of the other guys sang in kind of a gravelly, Hot Water Music vibe. I was not intending to be a singer, but I would try and sing backups and, it wasn't a criticism, but there was this vibe that, while I could do the gravelly thing, my voice was coming through and it didn't fit. It was too pretty and that became a thing I was kind of embarrassed of. So when Fall Out Boy started, I was actively trying to disguise that and mute it and hide behind affectation. Pete would really push me to stretch my vowels because that was in vogue in pop punk at the time. There were all these different ways that we were trying to suppress me, musically, because we were just trying to figure out how to do the things that the bands we liked did. But that wasn't really us, you know? It's really funny, because 'Take This To Your Grave' was recorded in three sections, about six months apart. Over the course of that time, I can hear us figuring it out. I think a really defining moment for me was 'Saturday', because I am not brave, I am not a bold person, and I do not put myself out there. When I was showing the band 'Saturday', we were jamming on the bit after the second chorus, and I was mumbling around, just mucking my way through it, and I did the falsetto thing. I didn't think anyone could hear me over us bashing around in Joe's parents house in this tiny little room. But Pete stopped, and he goes, 'Do that again'. I was so terrified of doing that in front of these guys, because you gotta remember, I was incredibly shy, but also a drummer. I'd never sung in front of anyone before, and now I'm singing in a band and I'm certainly not going to take chances. So I thought the falsetto thing was really not going to happen, but when I did it, there was this really funny thing. Somehow that song clicked, and it opened up this door for us where we do something different than everybody else. We were aiming to be a pop punk or hardcore band, but we found this thing that felt more natural to me.

As you embarked on Warped Tour, simultaneously you were finding this huge level of pop and mainstream success. How was it navigating and finding your way through those two very different spaces?

PATRICK: I used to work at a used record store and what shows up is all the records after their success. So I got really acquainted and really comfortable with and prepared for the idea of musical failure. I just wanted to do it because I enjoyed doing it. But in terms of planning one's life, I was certain that I would, at most, get to put out a record and then have to go to school when it didn't work out. My parents were very cautious. I said to them after 'Take This To Your Grave' came out that I'm gonna see where this goes, because I didn't expect to be on a label and get to tour. I'm gonna give it a semester, and then it will almost certainly fail, and then after it fails, I'll go to school. And then it didn't fail. Warped Tour was very crazy too, I was talking about this at When We Were Young with My Chem. Both of us were these little shit bands that no one cared about when we booked the tour. Then we got to the tour, and all these people were showing up for us, way more than we expected, way more than Warped Tour expected. So Warped Tour was putting both of us on these little side stages, and the stages would collapse because people were so excited. It was this moment that came out of nowhere all of a sudden. Then we go to Island Records, and I had another conversation with my parents, because every band that I had known up to that point, even the biggest bands in town, they would have their big indie record and then they would go to the major label and drop off the face of the planet forever. So I was certain that was going to happen. I told them again, I'm going to put out this record, and then I'll go to school when this fails. 

PETE: I think that if you really wanted someone to feel like an alien, you would put them on TRL while they were on Warped Tour. You know what I mean? Because it is just bananas. On our bus, the air conditioning didn't work, so we were basically blowing out heat in the summer, but we were just so happy to be on a bus and so happy to be playing shows. You go from that to, two days later, stepping off the bus to brush your teeth and there's a line of people wanting to watch you brush your teeth. In some ways, it was super cool that it was happening with My Chemical Romance too because it didn't feel as random, right? It feels more meant to be. It feels like something is happening. To be on Warped Tour at that time - and if you weren't there, it would be probably hard to imagine, because it's like if Cirque Du Soleil had none of the acrobatics and ran on Monster energy drink. It was a traveling circus, but for it to reach critical mass while we were there, in some ways, was great, because you're not just sitting at home. In between touring, I would come home and I'd be sitting in my bedroom at my parents house. I would think about mortality and the edge of the whole thing and all these existential thoughts you feel when you're by yourself. But on Warped Tour, you go to the signing, you play laser tag, you go to the radio station. So in some ways, it's like you're in this little boot camp, and you don't really even think about anything too much. I guess it was a little bit of a blur.

Pete, when you introduced 'Bang The Doldrums' at When We Were Young, you encouraged the crowd to 'keep making weird shit'. That could almost be a mantra for the band as a whole. Your weirder moments are the ones that made you. Even a song like 'Dance Dance' has a rhythm section you never would have expected to hear on a rock track at that time.

PETE: You know, I just watched 'Joker 2' and I loved it. I do understand why people wouldn't because it subverts the whole thing. It subverts everything about the first one. That's something I've always really loved, when I watch artists who could keep making the same thing, and instead they make something that's challenging to them or challenging to their audience. Sometimes you miss, sometimes you do a big thing and you miss, and we've definitely done that. But I gotta say, all the things that I've really loved about art and music, and that has enriched my life, is when people take chances. You don't get the invention of anything new without that. To not make weird stuff would feel odd, and I personally would much rather lose and miss doing our own thing. To play it safe and cut yourself off around the edges and sand it down and then miss also, those are the worst misses, because you didn't even go big as yourself. This is where we connect with each other, we connect by our flaws and the little weird neuroses that we have. I rarely look at something and go 'Wow, that safe little idea really moved me'. I guess it happens, but I think about this with something like 'Joker 2' where this director was given the keys and you can just do anything. I think a lot of times somebody would just make an expected follow up but some people turn right when they're supposed to turn left. That's always been interesting on an artistic level, but at the same time, I think you're more likely to miss big when you do that.

PATRICK: Going into 'From Under The Cork Tree', I had this sense that this is my only shot. It has already outperformed what I expected. I don't want to be locked into doing the same thing forever, because I know me. I know I'm not Mr. Pop Punk, that's just one of many things I like. So I would be so bummed if for the rest of my life, I had to impersonate myself from when I was 17 and have to live in that forever. So I consciously wanted to put a lot of weird stuff on that record because I thought it was probably my only moment. 'Sugar, We're Goin Down' was a fairly straight ahead pop punk song but even that was weird for us, because it was slow. I remember being really scared about how slow it was, because it's almost mosh tempo for the whole song, which was not anything we had done up to that point. But in every direction, in every song, I was actively trying to push the boundaries as much as I could. 'Dance, Dance' was one of those ones where I was seeing what I can get away with, because I might never get this chance again. We were on tour with a friend's band, and I remember playing the record for them. I remember specifically playing 'Our Lawyer…' that opens the record, which has that 6/8 time feel, and they kind of look at me, like 'What?'. Then I played 'Dance, Dance', and they're like, 'Hey man, you know, whatever works for you. It's been nice knowing you'. But I just knew that, on the off chance that I ended up still being a musician in my 40s, I wanted to still love the music that we made. I didn't want to ever resent it. It's ironic because people say that bands sell out when they don't make the same thing over and over again. But wait a second. Say that again. Think about that.

That attitude seemed to carry directly into 'Infinity On High'. If you may never end up doing this again then let's make sure we bring in the orchestra while we still can... 

PATRICK: That was literally something that I did say to myself this might be the last time, the likelihood is we're going to fail because that's what happens, so this might be the last time that I ever get a chance to have somebody pay for an orchestra and a choir. I always think of The Who when they did 'A Quick One, While He's Away' and there's a part where they go 'cello, cello', because they couldn't afford real cellos, they couldn't afford players. That's what I thought would happen for me in life. So I went in and thought, let's do it all. Let's throw everything at the wall, because there's no chance that it's going to happen again. So many things came together on that record, but I didn't expect it. 'Arms Race' was a very weird song, and I was shocked when management went along with it and had kind of decided that would be the single. I was in disbelief. It did not feel like a single but it worked for us. It was a pretty big song and then 'Thnks Fr Th Mmrs' was easily the big hit off that record. So then we have two hit songs off of an album that I didn't even know would come out at that point. But again, it was very much just about taking the risks and seeing what the hell happened.

As you went on hiatus for a few years, you worked on a number of other creative projects. How did those end up influencing your approach to the band when you returned?

PETE: On the areas of the band where I led, I wanted to be a better leader. When you're younger and you're fighting for your ideas, I don't think that I was the greatest listener. I just wanted to be a better cog in the machine. When you're in a band originally, no one gives you the little band handbook and says 'these are the things you should do', you know? I just wanted to be a better version of who I was in the band. 

PATRICK: There's a combination of things. 'Soul Punk' is a weird record. I love that record but I kind of resent that record for so many things. It's my solo record, but it's also not very me in a lot of ways. I had started with a very odd little art rock record, and then I had some personal tragedies happen. My EP that I put out far out sold expectations so then all of a sudden, Island Records goes, 'Oh, we think this could actually be something we want singles for'. I think we had all expected that I would be putting out a smaller indie record but then all of a sudden they were like 'oh, you could be a pop star'. So then I have to retrofit this art rock record into pop star hit music, and also channel personal tragedy through it. I hadn't ever really been a front man - I'd been a singer, but I hadn't really been a front man, and I hadn't really written lyrics, certainly not introspective, personal lyrics. So that whole record is so strange and muted to me. So I went from that album, which also failed so fucking hard - I should have gone to school after that one. But Pete had reached out to me just as a friend, and said 'I know you're in your own thing right now, and I know that you're not the kind of person that is going to be in my fantasy football league, so I'm not going to see you unless we make music. But you're my buddy, and that kind of bums me out that I don't see you at all, so I guess we have to make music'. I thought that was a fairly convincing pitch. It's true, that was what we do when we hang out - we make music. So we reconvene, and going into it, I had all these lessons that really made me understand Pete better, because Pete is the natural front end person. So many of our arguments and frustrations and the things that we didn't see eye to eye on, I grew to understand having now been in the position of the point man that had to make all the decisions for my solo thing. It really flipped my understanding of why he said the things he would say, or why he did things he would do. I remember early on thinking he was so pushy, but then, in retrospect, you realise he was doing it for a reason. There's so many little things that really changed for me doing 'Soul Punk' that were not musical but were more about how you run a band and how you run a business, that made me understand and respect him a lot more.

What are memories of that initial return and, specifically, that tiny first show back at the Metro venue in Chicago?

PETE: Those first shows were definitely magical because I really wasn't sure that we would be on a stage again together. I don't have as many memories of some of our other first things. We were just talking about Warped Tour, I don't have many memories of those because it is almost wasted on you when it's a blur and there's so many things happening. But with this, I really wanted to not take it for granted and wanted to take in all the moments and have snapshots in our own heads of that show. I did a lot of other art during the time when we were off, everybody did, but there's a magic between the four of us and it was nice to know that it was real. When we got on that stage again at the Metro for the first time, there was something that's just a little different. I can't really put my finger on it, but it makes that art that we were making separately different than all the other stuff.

Musically, as you moved forward, everything sounded much bigger, almost ready for arenas and stadiums. Was that a conscious decision on your part?

PETE: Patrick felt like he was bursting with these ideas. It felt like these had been lying in wait, and they were big, and they were out there, and whether he'd saved them for those records, I don't really know. That's what it felt like to me. With 'Save Rock And Roll', we knew we had basically one shot. There were really three options; you'll have this other period in your career, no one will care or this will be the torch that burns the whole thing down. So we wanted to have it be at least on our terms. Then I think with 'American Beauty...' it was slightly different, because we made that record as fast as we could. We were in a pop sphere. Is there a way for a band to be competitive with DJs and rappers in terms of response time? Are we able to be on the scene and have it happen as quickly? I think it kind of made us insane a little bit. With 'American Beauty…', we really realised that we were not going to walk that same path in pop culture and that we would need to 'Trojan horse' our way into the conversation in some way. So we thought these songs could be played in stadiums, that these songs could be end titles. What are other avenues? Because radio didn't want this right now, so what are other avenues to make it to that conversation? Maybe this is just in my head but I thought 'Uma Thurman' could be a sister song to 'Dance, Dance' or maybe even 'Arms Race' where it is weird but it has pop elements to it.

PATRICK: I had a feeling on 'Save Rock And Roll' that it was kind of disjointed. It was a lot of good songs, but they were all over the place. So when we went into 'American Beauty…', I really wanted to make something cohesive. I do think that record is very coherent and very succinct - you either like it or you don't, and that's pretty much it all the way through. By the time we got to 'MANIA', I had done all this production and I'd started to get into scoring. The band had done so many things and taken so many weird chances that I just felt free to do whatever. At that point, no one's going to disown me if I try something really strange so let's see what happens. 'Young And Menace' was a big part of that experiment. People hate that song, and that's okay. It was meant to be challenging, it's obviously not supposed to be a pop song. It's an abrasive song, it should not have been a single. However, I do think that record should have been more like that. Towards the end of the production, there was this scramble of like, 'Oh, fuck, we have no pop music on this and we need to have singles' and things like that. That took over that record and became the last minute push. I think the last half of that record was recorded in the span of two weeks towards the end of the recording to try and pad it with more pop related songs. I look at that record and think it should have all been 'Young And Menace'. That should have been our 'Kid A' or something. It should have really challenged people.

But we have spoken before about how 'Folie à Deux' found its audience much later. It does feel like something similar is already beginning to happen with 'MANIA'...

PETE: I agree with you, and I think that's a great question, because I always thought like that. There's things that you're not there for, but you wish you were there. I always thought about it when we put out 'MANIA', because I don't know if it's for everyone, but this is your moment where you could change the course of history, you know, this could be your next 'Folie à Deux', which is bizarre because they're completely different records. But it also seems, and I think I have this with films and bands and stuff as well, that while one thing ascends, you see people grab onto the thing that other people wouldn't know, right? It's like me talking about 'Joker 2' - why not talk about the first one? That's the one that everybody likes. Maybe it's contrarian, I don't really know. I just purely like it. I'm sure that's what people say about 'Folie à Deux' and 'MANIA' as well. But there's something in the ascent where people begin to diverge, you are able to separate them and go 'Well, maybe this one's just for me and people like me. I like these other ones that other people talk about, but this one speaks to me'. I think over time, as they separate, the more people are able to say that. And then I can say this, because Patrick does music, I think that sometimes he's early on ideas, and time catches up with it a little bit as well. The ideas, and the guest on the record, they all make a little bit more sense as time goes on.

'MANIA' is almost the first of your albums designed for the streaming era. Everything is so different so people could almost pick and choose their own playlist.

PETE: Of course, you can curate it yourself. That's a great point. I think that the other point that you just made me think of is this was the first time where we realised, well, there's not really gatekeepers. The song will raise its hand, just like exactly what you're saying. So we should have probably just had 'The Last Of The Real Ones' be an early single, because that song was the one that people reacted to. But I think that there was still the old way of thinking in terms of picking the song that we think has the best chance, or whatever. But since then, we've just allowed the songs to dictate what path they take. I think that that's brilliant. If I'd had a chance to do that, curate my own record and pick the Metallica songs or whatever,that would be fantastic. So it was truly a learning experience in the way you release art to me.

PATRICK: After 'MANIA', I realised Fall Out Boy can't be the place for me to try everything. It's just not. We've been around for too long. We've been doing things for too long. It can't be my place to throw everything at the wall. There's too much that I've learned from scoring and from production now to put it all into it. So the scoring thing really became even more necessary. I needed it, emotionally. I needed a place to do everything, to have tubas and learn how to write jazz and how to write for the first trumpet. So then going into 'So Much (For) Stardust', it had the effect of making me more excited about rock music again, because I didn't feel the weight of all of this musical experimentation so I could just enjoy writing a rock song. It's funny, because I think it really grew into that towards the end of writing the record. I'd bet you, if we waited another month, it would probably be all more rock, because I had a rediscovered interest in it.

It's interesting you talk about the enjoyment of rock music again because that joy comes through on 'So Much (For) Stardust' in a major way, particularly on something like the title track. When the four of you all hit those closing harmonies together, especially live, that's a moment where everything feels fully cohesive and together and you can really enjoy yourselves. There's still experimental moments on the album but you guys are in a very confident and comfortable space right now and it definitely shows in the music. 

PATRICK: Yeah, I think that's a great point. When you talk about experimentation too and comfort, that's really the thing isn't it? This is always a thing that bugged me, because I never liked to jam when I was a kid. I really wanted to learn the part, memorise it and play it. Miles Davis was a side man for 20 years before he started doing his thing. You need to learn the shit out of your music theory and your instrument - you need to learn all the rules before you break them. I always had that mindset. But at this point, we as a band have worked with each other so much that now we can fuck around musically in ways that we didn't used to be able to and it's really exciting. There's just so much I notice now. There are ways that we all play that are really hard to describe. I think if you were to pull any one of the four of us out of it, I would really miss it. I would really miss that. It is this kind of alchemy of the way everyone works together. It's confidence, it's also comfort. It's like there's a home to it that I feel works so well. It's how I'm able to sing the way I sing, or it's how Andy's able to play the way he plays. There's something to it. We unlock stuff for each other.

Before we close, we must mention the other big live moment you had this year. You had played at Download Festival before but taking the headline slot, especially given the history of Donington, must have felt extra special. 

PETE: It felt insane. We always have a little bit of nerves about Download, wondering are we heavy enough? To the credit of the fans and the other bands playing, we have always felt so welcomed when we're there. There's very few times where you can look back on a time when... so, if I was a professional baseball player, and I'm throwing a ball against the wall in my parents garage as a kid, I could draw a direct link from the feeling of wanting to do that. I remember watching Metallica videos at Donington and thinking 'I want to be in Metallica at Donington'. That's not exactly how it turned out, but in some ways there is that direct link. On just a personal level, my family came over and got to see the festival. They were wearing the boots and we were in the mud. All this stuff that I would describe to them sounds insane when you tell your family in America - 'It's raining, but people love it'. For them to get to experience that was super special for me as well. We played the biggest production we've ever had and to get to do that there, the whole thing really made my summer.

PATRICK: There's not really words for it. It feels so improbable and so unlikely. Something hit me this last year, this last tour, where I would get out on stage and I'd be like, 'Wait, fucking seriously? People still want to see us and want to hear us?' It feels so strange and surreal. I go home and I'm just some schlubby Dad and I have to take out the compost and I have to remember to run the dishwasher. I live this not very exciting life, and then I get out there at Download and it's all these people. Because I'm naturally kind of shy, for years, I would look down when I played because I was so stressed about what was happening. Confidence and all these have given me a different posture so when I go out there, I can really see it, and it really hits you. Download, like you said, we've done before, but there's something very different about where I am now as a person. So I can really be there. And when you walk out on that stage, it is astounding. It forces you to play better and work harder, because these people waited for us. The show is the audience and your interaction with it. In the same way that the band has this alchemy to it, we can't play a show like that without that audience.

[baronboar]

This time let's circle back to equity later and focus on some basics! What's up with TAILS?

Transcript under the cut:

1. First of all, why do the people in a setting even need tails? Humans don't have tails for a number of reasons, we don't chase prey so we don't need it to help us change direction like a rudder. We also don't climb trees so we don't need one for keeping hold of branches or for balance. But in a world of megafauna, maybe you need a tail to help you turn fast to flee? Or maybe a hunter needs a rudder to swim? But most importantly!! It's fun & helps your people feel unique!

[IMG: A an anthro rat and sea lion, the rat is leaning over in a similar fashion to the sea lion who naturally stands horizontally like a T-rex. This shows how they both can use tails as counter balance.]

Think about why species in a setting might have tails and perhaps you will think of something that adds depth to your world… For warmth, like a blanket! To increase visibility when foraging! For Combat!!!

[IMG Three tails, a big fluffy artic fox tail, a tall lemur tail, and a spiny draconic tail.]

2. Clothing is the main issue I see brought up when discussing tails & Furgonomics. many solutions can be found when looking at furry artwork, so look around! The only solution i'd say is not valid is…The belt under the tail.

[IMG: a tailed person from behind, their jeans are below the tail, you can see their butt cheeks.] [IMG: Two illustrations of human femurs with tails, the spine points them downwards.]

A tail would sit far too low to comfortably wear trousers there, imagine wearing yours below the pelvis at your hips? Even with a belt that is far too risqué! The best solutions all put the waistband above the tail and either have a hole for the tail or in the case of clothing like dresses and skirts allow the tail to sit freely beneath.

[IMG: Three different people with different garments. The first is labelled 'breech cloth', it's a Y shaped cut of fabric attached to the waist by a string. The second is labelled 'sarong', the feline figure from the side has a length of fabric around the belly with a length hanging down over their pubic area like a loin cloth. The third is the most like trousers/pants, the belt keeps shut a flap that goes over the base of the tail that overlaps with the tail hole.]

In my setting of Firnus different cultures have their own designs to fit environmental needs. The Gilter braghe is a sleeveless trouser designed with modesty in mind. compare this to the rav breechcloth, made for wearing under robes. Or avoid the tail hole all together and beat the heat with the pantheran quarter sarong!

3. So where else can tails be a problem…? CHAIRS.

[IMG: Two normal chairs, they have back rests but also gaps between that and the seat.]

most people are going to jump immediately to seats like these:

But i'm going to make my case as to why this would not be comfortable: See this dog skeleton to the right? When a quadrupedal animal sits, they don't rest on their upper legs or put any pressure on their fragile tails, Instead they rest on their hocks & hind feet! Why? Exactly as we discussed with trousers, tails wouldn't go out, they'd go down. As part of the spine, if you wanted to sit back in a chair your spine would be vertical.

[IMG: A dog skeleton from the side.] [IMG: A small concerned mustelid says: "Sitting on your tail would feel like bending your fingers backwards with your full body weight!"]

…So, I believe anthro species wouldn't want to put pressure on their tails by sitting on them… So we cut a hole out from the bottom and back of the chair, right? Yes! and no. Yes because when you're world building you can do whatever works best for you! But no because I'm not satisfied with this answer and I'm driving this PNG!!!! So how do we fix this? Let's see why chairs even exist in the first place!

[IMG: a chair like the ones above with a half circle cut from the back of the seat.]

4. The earliest (known) chairs come from the 2nd dynasty of Egypt during the Thinite period. These chairs were as short at the seat as 10 inches! …But like, Why? as a status symbol! These caught on as nobility wished to copy kings, and then the common people copied nobility. They're also useful to keep your clothes clean and prevent you from resting on cold or wet ground.

[IMG: Two desert foxes, one on a chair is joyfully sitting upon a chair, covered in gold adornments like a pharaoh. He says: 'I'm sitting higher! So I'm better than you!' The other fox looks concerned, wears no gold as she kneels and says: 'Hm.']

But we don't need kings!! If you want something for similar use without those connotations. Here's some options:

[IMG: Two people sitting on a bench and a large plush pillow as well as a rectangular cushion that's rolled up.]

Kneeling! While many cultures use this to show reverence, few still kneel for comfort.

Benches and stools! Before chairs became affordable for the average person simpler furnishings were commonly used. These don't have tricky tail holes to fumble around with and can be as simple as a plank.

cushions! A thick pillow or rolled rug would allow a person to sit cross-legged without their tail pressing down against a hard surface.

Think about who needs chairs, where they'd be used, and the answer will come naturally! Have fun world building!