#which could be worse

[ugly-anarchist]

Begging the universe to give me a day that is below 90 degrees

[welcometogrouchland]

Okay done unloading 2-3 weeks worth of liked posts on you all. Going 2 bed now (if god lets me)

[theoldkyokodied]

The Allegiance of the Ascended Vampire and the New God of Magic

[xxplastic-cubexx]

personal happiness or what the fuck ever

bonus:

[hinamie]

truth is, I used to dream about boys like you

jjk atla!au with @philosophiums

[front-facing-pokemon]

[bingqiv]

i think there’s an inherent sadness and pain about dhawan coming after gomez. like gomez’s master had finally became friends with the doctor again despite everything. she died for him (twice if we count simm’s). after so long they finally stood together on the same page with mutual understanding and a hope that their next lives would be kinder and perhaps they’d be standing together.

yet dhawan went home after regenerating. came to the understanding that he was nothing to the doctor but a speck in her past. just as small and tiny as her companions and the flood of insecurities that haunted him since the day he left came back. he was never an equal and never would be and the doctor knew it (had known it all along). so he had to make himself an equal and worthy enough to stand against the doctor (never with. for how can you stand with the sun. instead you have to eclipse it take away its warmth and life)

a post-gomez dhawan is just fun.

[serpentface]

WARDI WRITTEN LANGUAGE (BASICS).

Couya's full name (properly 'Haidamane Couya') written formally and with common handwriting conventions.

The Wardi written language derives from earlier proto-language systems consisting exclusively of logograms without direct phonetic meaning or grammatical structure. These symbols gradually became simplified and abstracted to the point of many having little intrinsic clarity, and combined to communicate abstract concepts.

The development of a full written language did not occur independently (as very few written languages do), and its phonetic elements (namely its use of syllabograms) were largely derived the 'ancient' Burri writing system, gradually synthesized with native writing conventions, and in the contemporary forms a wholly distinct system. The language's Relatively universalized form is a very recent phenomena, developing within the past two centuries with the region's conquering/unification into a single entity.

The contemporary written language is a mixture of logograms and syllabograms. It is read from right to left and arranged in horizontal columns. The most formal variant of this system contains each character within a square outline, usually separated by a small space. This outline confers little phonetic or symbolic information beyond making distinction between syllables exceptionally clear, and can be (and often is) omitted in handwriting. The separation of words is conveyed through a narrow rectangle or line in formal contexts, and again often omitted in handwriting (instead indicated instead by a wider blank space).

The pure logograms that have been retained in this writing system tend to be those of very common words or specific concepts (most logogram characters for types of livestock, key crops, water, major body parts, etc are widely recognized and in common use). There has not yet been any attempts to fully 'formalize' the language and omit potentially unnecessary logograms, and they remain frequently used as shorthand while conveying the same semantic information.

Many of the syllabogram characters are directly derived from logograms that depicted monosyllabic words. For example, the spoken word 'gan' means 'cow', and the character for the syllable 'gan' is identical to the common logogram for 'cow'.

The name Gantoche (literally "cow-eye") could be written either fully with syllabograms as:

or through logograms as:

Both ultimately communicate the same meaning, but the former clarifies pronunciation (the words gan and atoche are contracted, it's gantoche and not gan-atoche).

It is a relatively easy written language to learn, as the pure syllabogram characters indicate their own pronunciation with little ambiguity and often have consistency to their construction (ie the character for the syllable 'man' contains most of the same elements as that for the syllable 'wan'- the dot placement in particular has indication of the vowel sounds).

The inclusion of logograms in general and many of the syllabic characters being directly imported From logograms complicates matters. These characters lack visual consistency, and can be confusing to the large swath of the public who know common logograms but not the full written language itself. Ie: the word 'ungande' meaning 'liver' will be composed of logogram-derived syllable characters for 'un' (which alone means 'hand') and 'gan' (which alone means 'cow'). Someone who is only semi-literate in common logograms may be confused at the meaning, especially since these same exact same characters may be used elsewhere on their own to indicate 'hand' or 'cow'.

One major exception to this tendency is that current religious doctrine requires established logogram characters describing God to be used in place of syllabic characters. The word for god is 'Od', and has its own unique character (as do each of the Faces, the capital F 'Face', and Its deified pronoun). The syllable 'od' [oʊd] is very common in the Wardi language, and a wholly separate character is used for the phonetic sound when it is not a reference to the deity (ie 'lion' (odo [oʊdoʊ]) does not contain the same character for God in spite of its first syllable having the exact same pronunciation). Names are a bit of a gray area (ie: the name 'Odabi' is very common and carries the meaning of 'gift/blessing from God'). Religious leadership is currently experiencing a mild schism on whether the written character for God is separated due to being wholly sacrosanct (and thus inappropriate to include in the written form of a personal name) or as more of a functional delineation of the sacred and mundane.

[sword-wielding-sapphic]

thinking about "it's unreasonable to assume that a character knows what genre they're in" and how in series 1-3, Merlin (and the audience) thinks that he's in a fantasy adventure comedy. no one realises that he's in a tragedy until it's too late.

[sollucets]

If I ever said anything today that might offend you, please forgive me. I might have been delusional from the fever.

THE LOYAL PIN | EPISODE FIVE

[sotiredmostnights]

i know everyone likes to put tharja in the "yandere goth girl" category but tbh i feel like pigeonholing her into one specific archetype does a huge disservice to her character. is she obsessed with curses and robin? yes. is she constantly shoved into a fanservice role by intsys? absolutely.

but i think a lot of people forget just how impactful a lot of her supports are...there's something about tharja that makes nearly everyone who interacts with her divulge their deepest secrets and points of anxiety with her. we see this with libra, who tells her of the abandonment he endured at the hands of his parents. we see it with nowi, whose cheerful demeanor slips off as she tells tharja of her missing parents. and although tharja is not the only one lon'qu confides in regarding ke'ri, their support is notably the only one in which lon'qu divulges that there was romantic involvement between he and his childhood friend.

and despite her antisocial exterior, she always listens mindfully and offers to help! she even goes out of her way to discreetly help the shepherds (getting virion to do odd jobs that benefit civilians, interrogating henry to make sure he bears no ill will towards ylisse, etc).

a big thing about tharja is that she IS kind. she IS considerate. she just also has a reputation to uphold as a dark mage and that (paired with her overall awkwardness ofc) makes her true nature hard to see at first glance

[turtleblogatlast]

No but like every time I think about Splinter and what he had to go through just to keep the boys alive, my heart hurts for him so badly. Is he perfect? No not at all, but none of them are and by god does he love his sons.

The fact that all of them are alive, and grew to thrive despite the circumstances surrounding them is a testament of how much Splinter loves his boys. He raised four babies following the most traumatic time of his life, all alone with nothing but the sewers to house them (to hide them.) I feel like he’s not given the credit he deserves for all he’s done.

And I get that it’s easy to hold up his flaws and faults when it comes to parenting, I myself like looking into them because flawed characters are super interesting and said flaws make them more realistic and engaging, but he tries, and again, so many others would have given up on the boys or failed along the way but Splinter didn’t.

He’s their father, for all his faults he did his damndest to make sure they survived.

[mollysunder]

The Medarda arc of s2 struggled to be good, because the plot viciously smothered it. You can argue that Arcane was never about politics but you cannot say the Medardas were never explicitly a family defined by politics. So when the show shifted it's priorities from a drama steeped in political conflict where even though the setting was fantastical the stakes were grounded to a shift where magic is the end all be all threat to humanity, the Medardas are rendered largely irrelevant.

In s2 Mel's agency over her own story is both largely stripped from her and poorly communicated. Arcane has Mel abducted from the plot to be the Black Rose's captive. Even when Mel manages to free herself it's not through the traits the audience understands are her strengths, her cunning and social intelligence, it's through an innate instinct that natural to her and indecipherable to the audience.

Ambessa as a character is more or less a villain of convenience, which would be fine if she wasn't immediately following Silco's act. Once Mel is removed from the story Ambessa is largely disconnected from any emotional tension fuels conflict between the characters and previously drove the plot in s1. She's there to play the worse bad guy for Caitlyn and then give Viktor the man power for the Glorious Evolution.

It's frustrating to see the Medardas used the way they are in s2 because when they're together I can see how it could be good. When they're together Mel forces emotion out of Ambessa. In Act 1, Ambessa proved she could do circles around Piltover's court, which could actually put Mel in a tight spot.

Their final scene on paper sounds like a good idea where the true resolution to Mel and Ambessa's story was that Ambessa saw Mel's own ruthless behavior as she not only betrayed Ambessa to the Black Rose, but used her as BAIT to double cross LeBlanc. Ambessa died proud that her daughter killed her the way she did, and that's so cool and tragic, but the execution was a flop.

One, their final fight is completely unimportant to the actual Glorious Evolution, Mel's grief can't even be a highlight because it's interrupted by Viktor's mind trap. Two, their fight didn't rely on any of Mel's actual strengths, just magic and the poorly explained MacGuffin LeBlanc gave her. How did Mel even know it would do that?

It's like the writers had the bones for a great story for the Medardas, but then they're like the world's worst archeologists and fit those bones together in the worst way possible because they were convinced the bones made a stegasaurus instead of a T-rex or something.

[houseswife]

house: this has absolutely nothing to do with wilson

also house: [brings up wilson unprompted] [spends 95% of the session either talking about wilson or deliberately avoiding talking about wilson] [literally admits it’s about wilson]

[nite-puff]

“mondo isn’t fit to be an ultimate. he’s too childish and doesn’t deserve the respect and credit he’s given.” YOU LITERALLY FELL FOR MONDO’S TRAP

the whole bit is that mondo does deserve his place as the gang’s leader. he does deserve that notoriety. he does deserve taka’s respect. because he’s good at what he does. he worked his ass off to get to that level. he literally started at the very bottom of the gang but climbed the ranks to the point that he was considered to be the leader’s equal. all in a very short span of time. that’s impressive as fuck.

daiya didn’t need to choose mondo to be his successor. but he did. because he recognized that mondo more than deserved it. and he was right. mondo went on to make the gang what it was, to the point that it became the largest in the country and mondo himself became the de facto leader of every other biker gang. he really was that popular in that culture.

the one person who thinks mondo doesn’t deserve any of that is mondo himself. and that’s brought to the forefront because junko knew that preying on that insecurity would get her the reaction out of him that she wanted. why do you think she worded his secret that way when mondo didn’t actually kill daiya?

mondo is a good, hardworking person. he just doesn’t think he is because (get this) he hates himself. people from his past made him believe he was worthless. so now he doesn’t listen to the people that tell him he’s worthy.

but at the end of the day. daiya wasn’t the ultimate biker gang leader. mondo was.

[tazmiilly]