#will take down later

[batcavescolony]

Katniss is such an unreliable narrator. She says "Then something unexpected happens. At least, I don't expect it because I don't think of District 12 as a place that cares about me" girl you deliver strawberries to the Mayor, you hunt and trade for the district, when you fell at Prim being chosen someone caught you, when you went to Prim people parted for you, when you volunteered EVERYONE stopped. Idk how to tell you but I think you're a pillar of the community.

[fxrheisenn]

Andrus Laansalu talked about making Disco Elysium at EKA (Estonian Academy of Arts)

"Initially, the church wasn't a focal point. There were certain characters that needed to visit this location, and I asked, "Seriously, what do we have in our church?" The others replied, "Nothing at all. Our church is completely bare—just a wheel, really. It's quite basic."

That's when I decided to unleash my creativity in the design. For example, they chose to install a glass structure at the top of the church to create a reflective surface. It was like placing an optical clock up there. Therefore, one of the most crucial aspects of designing the church was ensuring the lighting was just right to create the desired atmosphere."

"Let me show you an example of Baroque architecture, which is rich in detail. We're also designing the interior of the church based on large cathedrals. However, the foundation you use might not yield the expected results, because the church itself doesn't require such intricate details. Sometimes, it's about simplifying the design."

"I used Articy for the initial scriptwriting of Disco Elysium. The image only represents a tiny fraction of the text and choice variables involved. This system was also the reason I eventually abandoned the project after a year of outlining the script and shifted my focus to becoming a sound designer. My mind struggled to keep up with the dynamic graphic rules, but fortunately, a more talented writer took over afterward."

"In terms of sound design, it's essential to develop different layers to bring out the charm of the church as a cohesive space. Although this represents only a small portion of the overall design, each layer actually requires a significant amount of time to compose the whole....... Whenever there's a shift or a change due to the dialogue itself, you need to adjust the background sounds. Each time you modify the details in the dialogue, I have to refine the background audio, ensuring that these elements build upon each other like an intricate layer of work."

"It's funny how many scenes involve characters getting smacked in the face. My job was to recreate those, so I locked myself in the bathroom with a recorder and hit my forehead until it turned red.

As a sound designer, I really dig those unsettling, drill-like sounds. So, I mixed in creepy lectures, metal scraping, moans, and cries of pain—because I just love that stuff! (laughs)

Players will be moving through all kinds of areas, so it's super important to make the sound transitions feel natural, trying to create a more immersive vibe in certain spaces.

With all the scenes featuring big cranes, you can hear them from far away, and I wanted to capture that eerie ringing in your ears. That's going to be a thing throughout most of the game. I've found ways to really mess with players while they're playing!"

"I've come across a lot of old objects (like phones and radios) that I needed to perfectly replicate the sounds. I started to become a bit of a hoarder, buying up different models of old phones whenever I found one to add to my collection. The sound effects I can simulate from them are really impressive."

"Some of the devices don't actually exist in real life—just a mix of architecture and tech. When I need to create sound effects, I first look for something similar that exists in our world, then I try to simulate what the sound and appearance of that thing might have been like a century ago.

Towards the end of the game, there's a character carrying a fuel canister. We needed the sound of the canister, so we dug one up from our garage—it had been sitting there since it was five! I realized this would make the sound perfect. So, it had been there for 50 years, and after 40 years, it finally found its purpose.

In some places, I needed unique sound waves, and recreating them was a real headache until one day I happened to walk by a swimming pool and stumbled upon an old wartime torpedo. You can rotate the torpedo's probe, and it slowly rises up, like a proud zombie head. The sounds it made were exactly what I needed!"

🙋How did you manage to get funding?

"Well, since we're in Estonia, you just need to know a wealthy person. You don't need five people—just two who can network, hang out together, and convince them to keep investing! (laughs) Back then, we constantly ran out of money and would tell them, 'Oops, looks like we spent it all! Can you invest a bit more?' That's how we made it through!"

🙋How did you all come together to make the game?

"Luck. It usually doesn't happen this way, and that's the key difference. It has to be. If not, you couldn't create a game of this scale - well, I mean in terms of budget. But creatively, Estonia definitely has writers and artists who can pull it off. With such a small population, there are a lot of quirky folks who are good friends. We were really lucky, though - lots of fortunate circumstances came together. It brought the right people together, allowing those talented fools to collaborate with us. They had experience but hadn't tackled projects of this magnitude before. So yeah, luck is pretty important!"

Lecture experience shared by 白兔YIYANG SUN on 小红书, reposted & translated by me with her permission.

[ballcrusher74]

originally just a design take turning into my own personal take on harley sawyer. cus why not + doodles

[wormspoodle]

doodle of the guy bc its fiddleford friday AND valentines day and i have no valentines art

[xxplastic-cubexx]

personal happiness or what the fuck ever

bonus:

[egophiliac]

LET THE BOY HAVE AN EDUCATION

officially at the point where we're starting to see where it's all headed and I am just going NYEEHEEHEE in delight at it all. ahhh...next week can't come soon enough...

[bluerosefox]

Drake Siblings

Have I read this prompt somewhere or was this a fever dream from my bored mind.

What if, now hear me out.

What if we bring up Dana Winters-Drake (whose confirmed to at least be alive in the DC verse but no one knows where she actually is)

What if instead of when she had a mental breakdown and getting committed to an Bludhaven clinc she wandered away before anyone noticed and by the time Tim or anyone did notice a lot of stuff started happening at once in both Gotham and Bludhaven (Steph dying, The Bludhaven crisis, etc etc)

Tim still tries to find her though but even with best resources it was like she just disappeared into the wilderness and the stress of trying to handle more and more problems get worse.

So when out of the blue, a couple of years later, he gets a call from an unknown number. On his private, only for friends and family, phone and when he answers he meet with a young girls voice on the other end.

A very young, maybe six or seven, girl who informs him about his apparently half-brother Danny Drake-Fenton. And how she loves Danny so, so, so much but knows her home is dangerous for him to be in.

Tim is stunned and before he could question her, she says Danny is Dana and Jack's baby and that her parents had adopted him years ago and put Dana's stuff that the hospital had away for him to look at when he was older but she just had to fight off their lunch from eating her brother and she knows he needs a better place to live and so she snooped around and found Dana's diary and that she had to unscramble the nonsense Dana wrote and found Tim's number with the words 'tell him about his brother Danny' hidden in it. And-

But before she could keep rambling she hears Danny screaming "JAZZY THE MILK WENT BAD AGAIN AND HISSED AT ME!"

Tim is left with silence after hearing Jazz yell to Danny to lock the fridge and step out of the kitchen as she gets the bat.

[ashfae]

Edit on 5/2/2025: I have mixed feelings about aspects of this essay these days but have chosen to keep it up and pinned as I'm still happy with my analysis even if I'm furious at NG, who is mentioned several times. TW for that. Argh.

-------------

The thing about romance is, it makes a good story.

As soon as NG described season 2 as "quiet, gentle, romantic" I figured we'd be in for it, because as he's the first to point out, writers are liars. And the best way to deceive is with truth.

Season 2 is romantic. The trappings of romance are everywhere. Crowley tries to set up Nina and Maggie by trapping them under an awning during a rainstorm, a classic cinematic bonding technique. Aziraphale's chosen method comes from his beloved books: the ball, the dancing, appearing as a pair in public, hands held as you twirl gracefully with your heart thrilled and racing. If they can set up a sensational kiss that will unlock the happy ever after. They've lived on earth, they've studied the tropes, they know how romance works.

The problem is a story is only a story.

Nina and Maggie had the classic romantic setup completely by accident before Aziraphale and Crowley ever began trying to interfere with them. They get locked in Nina's coffeeshop. They can't escape or communicate with anyone else, they end up talking by candlelight because there's no electricity, Nina offers wine. Maggie mentions how she'd hoped for a chance to talk to Nina, and now here they are. It's every bit as much a standard as what Aziraphale and Crowley attempt to arrange. Blanket scenarios galore exist because of that starting point. We love that story. And there's nothing wrong with that.

But it's still only a story, it's not enough. Because once that moment of connection is over, however lovely it was, all the rest of the world comes flooding back in in the form of dozens of angry text messages. Nina's messy entrapping relationship hasn't magically gone away just because she and Maggie shared a romantic encounter.

And it's so tempting think oh well, that's easy. We'll just give them more romantic encounters and eventually those will overwhelm the rest of the baggage. Must do, because it'll make them fall in love, and once they realize they're in love that trumps all other considerations, right? So it'll be fine. Love Conquers All.

Neil also mentioned Pride and Prejudice.

Darcy knows he's in love early on and makes a disasterous proposal that shows that he has no understanding of Elizabeth's perspective, possibly hasn't even thought about it. They've been meeting in forest lanes for walks, conversing, had tete-a-tetes in the sitting room, danced at a ball. And while his turn of phrase isn't as flattering as he thinks, he's still offering her everything he thinks she wants and needs: affection, security, his good name, wealth, an escape from the embarrassments of her situation, the world. How can there be anything to object to? Why would anyone ever refuse so much of value?

Elizabeth quite rightly cuts him to pieces. He lashes back with a few hard truths of his own and they separate. During that separation, he thinks and he learns. He takes to heart the criticisms she offered, re-examines his assumptions, opens his eyes. Thinks about her perspective and how sometimes the only difference between pride and arrogance is where you're standing. He does the work. When they meet again he tries to demonstrate that he's learned--not in order to court her again (yet), but because the only real apology he can offer, the only one that would have weight, is to show that he's grown, he listened to her. He changed.

Elizabeth of course has her own journey, accepting that many of her own conclusions about Darcy were erroneous because they were formed without her having the full picture to hand, and once she's done that she has to apply it to her own situation as well. She loves her family, but they do place her at a disadvantage on a number of levels, leading eventually to full-out disaster as her younger sister carelessly ruins all of their reputations. It's hard to admit, it's mortifying, but Darcy was offering her a great deal she needs. His offer did have worth for all that she dismissed it as an insult. And as she learns to value his own character more highly, and then as she sees that he did listen to her even though she insulted him so thoroughly...well, she grows too. And when they do eventually come together it's not because of courting and balls. There's a big romantic gesture in his rescue of her sister but even that isn't why they'll get their happy ever after. It was just the catalyst for the conversation. They win because they've learned how to understand each other and how to communicate for the future. How they can strengthen and support each other, how to balance their strengths and weaknesses. The films leave them at the wedding, but the book shows a bit of their marriage too, and during it they keep learning from each other. Their relationship is held up as a superior love story for good reasons.

The end of season one was romantic too. Crowley stopped time rather than face a world where Aziraphale would never speak to him again, Aziraphale walked into hell to protect Crowley, they dined at the Ritz and toasted the world. But then they stopped. Sure they spent time together, talked, enjoyed each other's company. But if they were talking about important things would Crowley still be living in his car? They had a bit of respite but all that real world baggage that exists outside of the romantic moment hasn't been faced, none of it. Four or five years sounds like a long while but for beings who are quite literally older than the earth? That's just an intermission.

Nina's relationship ends, leaving her with a tangled mess; Maggie realises the sweet dream of love she's been longing for isn't as important as the real Nina. They talk. They plan. Nina will sort through her life, get closure, figure out what went wrong with Lindsay and what she wants from a relationship, learn how to ask for respect instead of just bending under her partner's demands. Maggie will support Nina the way Nina needs, which sometimes means helping her get oat milk for the shop and sometimes means giving her processing space. They're on the same page; they're going to do the work. That's why most likely they'll succeed. To quote one of my favourite fanfics: it's not happily ever after, but it's a chance. It's all going to be okay. (The Profane Comedy by Mussimm, who absolutely nailed this theme)

The romance is nice, it's lovely. We need it to keep ourselves going. To give ourselves the dreams that help us get through the days and nights. But it's not the relationship. It's not enough on its own. The wedding can be the grandest most beautiful ceremony ever with doves flying and sweeping music and bells ringing, but that doesn't guarantee the marriage will last.

Crowley and Aziraphale have had their romantic gestures, oodles of them. One wing raised to protect the other from falling stars, another from rain. Shared ground, shared interests, hands offered in friendship and held on a bus. They've tried to get to the same page, they really have. They just aren't there yet. The biggest most important things still haven't been talked about, and season 2 showed there are even more of those big important things than we'd realised.

The show paints Maggie as Aziraphale's foil and Nina as Crowley's, even to the point of Nina casually calling Maggie 'angel'. But Aziraphale's baggage is Nina's. The toxic relationship has to be processed and understood and closed, and it hasn't been, despite season one. Lindsay never really liked Nina very much, for all that they tried to keep her trapped; Heaven never really liked Aziraphale very much for all that he believed in it. They both let themselves be used. But Lindsay left Nina and went to their sister's, whereas now the head of Heaven has reached out to Aziraphale and said here, we can fix this, you can fix this, don't you want to fix this? Others are already writing about that and maybe I'll add to it later, not sure. And Crowley, like Maggie, has had a sweet dream that he has to set aside. Maybe he'll be able to pick it up again eventually, maybe not. But sometimes you offer support by buying oat milk or rescuing your beloved from the legions of hell, and sometimes you do it by standing back while they sort through their shit.

Quiet, gentle, romantic. It was.

But that's only part of the story. Now they have to do the work. They thought they had, but they were wrong, because there's so much they just hadn't touched yet and tried to cover over with relief and sleight of hand and alcohol and forgiveness. The apology dance doesn't mean much without showing that you listened and learned. They've faced so much trauma already and that should have been enough, we wanted it to be enough and so did they and it's such a blow for it to turn out that there's still more to do, that the baggage hasn't just gone away and can't be hidden under blankets or soothed with cocoa. The texts are still coming in and demanding answers.

But it'll be okay. It will. It's still a chance. And one that in the long run makes them better, builds something real that lasts.

The best stories, the ones that last longest and become classics, are the ones that don't end with the kiss under the awning or the blanket scenario or the wedding. They're the ones that heal us while the characters heal themselves. It's hard to accept that there's still more to do. Harder to imagine how it can possibly work out. And yes, bloody frustrating to wait and see.

And we'll get through that interim by telling even more stories. Because the story is never just a story. It's how we get through the work, it's what we tell ourselves so we can do the damn work. Stories are what we cling to and how we remind ourselves we're human and connect. A book is a person you can carry with you. We're not alone, none of us, stories connect us because we love them and see ourselves in them, which means we see each other.

Aziraphale's back up in Heaven to deal with his unfinished baggage; Crowley left his behind long ago and it's clearly going to come back and bite him in the arse however much he tries to go his own way. And they can't help each other with that. Not yet.

But they'll get there. So will we.

[origamibears]

toxic yuri save me

[poorly-drawn-mdzs]

Lan Wangji Goes To Lotus Pier AU: Part 3: Enveloping Feelings.

(Part 1, Part 2, Part 4)

[doctorsiren]

Maybe you could call it Reunited Stans AU?

Also, how do you think the gravity falls locals would see those two? I think Ford would end up getting out of the cabin much more because of Stan. Maybe you could draw them going to town for drinks? I don't know.

I like to think the town locals would either be horrified of them and talk about them as cryptids in their own right, or just be annoyed by their shenanigans

I just remembered they’d be in their early 20s when coming to Gravity Falls haha

But yes they’d definitely start out as “those weird twins that live in the forest” but once Stanley starts feeling like he’s actually safe from that old life Ford pulled him out of, he starts going into the town, which then leads to him dragging Ford along

It’s probably a mix of both, where the town sees them as those odd guys and then also get annoyed by what they do, but also I think they’d think of them as a new endearing staple of their town once the whole “newcomer / stranger” title fades from them. It’d be sort of the same way Stan is in canon with the Mystery Shack, where even though people find him annoying, they also always come to the events.

Also Stanley 😭 your brother does not wanna be in that bar, let him go do nerd things

[dredgesnails]

i genuinely think the people who insist the life series is scripted just don’t understand the difference between something scripted and something that’s been given a basic premise and directives that everyone involved in agrees to play along with for the bit. like, no, specific moments aren’t scripted, but there’s a reason the series isn’t just “best pvper wins” and it’s because they deliberately prioritise entertainment over pure skill because the same person winning every time just wouldn’t be fun.

like, for the most part they’re a bunch of drama kids who have been given the perfect playground to act out the shakespearian tragedy of their dreams (some more so than others) (hello rendog) and they’re given the tools and situation to do so but everything else is just improv. and they’re also just having fun like i think we should all remember they’re doing this to have fun with their friends and play on a server where anything goes and they can grief all they want and sometimes they’ll just make stupid mistakes like walking off the side of a diving board and dying because they were so miffed about losing to a best tower competition they forgot where the stairs were, or blowing themselves up with their own tnt trap because they placed one block in the wrong place.

also i think people forget just how generally predictable people are in general, like after five seasons you can definitely start to guess how people will behave because they’re just like that. joel is reckless and he likes to poke the bear, martyn is good at staying alive but not good at keeping hearts (the difference between winning limlife and going out early in secret life), scott is good at the social game and a formidable opponent but also terribly self sacrificial, bdubs will betray anyone he’s allied with if offered something good, etc etc etc

[shesnake]

"Wait."

The Acolyte (2024) by Leslye Headland

[bixels]

a drawing of miku by a white person wearing a hoodie is not indicative of culture

they think i'm white, chat.

[teyrnacousland]

I've seen the headcanon that Lucanis' mother, Caterina's perfect heir, was actually similar to Illario in some ways. That she was calculating, ruthless, ambitious, obedient... all the things Caterina overlooks in Illario because Caterina sees her favourite daughter's deep brown eyes and quiet, controlled demeanor and careful planning in Lucanis.

But I am also attached to the idea that the opposite is true too. That Illario's mother shared similarities with Lucanis; that she was empathetic and stubborn, with a slight rebellious streak. But she was always outgoing and charming, was more impulsive with her emotions, and was always sharper with her tongue than with a sword, so Caterina only sees her in Illario.

I just love the idea that Caterina can't look beyond the surface and see who her grandsons really are because on some level she can't see past the ghosts reflected in their eyes. She can't see that the quiet brown eyed boy is is more of the gentle hearted rebel, and the one with blue eyes and a shining, fake smile is the ruthless leader who would do anything she asked.

[deoidesign]

Doing master studies the only way I know how: Stealing them and making them my guys.

(Barberini Faun)

(The Fallen Angel - Alexandre Cabanel)

(Covent Garden - William Bruce Ellis Rankin)