oh my god. holy shit. deez nups. the entire buttering-up of seeing lassiter happy the whole episode only for the shules event at the end..? the look on shawn’s face is horrible. just seeing the moment where he realizes that nothing he ever did was good enough for anybody; that his life and choices in life aren’t worth the effort he put into them. where no matter how much good he does- how many murderers he catches; he’s a failure above all else. it’s a direct parallel to his relationship with his dad; the way that he has to choose profession or love and neither way is a good option. where love sculpts you into an ugly vision of self where you only live to please others; and profession offers you joy but only at the expense of never being able to be yourself. shawn doesn’t win in either of these scenarios and he can’t because there’s no way to. no matter what happens after this episode; I don’t think shawn will ever be fully redeemed as a concept; as a character? sure, they need to keep the plot moving. but as a person? in real life that kind of thing doesn’t just disappear after a couple of filler episodes, it lingers and reminds you that people love you until; until they meet a part of you they don’t like, until they figure out a part of you that they didn’t want to. and it’s your fault for being broken; it’s your fault for having that part; that indescribable part that even you aren’t too sure you’d like to share. but they see it, and all the time before that is only until.
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invisible scars (referenced previous talk here)
[ID: A colourless, digital Trigun comic of Vash and Wolfwood talking about Wolfwood's scars. They're both laying in bed and topless. Vash lays on top of Wolfwood, playing with the rosary around his neck. Then, Vash kisses a spot on Wolfwood's chest. Wolfwood asks, "What are you doing?" Vash smiles sadly, "You got shot here. In the last town we visited. You didn't even bother moving."
Vash props himself up over Wolfwood, who frowns slightly. Wolfwood is quiet for a moment before he says, "You remember that, huh?" Vash grabs Wolfwood's left wrist and brings it to his face. "And here." He kisses another spot there. "When you helped free the hostages from that robber..." Wolfwood dismissively says, looking away, "Was a lucky shot." Vash huffs, “Don’t brag. Jeez.”
Half of Wolfwood's expression is shown, eyes returning to Vash who is now sitting up, continuing to say, "And..." Vash goes on and kiss Wolfwood's right palm. "You got cut here, even though that girl was aiming at me." A moment from the past flashes, of Wolfwood grabbing a knife aimed at Vash, his hand bleeding.
At present, Vash moves down and puts another kiss on Wolfwood's right shoulder. "And here, from watching my back." Another memory flashes of Wolfwood and Vash back to back. Vash looks back as Wolfwood grins while holding Punisher, bleeding from multiple gunshots in his shoulder.
"And," Vash combs up Wolfwood's hair to reveal his forehead, "Here." A final memory shows Wolfwood with a regeneration vial in his mouth while getting shot on his temple. The next panel is framed in blood with Vash at the center, eyes wide and stunned in horror. The next panel is a closed up shot of Wolfwood's eye, locked on Vash's face.
Back to present, Vash’s head is bowed down as Wolfwood raises a hand to his nape and says, “Spikey.”
Wolfwood looks serious and frowns as he says, "We talked about this. Those were my decisions. They're not there anymore. Forget about them." Vash looks very sad before he smiles ruefully and says, "I still see them. All the time." He leans down so they touch foreheads. Wolfwood’s sorrowful expression can be seen as Vash says, "You protect so much. I could never forget what you've done to me. And many others..."
In the last image, they're drawn more cartoonishly. Wolfwood sweats and asks, "You don't actually remember every wound, right?" Vash points at a spot on his chest. "Kuroneko left a scratch here 7 times." Wolfwood, startled, says, "Why the hell are you keeping count—" End ID]
Credits for ID here and here
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Watch the American Climate Leadership Awards 2024 now: https://youtu.be/bWiW4Rp8vF0?feature=shared
The American Climate Leadership Awards 2024 broadcast recording is now available on ecoAmerica's YouTube channel for viewers to be inspired by active climate leaders. Watch to find out which finalist received the $50,000 grand prize! Hosted by Vanessa Hauc and featuring Bill McKibben and Katharine Hayhoe!
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If I remember correctly you created Machete around 2007-2008. But when did you create Vasco? (I'm sorry of this has been asked before, I couldn't find anything)
First finished pictures of Vasco are from 2018, but even before that I had been thinking it would be interesting if Machete had had one (1) romantic relationship in his youth before he was ordained. I just didn't have a name and design for him yet.
In the earliest sketches of Vasco, he first looked a little bit like a bordercollie, then like a spaniel or a setter. He had a darker color palette as well, sort of chestnut brown with white markings, but combined with the overpowering whiteness of Machete he looked kind of impassionate and drab, so I kept making him warmer and lighter until he became the golden boy he is today. The name came later, I just thought Vasco sounded friendly and charismatic. (Also the old finnish word 'vaski' means brass and bronze, and even if it's a tedious connection and doesn't factor into their canon at all, it felt too fitting to me personally and I had to go with it).
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[ cw: violence mention / death mention / ]
Will never stop thinking about how Leo, all alone in an endless void and being beaten again and again and again by the only other living thing around, still finds comfort in that space. The situation he was in was completely hopeless, and in any other circumstances he would not have escaped, at least not fast enough to save him from permanent (or even fatal) damage, be it physical or mental.
And yet, despite the bleakness of his situation, despite the agony and helplessness, all he needs is one glance at a crumbled photograph, one glance to remember his family, and that’s enough of a reason for him to smile.
Maybe that’s why his powers center around manipulating space - because no matter how much space is between them, no matter how dire his own situation may be, just the thought of his family, alive and okay, is enough to give Leo hope.
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As is tradition with Dracula Daily, let me give you today’s Cultural Lesson Based On Today’s Entry. Let’s talk about money.
See, if you’re thinking Dracula and the characters are handling what we see today as British money, don’t be fooled! Dracula is set in the 1890s, and they use an entirely different money system to what we use now, it just seems on the surface that it’s the same.
For context, if you didn’t know, Britain uses pounds (£) and pence (p) as the currency now, with 100p to £1. This is called decimalisation, and has been in practice since the 1970s. Before then, we were the last country in the world to still use the Roman monetary system.
In the Victorian era, there were 3 used measurements of currency: Pounds (L), Shillings (s) and pence (d), which was written in that order: l.s.d, so a sink in a shop may list the price as 1.7.2, which would be 1 pound, 7 shillings and 2 pence.
Now lets break those down a little more. There are 240 pennies to the pound, and 12 pence to the shilling. That makes 20 shillings to the pound. Most working class laborers would be using shillings as their highest coin in day-to-day living. You could get a pint of beer for a couple of pence. A pound was an incredible amount of money to your average person (maybe less so to the fancy characters of Dracula).
But I want to talk about the coins.
See, a penny was not the lowest coin in circulation. That was a farthing, which was worth ¼ (a quarter) of a penny. Then next was a half penny (or ha’penny if you prefer). Of course there was the penny. Then there was a two pence (tuppence) and a three pence (thrupence) piece. Then you had your half shilling (sixpence, pronounced more like sixpunce, with a ‘u’ rather than an ‘e’), and the shilling itself (twelve pence, remember? Also known colloquially as ‘bob’). Then you had the florin, which was 2 shillings exactly (24 pence). From there you had your half crown, which was worth 2 shillings and six pence, for a total of 30 pence (though you’d never call it that), and then a crown, which was 5 shillings. From there the next step is the half-sovereign, worth half a pound (120 pence, or 10 shillings), and finally the gold sovereign coin, worth £1, or 240 pennys, or 20 shillings.
Yes, that’s genuinely the method of money these characters are using. Some old people insist it was easier than the current system.
Here’s some more fun money facts in case they come up later!
A guinea is a pound and a shilling (1.1.0, or 252 pence), and was used to make things seem a little cheaper to wealthy buyers. It’s used from time to time in Victorian books so it’s worth knowing.
The correct way to read out prices is ‘[x] and [y]’, so say you were selling something and wanted a shilling and fivepence for it, you’d ask for “1 and 5”. This is often used for the stereotypical cost of a half a crown, so when someone in a period drama asks for “2 and 6”, what they’re asking for is 2 shillings and sixpence.
There is a fairly obscure coin that I’m not sure was in circulation at this time which was nicknamed ‘The Barmaid’s grief’, it was only used for a few years. This was worth 4 shillings and was the same shape and (very nearly) size as a crown (5 shillings). So people would buy a pint of beer, the barmaid would pick up the coin in a hurry and not realise that it wasn’t a crown, and give 4 shillings back along with change from a shilling for the beer. So people made money from buying beer. It was not a good time to be a barmaid.
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I've seen a lot of discourse about Virginia Kull's portrayal of Sally Jackson in the Percy Jackson and the Olympians TV series, and I'd like to say that I loved her. Don't get me wrong. I love Sally from the original book series, and I, too, would fight the God of War on her behalf. But something that I enjoyed about Virginia's portrayal of Sally that we don't get in the books is the character depth. We don't hear much of Sally's backstory in the TV series, apart from a couple of flashbacks with younger Percy and that scene with Poseidon (Toby Stephens). However, those scenes do an excellent job of showing us that alongside being Percy's mother, Sally is also a young woman who fell in love with a man she could not be with and is enduring the natural consequences of having Percy. She struggles to communicate with him when she's frustrated, gets teary-eyed when she lies to him to prolong the inevitable, and actively sacrifices her happiness to ensure his safety. Virginia Kull's portrayal of Sally Jackson reinforces the character's humanity, imperfections, and determination, and it's everything to me.
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the only thing that could have improved SVSSS is if shen jiu was in the background providing scathing hateful commentary the entire time. i want to see him and shen yuan eat each other alive <3
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lover, don't touch me // leave, i am a danger to you // but ooh, i hunger for you
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insane to me that if harvey had been even an iota less insane, he probably could have gotten mike to be a lawyer the more normal way. i mean, man is a big shot attorney who graduated fifth in his class at harvard law school and probably has a gazillion connections and he absolutely could have just gotten mike into harvard law school (and talked harvard people into looking the other way about how he got kicked out of college . . . worse people have gone to law school tbh), and then harvey could have just negotiated with jessica about not having a personal associate for another three years or just have had mike become a summer associate or something and then hire mike onto pearson hardman, but noOOoOoOoOOoOOO, harvey was so impatient to get his hands on mike that he had to go through this whole fraud thing. gay behavior
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I'm still not over this
Ed was like: see Izzy? I'm the worst human being, no, a monster! A devil! No wonder no one loves me!
Izzy, without 3 toes at this point: I love you.
I'm not surprised Ed didn't take it in well
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Is this what Happiness is?
- hey so I haven't seen an interpretation of the bar scenes in Half that I fully agree with, so I wanted to throw my own two cents out there into the void and pray that it makes sense !!!
so, in the bar scenes in Half we see what I interpret as a hangout with old friends (or, hangout with old friend + his wife.) These scenes used to be the biggest piece of evidence for the cheater theory, but now that that's been debunked by the man himself, I have a new way of looking at them
~ before I go any further, I just wanted to say that I'll be calling the brown-haired woman whiskey for simplicity's sake
In this scene, Kazui turns to look at Whiskey, saying the lyrics:
"laughing together, side by side, this distance in our relationship is misleading me, is this what happiness is?"
With my guess (cuz that's really what it is there's no evidence for it) that Whiskey is the Bartender's wife i think this scene is Kazui being conflicted with what he's been told is true, that marrying Hinako is "true love", versus what he feels is true, that marrying Hinako has brought distance into their relationship.
He looks at Whiskey, a woman happily married, and wonders why his relationship with Hinako isn't like that.
~ shout out to @prisoner-000 for the following screenshot
in this post he points out that Hinako and Kazui's rings are silver in Cat, not gold like they were in Half, yet Bartender's ring colour stays the same.
For the sake of this writing I'm going to go with the first meaning they put out, that Bartender's ring is gold because his marriage is genuine.
But wait!! I hear you ask. This is Half and Kazui's ring is still gold in Half!! EXACTLY MY FRIEND!!
Kazui's ring IS still gold in Half because at the time of these scenes he's still fooling himself that this relationship is good, that he will eventually garner real romantic feelings for Hianko.
"laughing together, side by side, this distance in our relationship is misleading me, is this what happiness is?"
Remember this lyric that plays during the Whiskey -> Hinako scene. You know what other scene in Half this lyric reminds me of?
laughing together, side by side,
this distance in our relationship is misleading me,
is this what happiness is?
He's beginning to doubt if what he believes is true, he's beginning to believe the feelings telling him something's wrong (and remember, the scene right after this one is when he confesses (?) his secret to Hinako) ARE infact true, and that maybe the logic he's been following for so long has a couple holes in it.
I think these scenes are meant to show Kazui gradually realising that his relationship with Hinako will not work out. It just won't, no matter how hard he tries.
He's able to laugh together and talk with Whiskey because she's his friend, yet he can't do the same with his own wife? Even though, according to his gold ring, their relationship is supposed to be real and true and genuine?
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Myel's gender thought
(he/she for Myel)
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Wyll taking Halsin to the Wilden Oak after observing how much he was struggling to adapt to the City, thinking it would cheer him up *and* be special enough that maybe he can work up the nerve to ask him something important. Telling him about how he used to daydream about the stories it could tell him, and how it brought him comfort - how it may bring him comfort as well. And maybe he thinks he's talking too much, too fast, but it all pours out of him with heart-aching sincerity.
Halsin listening thoughtfully to Wyll's fanciful dreams of dragons and the Weave, and chuckling fondly at how eager he is; how whimsical he makes everything sound. Bubbling over with how happy it makes him to hear Wyll so beautifully matching the splendor of this tree with such fanciful tales, admiring it for what it is.
Wyll's face heating up, thinking he must be laughing at his stories, and ah, hells, he's gone and fumbled this, of course an Archdruid would think fairytales of trees to be foolish and childish. Mumbling it must sound silly to him.
Halsin frowning then, brought out of his affectionate thoughts. "Oh, no, not at all. I think it's wonderful. Here, let me show you something."
Halsin bringing Wyll's hand up to the bark of the tree and pressing it beneath his own to the ridges and grooves, encouraging him to listen closely again as he had as a boy. Telling him that trees speak to those who care to hear them, even if they cannot understand them. Wyll closing his eyes, flustered at how close they are, but - after a moment of quiet - hearing the barest tendrils of something touching the edges of his mind. Nothing he is able to understand, but he swears he feels it; more than he ever has before.
Halsin himself listening and catching the discernable memories the oak is able to give him amidst the transfer - the tiniest glimpses of generations and magic long past. Perhaps even a dragon cutting its lightning path through the sky, eons ago. He passes anything translatable gently off to Wyll, who listens, enraptured.
The Wilden reveals other things - other terrible things. Other sad things and tragic things, no where near the fairytales that Wyll spins. Halsin does not pass these memories on, but judging by the frown on Wyll's face, he senses it.
But there is something else - something closer to the heart - it calls Wyll "tree friend" - flashes of Wyll as a young boy, collecting its leaves from the ground. Of an older Wyll curled in on himself in the tangle of its roots, heartbroken; an even older Wyll turning his face to the dappled sun and smiling, little golden bands sparkling in his hair.
Halsin taking Wyll by the hand and bringing him deeper into the forest, scouting a good spot to plant the tiny wishing acorn Wyll had pressed bashfully into his palm with stories of his mother. Burying the seed deep into the ground so its roots may grow anew, just as glorious as its parent - waiting to bring joy to another a century down the line. Just as their lives have taken root within one another, tangled and new, but full of life.
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my ideal Kira and Julian dynamic is the dynamic between an older sister and a younger brother in a 90s teen movie. Julian is the annoying nerdy little brother and Kira is the teen older sister going "get out of my room you little dweeb" and shoving him into lockers
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