#from my collection
ktown4u set a restock date for all of the ateez albums on the 17th so i...ordered them all
we got you through the pops. we know they are more than 100 brazilian dollars. your fucking busted lmfao
ah, sorry. well, if you actually bothered to read the tags (*cough* you’re* *cough*), you’d see i clarify i get funko pops every year on my birthday and started collecting my faves.
i never even bought a funko. apparently your strongest suit is not reading. again, it’s you’re. now go bug someone else, maybe someone who’s 13 like you, keep it age appropriate.
PS: they’re not “brazilian dollars” you absolute sheet of sanding paper. they’re called “reais”. learn your currency (or at least google it so you don’t look fucking stupid)
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Her mind lives tidily, apart
From cold and noise and pain,
And bolts the door against her heart,
Out wailing in the rain.
Dorothy Parker, from Interior in “The Collected Poetry Of Dorothy Parker”
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one of my first post-pandemic plans...get my ears repierced! 😁
I want to become acutely aware of all I’ve taken for granted.
Sylvia Plath, from The Unabridged Journals Of Sylvia Plath
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speaking to the blossoms
a woman all alone
Enomoto Seifu, from Far Beyond The Field: Haiku By Japanese Women [translated by Ueda Makoto]
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you know when you feel full of energy so you start doing the thing and half an hour later hour entire room is completely upside down and you're full of regret
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I kind of want to say this before it dies down and gets forgotten but finding out that scott cawthon is a trump supporter obviously bummed me out really hard. There was always a slight conservative christian undertone in his works and i have my own feelings about it, but there's a difference between someone being a known conservative christian who's publicly apolitical/vaguely inclusive in hiring practices and knowing without a doubt that they donate to republican politicians.
It does hurt to know this about a creator who i've found to be like... avuncular and charming and who made a lot of decisions i admire (like releasing free games to the community, funding fangames, etc) and it changes my view of him. Not to speculate overmuch, but i feel like i've met this kind of republican very often in my life: accepting of people on a personal level but simply does not translate that inclusion to a systemic level. It's harder to deal with than a mustache-twirling villian because it's complicated. It's still a personal blow to me, and an understandably unforgivable one to many of the fandom.
I am still going to stay in the fandom and i probably still will engage with the new game and revisit the older ones through let's plays. There's more creators in the franchise than just Scott, and i still feel very strongly about how much I love the characters and the setting and storytelling.
If i get more merch or books, it will be from secondhand sources like goodwill's online stores or people selling their personal collections on ebay (not trying to reward scalpers here). I'm not planning to get rid of the ones I have.
I'm also not going to be like "actually this series just fell from space somehow, divorced of context, and also all my headcanons that make it better are canon" because i've always found that tendancy in myself to be a dodge to critically engaging with the flaws. It's a flawed series that treats "evil" as an almost elemental, supernatural force rather than the series of small choices that make the world worse that evil actually manifests as. And sometimes i find thinking about evil in that way to be comfy escapism and campy fun. But in the end, it's only escapism.
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it's dropping thought hours but even tho the website sucks I want my bimbo dot Land account back
! - tim!!
oh sweet, fragile timothy link. tim is probably one of the limited people jackson's met in his life that he harbors zero ill feelings towards, and feels no urge to close out. there's something about tim's timid demeanor that just draws the good out of jackson, and makes him want to be maybe even the tiniest bit better. he does sometimes feel as though he pales in comparison to tim’s goodness ( a quality he desperately wished he had ), but he tries not to let that affect him too much. especially because he can acknowledge that what tim has in kindness and empathy, he lacks in social skills - and well, jackson relies pretty heavily on his ability to talk to people to get him out of trouble. jackson assumes that tim probably couldn’t defend himself, and so he’s slightly on edge to do it for him, if the need ever arose.
he still fully can’t understand why the two of them are friends or how they got to this point, but he’s grateful for the way that tim seems to see the best in him and look up to him. he tries very hard to make sure he doesn’t disappoint ( even though he does believe he inevitably will. ) ( @timlink )
send me “!” for my muse to tell yours what they really think of them.
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Bro I can't wait until Tuesday!! That's too long... :(
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pls keep me entertained while i do some research from my summer class and send me a number between 1-473 and i’ll show you the pc correlated with that number from my binder
if it’s okay, can you share more about what you do as a career? there aren’t a lot of mainstream media that focuses on the work that goes behind the scenes and reading through your kingdom reviews, it seems v interesting! of course, that is if you’re comfortable with sharing. if not pls disregard.
also are there any resources that you would recommend to learn more about the things you’ve talked about (e.g. stage design, lighting, etc)?
sure! i just got my mfa (officially!!!) in contemporary art studio practice and my undergraduate degree is in theatre design, with a specialty in set, costume, and lighting! i’ve been working professionally for the last seven years doing mainly theatre design and stage management. i’m also a photographer and i’ve written and produced three experimental plays. i make clothing, do prop building, make experimental publications, etcetera etcetera, etcetera.
do you want me to share what the process is for doing a theatre design gig? i can talk about that briefly if you like!
so you start off with getting a contract for a job, obviously, and then the process goes something like this:
script/text analysis -> design meetings with director/other designers -> preliminary design presentations -> design reassessment -> final design presentations -> rehearsal/production start -> integrated technical/dress rehearsals -> show opening
you start with getting your script/source material, and reading it several dozen times in order to pick out all the little details of when, where, and who that are embedded in it. basically you’re looking for anything that will help you show the story to the audience. it could be as simple as what’s in the stage directions, but it’s also looking at what the characters are talking about. does someone mention the weather? the time of day? what someone is wearing? here’s a single page of a paper exercise example script analysis i did for one of my classes last year:
and yes, your script pages do all end up looking like this. then once you have all your logistics, you start doing meetings with the director in order to figure out what they want to see on the stage: if they have any overall ideas for concept, what themes they want to highlight, who the cast is, that kind of thing. you pitch any ideas you have here too. then you start meeting with the other designers and make sure you’re all on the same page about everything. there are usually a lot of meetings in this part of the process. like a lot. and lots of emails. then, once you’ve got a handle on everything, you’ll do a preliminary design presentation where you show early costume plates, maquettes, colour swatches and the like to the other designers, director, producers, and technical staff, in order to see if everything is feasible. once it all gets oked, you can proceed to doing final designs (if it doesn’t get oked, you go back and redesign and repeat). final designs are shown on the first day of rehearsal in a presentation to the whole company, including the actors, so they start rehearsal with an idea of what the stage and their costumes will look like. and once rehearsal starts, you go into production actually making the designs, which includes shopping for materials, working with technical staff, scheduling fittings, etc. you have to have everything done for tech week, which is the week before opening where all the design elements get integrated. tech week is long and hellish but it’s where you see the show start to come together. at the end of tech week is dress rehearsal, and then there’s usually a dark day (day off) before previews, and then opening night! this process isn’t going to be exactly the same for something like kpop, but all the same parts are gonna be there.
honestly there's not that many good books about theatre design. i’m sure there are a few floating around out there, but the way that i learned in university (somewhat ironically) was all through handed down knowledge. all of my professors are still working designers, so i learned directly from their practices and not actually from a book someone wrote. a lot of the history of design is not very well documented either, because it’s mostly passed down knowledge. theatre people are just bad at writing books in general, but design is probably the worst offender because the profession is really new (and small) in comparison to something like directing or acting. if you can get your hands on either of the world scenography books, those are a great start to looking at what a brief history of modern performance design looks like, but if you want to know what i learned in particular in university, pamela howard’s book what is scenography is the easiest and most concise. i also used rachel hann’s book beyond scenography for my dissertation, but she’s a lot more academic. she’s also got a youtube channel i think? the thing about design as a field is that nothing is really standardized, so experience and methods vary widely from person to person and country to country, even if the process stays relatively the same.
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me, forming a fixation on cats 2019:
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Farewell, my spring,
Anna Akhmatova, from Now Farewell, Capital, in “Poems: Anna Akhmatova" [translated by D. M. Thomas]
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whenever i read a zombie apocalypse au i think of what i would do in that situation and what i would collect and like. i am just a kid huh
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(…) the trees have risen one more time
and the night wind makes them sound
like the sea that is yet unknown
the black clouds race over the moon
the rain is falling on the last place
W.S. Merwin, from Rain At Night in “The Rain In The Trees"
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It was the face of a spy branded by his own deception. […] We smile, but our withholding makes our smile false. When we are exhilarated, or drunk – or even, as I am told, make love – the reserve does not dissolve, the gyroscope stays vertical, the monitory voice reminds us of our calling. Until gradually our very withholding becomes so strident it is almost a security risk by itself. So that today – if I go to a reunion, say, or we have a Sarratt old-boys’ night – I can actually look round the room and see how the secret stain has come out in every one of us. I see the overbright face or the underlit one, but inside each I see the remnants of a life withheld. I hear the hoot of supposedly abandoned laughter and I don’t have to mark down the source of it to know that nothing has been abandoned – not its owner, nor its interior restrictions, nothing.
The Secret Pilgrim, John le Carré