Job 22:21 (KJV) -
Acquaint now thyself with Him, and be at peace: thereby good shall come unto thee.
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-might get kicked out for unrelated reasons (HOA) But small look at the landlord situation. Landlord emailed us some legal documents earlier- which included an admission that he's been getting the rent checks (which he was previously claiming we weren't paying and citing as his grounds for eviction) - as well as documentation of two other instances of attempted extortion.... I've lost the plot completely at this point
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the second line of text you see in ghost trick, on the first screen of the game, sets up a motif / bit of symbolism that doesn't fully come into its own until the final chapters, where it is used as the key to understanding the main antagonist. that's good ass writing if i've ever seen it.
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[ID: A digital greyscale sketch of Alice Dyer and Sam Khalid from The Magnus Protocol. Alice is tall and thin with shoulder-length curly hair, and Sam is shorter and fat with neat, short hair and glasses. They are posing together for a photo, Alice grinning and Sam giving a tight-lipped smile, each with an arm around the other. Text at the bottom reads “Alice & Sam” in all-caps. End ID.]
omg guys she speaks highly of him,,,
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Reading agot chapters of the stark sisters and coming to the conclusion that they hate each other in isolation from their parents’ understanding of them and society’s rigid expectations on them is idiotic as fuck. They are both classic products of their environments, both familial and social, and their feelings of each are heavily informed by these two things. Please take your Sansa and Arya hate each other because they’re antagonists, and are going to come head to head thematically in the later books, and dump it in the trash where it belongs.
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Ugh i woke myself up at 1am for this but here
Calling it rn that once the fight’s over, Izuku’s gonna be standing over Katsuki going “daijobu??” and be holding out his hand
and Katsuki’s gonna grin like an idiot and TAKE IT
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I have lots of thoughts and theories about how we'll jump into the opening of the Murderbot show but perhaps my personal favorite I've thought of is this one
The first like five minutes of the show jumps straight into a dramatic scene playing out. It's a scene of danger and intrigue, there's action and clearly romantic tension between some characters. This is the dramatic Sci fi space thriller the trailers have (presumably) promised
and then an alert flashes on the screen and we're jolted back into the real show as MB stops watching Sanctuary Moon to play back the last several seconds of real life audio and visual bc it definitely wasn't listening just now. We see its POV as it picks up some equipment cases and follows Dr. Volescu and Dr. Bharadwaj out the hopper onto the planets surface, the planetary rings spanning the horizon as it briefly scans the area for threats.
Bharadwaj and Volescu are talking excitedly about the craters and samples they're going to take, lots of boring detail about geology and terrain and we slowly see Murderbot's focus starting to drift when they don't have any other orders to give. We see it start cautiously scrolling through a selection of music, but not playing any, not just yet
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I made a wraparound record cover for a powermetal album that (unfortunately) doesn't exist!
If you've listened to Maleficus Geminus, you likely know my rage at the death of the robot prince of auchtertool. Well, what if we could rebuild him? The front cover of this album features my (tentative and incomplete (i was on a deadline! sue me)) design of the robot prince of auchtertool, post-battle and mid-resurrection.
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when you're the only person who keeps living through the time loop, the people around you cease to be people and become mere characters. your treatment of them doesn't matter because they're not real and they won't remember. the only way to give anything meaning is to end the loop; their actions don't affect the loop and therefore are meaningless. you're the only one who has the ability to change the future, so anything you do in service of that goal is justified.
but. kim dojka looks at yoo joonghyuk and says no, actually, these characters are people. whether they remember or not is beside the point because they are real right now. and you don't give your life meaning by achieving some accomplishment that retroactively makes everything that came before worth it - you give your life meaning in the living of it.
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actually. i was thinking, though. what exactly *is* the metric of a tim civilian friend. as in, what exactly makes a character tim's friend vs a kid he goes to school with who he happens to friendly with (because tim is generally friendly with everyone). what's the distinction?
and i think the answer falls on "does tim's civilian life and robin life intersect in a significant way around this character"
because, listen. we all know that tim is a compartmentalizer who tries to keep the ideas of "tim" & "robin" separate. however, we also know that it's not one or the other with tim--he's both. and the closer you're allowed to that narrative intersection of both tim & robin, the more the civilian in question can then be seen to have importance in *tim's* life and a reciprocation of friendship interest by tim.
because you think of the gotham heights high crew--not only does tim use his skills to investigate what's wrong with ives at one point (he got an embarrassing job), he's also used the W&W crew for unknowing assistance against the joker, hudson leads him to a case at one point, & he runs into a case whole hanging out with them to see a play at the park. despite tim's best effort to seperate parts of himself the close interactions of his other life to his friends is not just tim accepting friendship, but tim narratively showing friendship in return--they are narratively allowed to be a part of his life as robin though they'll never know it.
and the brentwood boys are no different. though they're not allowed the secret, their lives are affected and improved by tim as robin. as they give friendship, tim gives friendship in return. and when tim leaves his friendship and reunion with ives is marked by a case, the one with charaxes.
and even later, with zoanne, her life and relationship with tim is complicated by tim's life as robin, but she is allowed that narrative closeness to his life as robin, closeness to the entirety of his life. she even makes a cameo as having spoken to vicki vale about tim, and vicki's story during that era is finding proof of the hidden life of the batfam.
louis grieve is interesting because darla is the friend of the era who meets this metric--her life as a mob daughter is doomed to return tim to his true life. her resurrection as warlock's daughter is what intersects her with whole of tim's life, not just tim. and bernard surprisingly doesn't have any narrative markers that would indicate these kind of particularly close feelings from tim towards him--tim does not help him on a personal level with his personal life, there's, hm. like bernard does bring him the news of steph being robin, but there's really no personal intersection of *tim as robin* with bernard or because of bernard or for bernard. they do interact during the school shooting but it's no more personal than tim and the rest of the kids. in post-crisis, at least, the lack of tim's as robin having any sort of notable personal connection to bernard narratively indicates a fundamental distance between them where tim is not shown to have any significant personal investment in/towards bernard unlike all the other civilian friends. i would say bernard does make in on account of his presence at the school shooting, however when tim's true self is both robin & tim, for him to not have any significant personal narrative connection to the real tim, it does makes him a notable outlier among the civilian cast.
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