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#this is what it means to be native
unavernales · 9 months
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a little more information regarding the maui wildfires:
medical workers on the ground are describing finding hundreds of bodies. the current death toll in the media is, unfortunately, only a fraction of the reality
hospital workers are describing injuries and trauma as if survivors had come out of a warzone
thousands are still missing
an apartment complex for the elderly was lost. not everyone could get out. people were saying goodbye to loved ones over the phone
people who did get out of lahaina were leaving with ashes covering their faces and nothing but the clothes on their backs. people are losing everything.
hotels are still operating. hotels are still operating. they are not the ones offering shelters or housing or food. even bowling alleys are offering shelter, but hotels have the audacity to build on burial sites but not open their doors to local families who have lost everything.
donate to maui united way, the maui food bank, mutual aid, and maui humane society
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I love seeing Danny Phantom showing up and being like ‘don’t ask too many questions but John Constantine I own your soul. All of it. Lmao sucks to suck bitch’, and he’s usually all Ghost King Full Regalia as he does it, at least in front of the Justice League, but consider—
He just shows up as Danny Fenton.
“yeah I got bored and collected the pieces like Pokémon. Gotta catch ‘em all” says the 5’2 teen who looks like a stiff breeze could trip him. He denies being a sorcerer, or a magician, concedes he’s maybe psychic but mostly he’s just…. The kid of two mad scientists—who have a basement lab where they opened a portal to what he SAYS is not hell but no one is frankly CONVINCED, by the way—and he hasn’t decided what to do with Constantine yet besides getting Danny into some r rated horror movies, but figures he should tell the dude probably.
“What’d you even trade for some of his soul contracts?”
“Don’t worry about it”
They worry about it
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royalarchivist · 3 months
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Mine: Refer to me however you want!
Mike: Yeah, for me too. I think I use all pronouns too.
[They high-five and fist-bump each other]
Mine:
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[via @barbmine]
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bottombaron · 8 months
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i think i've hit the limit of my Persian knowledge trying to translate Al Qolindar and it's driven me mad...
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aroaceleovaldez · 4 months
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Here is a link to the Cherokee Nation's official site. Here is the Visit Cherokee Nation youtube channel. Here is a playlist for learning Cherokee (and here's one for learning Ojibwe, as a bonus cause i'm biased). Here is a link to Daybreak Star Radio, which is a radio station based in Seattle dedicated to showcasing international first nations and indigenous music that you can listen to online. Here is a pdf of various recipes, including references to which tribes they originate from. Here is a link to The-aila-test's buy native tag, and here is a link to Beyond Buckskin's buy native list (though some of the links are broken). Here is a link to the Cherokee Phoenix newspaper's official site.
now go take a minute and come back once you've done some research so everybody can stop being weird about Piper.
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phoneycam · 7 months
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So i was looking for new codywan fanfiction as i usually do when i come across this post and my brain just, yes.
I love to think it was just inevitable and not really conscious. Like they don't fucking realize because why would they?
One day Cody and some of the ghost company are giving the tour to the new batch of shinies, explaining how things work, the rules, cleaning shifts, where everything is, etc.
They arrive to the bridge where the General is waiting for them with the kindest smile. This is the rutine everytime they get a new batch, Obi-Wan presents himself formally without the kaminoans presense sucking up any friendly encounter and Cody doesn't have to deal with his sad tooka eyes when the shinies are too terrified of him otherwise.
The commander is about to present them to their new general when his comm lights up showing Rex incoming transmition. He looks up to his generals comm also lightning up, they share a concerned look before answering at hte same time.
"Master! thanks the forse-" "CODY WE NEED KRIFFING REINFORCEMENTS" "Re-... calm d..wn! it's.. -ot that bad!-" "SKYW...KER JUST-... XPLODED TH-.. SHIP-"
While the shinies jump on diverse levels of startle, the veterans share an exasperated-concerned look. They had just set off cordinates to Coruscant. Obi-Wan sighs.
"It seems like we'll need to end the tour a little earlier than expected general." Cody takes of his helmet resigned and ignoring the transmitions shouting at eachother.
"Indeed commander. Guess i'll be waiting for you to join us at the war office" Obi-wan signs to Waxer and Boil to follow him.
Cody sighs and lean over to kiss his general when he passes him.
"I'll grab you a cup of tea on my way" Obi-Wan smiles fondly and returns the kiss.
" Thank you dear" He respondes and exits the bridge not realizing that one, his not being followed, two, the deafening silence he just left behind and three, the gaping group of shinies. In his defense, Cody doesn't realize either. He just smiles smitten until the doors close behind his beloved and the commander mask falls in again.
"You heard the general, change the coordinates to... is there a problem?" Rex who is still on is the first to come out of it.
"WHAT IN THE ACTUAL F-" And then chaos.
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wis-art · 1 year
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Hoppas ni får en glad påsk!
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ganondoodle · 2 months
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seeing american (very probably racist) politicians talking about europe like there are only blonde and blue eyed people here and imply that that is somehow a sign of people being "better" and more deserving of life than those in any other part of the world that isnt america or europe makes me so unbelievable angry, not just bc its obviously racist but also bc its just not fucking true, there are all kinds of people here in all kinds of color and shape from all kinds of backgrounds, its not a fascists wet dream like they seem to pretend and them using this shit ass fantasy to justify condemming russia but not israel just makes my head want to explode twice as much
as a native, brown haired, brown eyed german with the biggest and bumpiest nose you only see in the before photo of before-and-after-surgery photos, fuck that, free palestine, genocide is wrong not matter what the people being killed look like, all of them deserve to live a long and good life in their homeland
(fyi; i am not saying we dont have a fascism problem here, oh boi, we definitely have, doesnt invalidate my point however.)
(fyi fyi; i am not fishing for sympathy, just needed to vent this bc i read about american politicians doing exactly that and it made me see red)
and to add something more useful to this post, remember your daily click https://arab.org/click-to-help/palestine/
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Haso post but about fungi, i feel like fungi exist in any planet, but only Terrans have breached the barrier of cuisine. Cue aliens panicking as their human crewmates eat the brown stalk button happily.
Alien: WHAT ARE YOU PUTTING IN YOUR MOUTH AGAIN XY
Human Xy: ... Shiitake chips?
Alien: Those are brown stalk buttons!!?
Xy: ... YOU HAVE SHIITAKE IN YOUR HOME PLANET.
Alien: Next thing you tell me you eat the dark rootsphere.
Xy: *pulling out a truffle* YOU HAVE TRUFFLES IN YOUR HOME PLANET.
Alien, visibly concerned why Xy is eating animal food: WHY DO YOU HAVE ROOTSPHERE ON YOUR PERSON
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patriamrealm · 11 months
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This, this silly little thought is what caused the brainworm from the last post. Just Ingo absently solving century long mysteries. One that Emmet has been struggling to solve since he was a kid.
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Bonus: Emmet, and Drayden are terrible at telling Ingo basic things about their family. It’s very frustrating for Ingo. Admittedly they don’t tell him in the hopes that enough familiar stimuli will help with him remembering. It does not.
Despite their worries, being told things does not cause sudden memory flashes nor headaches even if he does remember something. Bit of misunderstanding of his amnesia. Really he’d much prefer them stop treating him like glass and just tell him things.
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sunnynwanda · 1 year
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Errors in translation
"Herzchen, stop that," Villain frowns, dodging the car that flies right over their head. "That asshat needs to die, you know that better than anyone."
"The fuck did you just call me?" Hero catches a piece of debris mid-air, stopping it from crushing the man shaking on the ground. Pathetic. "That asshat is still a governmental official. You can't just kill him off."
"It means idiot in my mother tongue," Villain makes another attempt to crush the corrupt judge, failing when the Hero covers the aforementioned asshat with their own body. "He let a serial killer go!"
"I know that!" Hero screams at the top of their lungs, pissed off both at Villain and the judge. The latter deserved every torture Villain could inflict on them. Hero couldn't deny that. "Killing him won't fix it."
"It will if his successor knows what happened to him." They weren't wrong, though Hero would never admit to it. But they needed Villain's reputation to be clean of murder. Ever since they had agreed to collaborate in ensuring safety for the city. Villain's official reason was their desire to be the sole criminal of the city. Hero knew they wanted a safe place for their little sister, that now lived with them. And Hero would have less work to do, making it a win-win situation.
"Let me deal with this, okay?" Hero requests, gracing Villain with their pleading puppy eyes. Always works.
"Ugh, do whatever you want, just stop looking at me like that!" They exclaim, taking a step back. "You're disgusting."
Hero shakes their head to keep a smile from forming on their face when they hear a whimper from behind them. Ugh, the asshat. 
"I have no idea what you did to him, but I applaud you,Herzchen" Villain smirks, striding towards the edge of the roof. Hero shrugs, placing a hand over their eyes to cover them from the sun. "I heard he got arrested."
"Sure did," Hero is smug, and they know it. "Told ya, let me deal with it."
"Killing him would still be more effective," they claim, no longer hiding their grin. Hero nods, getting up to continue their nightly patrol.
"Next time you feel inclined for homicide, call me first?" They step off the building but remain floating in front of Villain. "I might convince you to stop."
Villain watches the streets beneath their feet, lights blurry because of how tired their eyes are. "If there's anyone who can do that, it's you, Herzchen." They whisper, part of them hoping the wind will conceal their words from their rival's acute hearing. It does not.
"Stop calling me that!" Hero's exasperation brings an unwanted smile to Villain's face, so they shake their head standing up to leave the meeting point before it forms on their face. 
"It's not "idiot", is it? That thing you keep calling me." Hero's voice almost drowns in the wind. They know Villain won’t tell them. They also know that they won’t be able to sleep today. That’s what they get for crushing on the ‘enemy’.
Villain freezes in place, a soft smirk fighting its way onto their face before they leap into the darkness. "’Course not."
Masterlist
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It’s very kind of people I speak other languages with to assume that my slow comprehension and endless requests for repetition are as a result of us not speaking my first language, when in reality, my auditory processing is just complete shit.
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bonkobarnes · 4 days
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I’m not sure how to articulate this well but I feel like Becca struggles to understand Cam’s hesitancy to accept being queer because Becca is accepted in a lot of spaces. Whereas for Cam, no matter where she goes, she will always be Other. Cam is queer and indigenous and the spaces in which she can be both are few and far between
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northern-passage · 5 months
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i've shared some of Alex Freed's narrative writing advice before and i recently read another article on his website that i really liked. particularly in branching/choice-based games, a lot of people often bring up the idea of the author "punishing" the player for certain choices. i agree that this is a thing that happens, but i disagree that it's always a bad thing. i think Freed makes a good case for it here.
...acting as the player’s judge (and jury, and executioner) is in some respects the primary job of a game’s developers. Moreover, surely all art emerges from the artist’s own experiences and worldview to convey a particular set of ideas. How does all that square with avoiding being judgmental?
[...]
Let’s first dispel–briefly–the idea that any game can avoid espousing a particular worldview or moral philosophy. Say we’re developing an open world action-adventure game set in a modern-day city. The player is able to engage any non-player character in combat at any time, and now we’re forced to determine what should occur if the player kills a civilian somewhere isolated and out of sight.
Most games either:
allow this heinous act and let the player character depart without further consequence, relying on the player’s own conscience to determine the morality of the situation.
immediately send police officers after the player character, despite the lack of any in-world way for the police to be aware of the crime.
But of course neither of these results is in any way realistic. The problems in the latter example are obvious, but no less substantial than in the former case where one must wonder:
Why don’t the police investigate the murder at a later date and track down the player then?
Why doesn’t the neighborhood change, knowing there’s a vicious murderer around who’s never been caught? Why aren’t there candlelight vigils and impromptu memorials?
Why doesn’t the victim’s son grow up to become Batman?
We construct our game worlds in a way that suits the genre and moral dimensions of the story we want to tell. There’s no right answer here, but the consequences we build into a game are inherently a judgment on the player’s actions. Attempting to simulate “reality” will always fail–we must instead build a caricature of truth that suggests a broader, more realized world. Declaring “in a modern city, murderous predators can escape any and all consequences” is as bold a statement on civilization and humanity as deciding “in the long run, vengeance and justice will always be served up by the victims of crime (metaphorically by means of a bat-costumed hero).”
Knowing that, what’s the world we want to build? What are the themes and moral compass points we use to align our game?
This is a relatively easy task when working with a licensed intellectual property. In Star Trek, we know that creativity, diplomacy, and compassion are privileged above all else, and that greed and prejudice always lead to a bad end. A Star Trek story in which the protagonist freely lies, cheats, and steals without any comeuppance probably stopped being a Star Trek story somewhere along the line. Game of Thrones, on the other hand, takes a more laissez-faire approach to personal morality while emphasizing the large-scale harm done by men and women who strive for power. (No one comes away from watching Game of Thrones believing that the titular “game” is a reasonable way to run a country.)
These core ideals should affect more than your game’s storytelling–they should dovetail with your gameplay loops and systems, as well. A Star Trek farming simulator might be a fun game, but using the franchise’s key ideals to guide narrative and mechanical choices probably won’t be useful. (“Maybe we reward the player for reaching an accord with the corn?”)
Know what principles drive your game world. You’re going to need that knowledge for everything that’s coming.
[...]
Teaching the player the thematic basics of your world shouldn’t be overly difficult–low-stakes choices, examples of your world and character arcs in a microcosm, gentle words of wisdom, obviously bad advice, and so forth can all help guide the player’s expectations. You can introduce theme in a game the way you would in any medium, so we won’t dwell on that here.
You can, of course, spend a great deal of time exploring the nuances of the moral philosophy of your game world across the course of the whole game. You’ll probably want to. So why is it so important to give the player the right idea from the start?
Because you need the player to buy into the kind of story that you’re telling. To some degree, this is true even in traditional, linear narratives: if I walk into a theater expecting the romcom stylings of The Taming of the Shrew and get Romeo and Juliet instead, I’m not going to be delighted by having my expectations subverted; I’m just going to be irritated.
When you give a player a measure of control over the narrative, the player’s expectations for a certain type of story become even stronger. We’ll discuss this more in the next two points, but don’t allow your player to shoot first and ask questions later in the aforementioned Star Trek game while naively expecting the story to applaud her rogue-ish cowboy ways. Interactive narrative is a collaborative process, and the player needs to be able to make an informed decision when she chooses to drive the story in a given direction. This is the pact between player and developer: “You show me how your world works, and I’ll invest myself in it to the best of my understanding.”
[...]
In order to determine the results of any given choice, you (that is, the game you’ve designed) must judge the actor according to the dictates (intended or implicit) of the game world and story. If you’re building a game inspired by 1940s comic book Crime Does Not Pay, then in your game world, crime should probably not pay.
But if you’ve set the player’s expectations correctly and made all paths narratively satisfying, then there can be no bad choices on the part of the player–only bad choices on the part of the player character which the player has decided to explore. The player is no more complicit in the (nonexistent) crimes of the player character than an author is complicit in the crimes of her characters. Therefore, there is no reason to attempt to punish or shame the player for “bad” decisions–the player made those decisions to explore the consequences with you, the designer. (Punishing the player character is just dandy, so long as it’s an engaging experience.)
[...]
It’s okay to explore difficult themes without offering up a “correct” answer. It’s okay to let players try out deeds and consequences and decide for themselves what it all means. But don’t forget that the game is rigged. [...]
Intentionally or not, a game judges and a game teaches. It shows, through a multiplicity of possibilities, what might happen if the player does X or Y, and the player learns the unseen rules that underlie your world. Embracing the didactic elements of your work doesn’t mean slapping the player’s wrist every time she’s wrong–it means building a game where the player can play and learn and experiment within the boundaries of the lesson.
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dovesick · 5 months
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no peace here
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svtskneecaps · 6 months
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oh also also, baghera getting increasingly french at the end of the timer was so fucking funny and i love her so much, like when her and phil fought and phil killed her and her accent thickened until she abandoned words and made french noises CHEF'S KISS reminds me of when she played outlast w cellbit slime and jaiden and got progressively more french as the night wore on, genuinely had a blast hearing her progressively dropping more and more swears in french
also reminds me of something i THINK i remember, think it was her who said during brazil she kept accidentally speaking french to people because of how close she felt to them
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