I’m Vis, mid-twenties large animal vet. I only think about dairy med and space marines please talk to me about them ✌️
He/she cis lesbian btw
my catchall tag for running my mouth or making stuff
recently started to use a tag to group thoughtful analyses of various real issues
tag for miscellaneous potentially useful in life references
Some things I love:
- CATTLE. COWS. everything about em. dairy production med. youngstock, replacement heifer development, naughty little calves in general. livestock welfare and sustainable production. (see “cattle” and “veterinary” tags)
- other ruminants and camelids and horses and pigs and poultry and bees are also very very good i love their medicine too
- media: rvb (most of what will be posted here), homestuck (yes. still.), dungeon meshi, svsss, mdzs, hxh, pmmm, mha, the southern reach, drv3, star trek ds9, discworld, warrior cats, lost, hhgttg, dc comics (swamp thing and abigail are everything to me), many others
- amphibians, arthropods, and other weird little dudes
- botany, ecology, biology in general
I’ve got an rvb aesthetics sideblog
sometimes I write rvb fic
also i'm trying to archive transcripts of all rvb scenes by characters and interactions wish me luck in this stupid endeavour
Camera & Action in their own original concept sketches. these were on my other blog but since ppl seem to enjoy the designs i thought i'd have them here as well
ppl may already know that pascal is no longer in the canon of inver, i decided to make a new story :)
so it's about these pseudo-AI assistant/virtual creatures called imimata (singular: imimaton). In the context of the story it's specifically about celebrity culture, virtual pop stars/TV presenters, and labour relations
[copy-pasted explanation from the other blog lol but i have a tag for it here too with a lot more posts!!]
Think of a completely formless seed that, for a fleeting moment, has the potential to become an artificial intelligence, but always changing, with endless permutations and no permanent state of being. when kept within a resonance chamber (the ‘container’ that may be analogue or digital etc), it is fixed into place long enough for it to be able to become. the chamber holds it and allows it to develop instead of dissipate away instantly. the process of development led by external forces - intentional or unintentional - is called 'encoding’. professional encoders will essentially use this shapeless state of being to encode commands, personality prompts, and rules, essentially moulding the thing in the resonance chamber into a form dictated by them. when i say unintentional, i also mean that exposure to any stimulus will always be a learning experience, and the thing will grow and develop no matter what if it first gets fixed in one place. but it’s only referred to as an imimaton once it has been encoded - no longer raw matter, but hammered into shape.
encoding is basically the socialisation of an impressionable thing into a biddable and useful form. in the early Hertzian era (when this technology took off, 1830s ish - crucially, before the commercial application of imimata, when they were curious playthings for idle Great Thinkers), encoding was a process of conversation lasting many years, often for purely philosophical purposes, literally talking at something until it talked back. prior to this, natural magnets could be used to fix a proto-imimaton, and people would think of them as similar to homunculi. in today's digital era, encoding takes the form of inserting storage media into the chamber, essentially running a program in a computer that reduced the encoding process to a few seconds and the flip of a switch. Pascal is an example of a Hertzian imimaton, composed of information stored in radio waves rather than a digital storage medium (basically - he's analogue)
outside of encoding, clauses may be placed upon the chamber itself and these are less socialisation, they do not form the building blocks of an imimaton, they are purely strict rules and routines which it is bound to follow. one such clause could involve the censorship of certain words (so that an imimaton cannot say fuck even if they would otherwise have been able to), or strict boundaries on what information an imimaton is allowed to learn. a common clause also boils down to making it impossible for one to attempt to manifest physically.
Once this was perfected, imimata entered the workforce at the turn of the 20th century.
[...]
When Pascal made his TV debut in 1969, it was hyped up for months with ads which depicted him on set and in more realistic ways (almost appearing to be photographs - some even were!), while public reaction was carefully monitored. This was highly experimental and it still was not known whether the concept of a virtual TV presenter worked, so although they did hype it up, there was a level of caution too so as not to invite negative press.
The first series did not involve public audience members but people from the broadcasting studio standing in for them (this was not made known at the time). They used a combination of camera tricks and graphics to make it feel like he was physically standing in a room with these people (bearing in mind he was strictly contained and had no manifestation outside the broadcast - he was within a container at the base of the mast tower, with a recording device which could cast his image live, so viewers at home were seeing cuts of the Pascal feed and cuts of the physical studio and audience stitched together to appear continuous)
That was part of the gimmick - it was commonly felt that an imimaton should never be permitted to manifest/should have no manifestation, so the fact that he supposedly was manifesting but friendly and contained was a draw. the ads leaned into it quite a lot - marketing copy implying that you could touch him, go on dates with him, etc but always with a cheeky wink, a "not really", the audience at home were in on the secret of it not being real. but it worked really well and was super effective to generate hype and it sparked an entire golden era of imimata and manufactured celebrities (but Pascal remained notorious for being one of the only ones that could believably interact with a studio audience in an unscripted manner, due to his 'maturity' as an imimaton, having been brought up in the 19th century conversational era of encoding, raised on a diet of talking to philosophers)
The second season of the show came out quickly and to much anticipation, and with members of the public actually participating for the first time. The broadcasters set up a wall of CRTs in the studio which would display him to people on-set, and wired up each audience member with a microphone so he could hear them too (he appeared to see them well enough through the camera equipment). he was excited to interact with them and they liked him too, but he always had this slightly mean streak which his broadcaster tried hard to soften. but the meanness worked really well in the reality/game show format where half the entertainment is watching audience members get dunked on sometimes
Episodes could be produced at a rapid pace by taping multiple at once - three identical sets were built for season 3 allowing for three episodes to be filmed at once because he could of course interact with everyone freely and essentially be in multiple places at once. this was also where the first issues showed up on-set - he began to miss his timing cues, arriving just a bit too late to the stage, or taking slightly too long to finish his nightly sign-off. this was not apparent publicly as the episodes were not shown live and could be edited, but any member of the public who was on the show was often hounded after by superfans, so some stories did come out about Pascal's 'odd' behaviour on set. there was a behind-the-scenes documentary made about the entire producing process in season 3 as well, which included some interviews with Pascal himself, but mostly consisted of his handlers and technicians excitedly explaining the broadcast apparatus and containment devices and so on.
Following The Incident, the rare copies of this film became highly sought-after by collectors.
I LOVE Lights, Camera, and Action. They are such cool characters and hold a lot of passion! :D Might I ask how they came to be (inspiration/fav thing to draw on them)? Camera is my favorite, but it's a very close race :)c
they're all just limbs of one virtual guy called pascal and you can read about him here but in terms of inspiration, it was just a fun way to continue this particular monster design from a now-discontinued story (still pascal)
he has always been associated with the trappings of a TV show because he's a game show host, and i'd draw him with cameras and set pieces all the time. i think just jamming the camera etc onto the neck of the horse was a pretty logical step :>
Andrea Joyce Heimer (US-American, 1981) - A Bear Sighting Was The Most Coveted Sighting Of All, For Its Danger And Hulk, And For Its Rarity. One Night While We Slept In My Grandmother's Tin Can Trailer, A Bear Got Tangled In The Brush Pit For A Time And We Listened To It Grumble In The Dead Of Night. It Occurred To Me The Bear Was Having An Off Day. My Grandmother Slept With A Loaded Gun, But She Always Pointed Out It Was For The Two-Legged Animals, Not The Four-Legged Ones. I Used To Have A Dream Where Bears Clambered Through My Stables. Now, I Have Two Bears Who Come To My Yard. I Tell Them Things And They Go On Their Way, And I Go On Mine. These Are Just Some Thoughts I Have On Bears. (2026)
What would you do if you were a queer Black teen girl in the 2010s midwest that suddenly became a witch after reading from an ancient tome?
Now you've got to fight monsters , face off against an evil that's after you ... and also two vampires have feelings for you ( and they dig each other a bit too) . Check out this Black Queer YA Coming of age Magical Girl Witch in the midwest story!
The Three Tomes. Live on Kickstarter
Card Captor Sakura and Sailor Moon x Twilight and The Vampire Diaries ( minus the racism).
Too often in media, Black women and femmes are seen as disposable. They're stepping stones on the path to the " true relationship". They're the side best friend, they're killed off for the narrative..
Too often in media Black people period are questioned for why they're in fantasy, or supernatural stories. " Why is a mermaid Black?" " Why is that dwarf Black?" " Why is that knight Black?"
There's rampant biphobia and questioning of people's queer idenity as nonbinary or fear of being open about your Black queerness period...
Too often in media our stories as Black people are only accepted if it centers our pain. Very rarely are we given opportunity in mainstream media to have our whimsical and fun coming of age stories without black trauma at it's core. Our history is part of us, but we can have our " Juno's " , our " Twilights" , our " Hunger Games" ...etc.. too. We are able to be and should be present in all genres and tell all kinds of stories.
The Three Tomes aims to dismantle all of this. It's a Queer YA coming of age story about Tammy Harris, age 17. She lives in the Chicago Suburbs and is having her own adventure and dealing with grief and change through the magical lens of witches and vampires. The story centers on her, and a host of queer black and brown characters taking the lead. A Lesbian Witch, A gay Vampire priest, a gay Vampire villian, two bi, and pan vampire boys ( tammy's love interests) and Tammy's best friend who is nonbinary and black/indian mixed.
Character Bios here
Black people can be whimsical, magical and we deserve to be in fantasy stories.
Support The Three Tomes on Kickstarter as we push towards our stretch goals for full animation of scenes and episode 3. To check out episode one and learn more about the world of The Three Tomes.
Check out THE MASTER POST here.
A queer YA coming-of-age story about a black teen witch girl in the 2010s, fighting monsters and falling in love with vampires.
Why are there just blobs of fake rubber meat that a bunch of unrelated microbes can build in the dirt but they've only ever been found in china and can't be classified any further than "biological objects"
shipping fictional characters together as an adult is actually very fun and i encourage it. it is also one of the worst things you can do to yourself and should not be attempted. it's very simple really.
pros of shipping fictional characters as an adult: having a more mature and experienced outlook on people and relationships actually opens up a lot of new funny, interesting, and even thoughtful ways of engaging with the concept of fictional people kissing. also, it's fun.
cons of shipping as an adult: you will inevitably form an extremely niche and personal interpretation of the relationship between your favorite fictional people who you want to smash together like barbie dolls or possibly on-fire waste disposal trucks, and become extremely annoyed by the popular fan interpretations that are bland and formulaic by comparison. but since you are also involved in the deeply cringe activity of getting emotionally invested in a fictional relationship you have no chance of being taken seriously if you complain about it, and therefore no choice but to try to ignore it and make your own content that is liked by 3 of your friends who are the only like-minded people you respect and that one account that likes everything you post anyway
She's for the swamp @banamine-bananime - Tumblr Blog | Tumgag
