I'm a 31 years old French woman who likes to cry over fictional characters, a long time Star Trek fan (TOS, TNG, DS9) and fantasy lover. I also have a large collection of OTPs. Sometimes I write stuff.
No you don’t understand. This is the actual graphical abstract for an actual paper published in the journal Cell, one of the top three journals for all life science (at the same level as Nature and Science). Incredible.
The thing about Persuasion that just kills me is that the central premise— “I hope the person who broke my heart has a miserable life and I get to watch them be humiliated while I get everything I ever wanted” is so universal.
But Wentworth is only able to fully enjoy it for like A DAY before he starts realizing how terrible it is. He watches Anne suffer in silence and he hates it. He watches her being treated like an inconvenience and a joke and a piece of furniture and he hates it. He hears sneering comments at her expense and he hates it. He spends evening after evening in her company, where he is celebrated as a handsome, dashing hero while she is shoved to the side and ignored and he hates it.
He probably spent a lot of heartbroken hours out on the sea wishing revenge on her (like ten years’ worth), but then he gets to see it happening and revenge turns out not to be that sweet after all. He probably thought “I hope she never gets married to anyone else and she has to spend the rest of her miserable life with her miserable family, listening to them talk about nothing and regretting ever letting me go.” But then he has to watch her live through it, and it is just excruciating. Watching her bite her tongue. Watching her keep her eyes down on her clasped hands. Watching her silently accept everything as if she deserves it.
He’s like, “YES, it’s all HAPPENING! She’s all ALONE and PALE and OLD and…sad. And her family treats her terribly, and she’s— no one is talking to her. No one even knows that she’s funny and smart, they just— they just make her sit in the corner. She’s hardly eating anything. And she really isn’t that old, but they are acting like she’s dead? Her family is even worse than they used to be, how is that even possible? Why isn’t anyone helping her? Why is she the only person taking care of anyone? Why isn’t anyone taking care of her?”
And his nasty “she’s so altered I should not have known her again” comment that he KNOWS got back to her starts ringing in his ears. And his cocky “yeah I’m just here to find a YOUNG, HOT girl to marry now that I’m SUCH A CATCH, whatevs” approach starts to make him feel queasy, because she’s HELPING, she’s trying to stay out of his way and help him pick a young wife, and she hardly ever smiles anymore, not really. He watches her slip out of rooms when he enters them and he hears her laughing with her nephew sometimes but then go quiet when anyone else approaches, and he doesn’t know what to do.
Anyway, every fandom has a bunch of Pride and Prejudice AUs, but I WANT PERSUASION AUS. I NEED THEM. I NEED THEM.
It was stupid good. So good in fact that the bbc filmed a version and put it on dvd when it debuted. I bought that dvd after I saw the show and put it up on the Internet Archive. The audio is not great but the dancing is spectacular. Ever see a pas de deux around an anatomical dissection? You will.
i think all quiet on the western front and the lord of the rings are in direct conversation with each other, as in theyre the retelling of the same war with one saying here’s what happened, we all died, and it did not matter at all and another going hush little boy, of course we won, of course your friends came back
someone should remake lord of the rings as a grandfather telling a fantasy story to his grand child with flashbacks to world war one showing the dead boys and men the characters were based on. grandpa why didn’t they just fly. because they didn’t. they didn’t.
I will never get over how Tolkien & Lewis took the horrors of war and spun them into fantasy.
Shivering in the trenches dreaming of cozy hobbit holes, shaking as bombs pockmark a forest and imagining each shallow mud-filled crater contains a new world—that maybe there are still as many beautiful things in the universe as there are bombs—that maybe the world is bigger than this moment and this ugliness and one day this will be a peaceful forest again full of small ponds.
I mean look at these photos of the shell craters in Sanctuary Woods, near Ypres Belgium and tell me it’s not the Wood Between The Worlds:
The AMOUNT of academic papers written revolving around Tolkien, The Lord of the Rings, Peter Jackson’s movie interpretations, World War I and it’s events/aftermath/etc., and the cross-comparison between them that I have currently in my office is MASSIVE.
No lie, this is a HUGE area of study and if you’ve thought that those things feel in line, then you aren’t the only one.
One of my favorites is by an Irish historian who makes a very compelling argument (based on WWI, Post-War art, and Tolkein’s own writings/letters/journals/etc.) that by rooting for the Hobbits, we’re rooting for the continuation of the British Empire, and that Sauron is representative of the “Machine Age” (aka modernity).
Whether you agree or not, a really fascinating argument. Layer in specific national memories and perspectives (the Irish, Belgians, ANZACs, etc.) and it becomes EVEN MORE fascinating.
Seriously, if you’ve never wandered down this JSTOR ( @jstor ) rabbit hole, then you absolutely should! It’s SO much fun ♥️
"The number of hours we have together is actually not so large. Please linger near the door uncomfortably instead of just leaving. Please forget your scarf in my life and come back later for it."
Sad that my work wouldn't get this for me... Apparently the lack of backrest made the safety officer and risk management very nervous 😔. But I want it 🥺
Castles in the Fade, or What Was the Point of the Veil Anyway
Something that will now haunt me until the end of time is why was the concept of the Veil ever introduced into this series.
We’ve been hearing about it since the very first game. There’s a codex entry about tears in the Veil in Origins. Tamlen mentions a thin spot in the Veil if you play a Dalish elf. Sandal has a prophecy in Dragon Age 2: “One day the magic will come back—all of it. Everyone will be just like they were. The shadows will part and the skies will open wide. When he rises, everyone will see.” Admittedly, this is just one line said by a character who often says odd things, but it hinted to the fact they were planning to do something with the Veil from the very beginning. The state of the Veil is repeatedly brought up. It all had to mean something! Or so I thought.
When I saw “The Dread Wolf Rises” quest in Veilguard, I said, “Oh, here we go!” The Veil is coming down, magic is coming back, and it’s going to set up such an interesting story for the next game.
Alas, no.
I hadn’t really enjoyed my time playing Veilguard up until this point. It felt like the game was ducking and dodging every bit of world building and lore that could possibly bring nuance or complexity to the story. Every returning character or faction was a cardboard cutout of themself. They shoved Solas is a time-out box and gave him nothing to do. They refused to let him have any impact or influence on the story when he had been set up to be our main antagonist back in Trespasser. This game used to be called Dreadwolf! And while we learn about his past… we never talk to him about it. In the present, he’s in stasis.
Elgar’nan and Ghilan’nain are our villains. And they are your typical evil for evil’s sake villains. They are mad, bad, and only as dangerous as the narrative will allow as to not give Rook and co too much trouble. They are surprisingly patient while Rook fixes all their companions’ problems… until Elgar’nan moves the moon to cause an eclipse. A vital component in making his own lyrium dagger. For some reason. This guy can move a satellite!? And he just let Rook walk away in previous encounters… twice. Ok. Sure.
The Evil Duo need their own dagger ostensibly to tear down the Veil, because they want to unleash the full force of the Blight onto the world. Because they are evil. And they were thwarted last time they tried to Blight the entire world. Why do they think Blighting the world is a good idea? What’s the point of ruling a world if everyone is dead? I guess they haven’t thought that through, because of the madness and the evilness.
Ok, I thought. Perhaps the gods will be the one to tear down the Veil. Or maybe we’ll have a choice to let Solas do it his way before they can, which will be less chaotic and less full of Blight. Because the Veil has to be coming down one way or another? Why introduce the concept of the Veil, especially a Veil that has been thinning and failing since the series began, if it’s just going to… stay.
There is a principle in storytelling called Chekov’s gun. If something is mentioned in a story, it must have a purpose. If you keeping mentioning that gun hanging on the wall over the fireplace, it’s because at some point in the story, someone is going to take it down and use it. The Veil felt like Chekov’s gun to me. Chekov’s Veil, if you will. It’s been here from the beginning of our tale, the spectre hanging over our protagonists’ heads for multiple games.
The Veil has been a character unto itself. It was the central focus of the third game, and its dissolution was set up to be the core conflict of the fourth game. We learn everything we thought we knew about the Veil was a lie. It was not created by the Maker to separate the Fade from this world because of jealous spirits, it was created by a guy named Solas to trap the elven gods and the Blight from destroying the world. Also, the elven gods were never gods, and they are also evil.
This reveal will surely throw the Andrastian religion into chaos! This puts the very existence of the Maker into question! The Evanuris are a lie; it’s only fair Catholicism—oh, I mean—the Chantry is a lie too. We briefly touch on that in Veilguard… then it is quietly discarded. Religious crisis averted.
But I digress.
When the title of the fourth game was changed from Dreadwolf to Veilguard, I started to see the writing on the wall. Still, I held out hope the Veil would have some greater purpose in the story. That its introduction as a concept was for a reason. That something in this world would change.
Instead, from the get-go, the question of the Veil is no question at all. We only get Solas and Varric making oblique or catastrophizing statements about it. Solas says little beyond he has a plan. If I ever wanted to hear a villain monologue about their plan, it was now! Varric, on the other hand, decries Solas’s plan. He warns that should the Veil fall, it will destroy the world and drown it in demons. And that’s that.
We never really learn why Solas wants to tear the Veil down, or why he thinks it will help anyone. “The Veil is a wound inflicted upon this world. It must be healed,” he says. And that’s basically all he says about it in Veilguard. In Inquisition and Trespasser, we learn it took the immortality from the elves. It cut most of magic off from the world. Spirits are trapped and are being corrupted into demons, and most of what we know about spirits and demons is wrong. There are ancient elves possibly asleep? That part is left vague, but ancient elves are still about. We meet some in Mythal’s temple. There seems to have been some merit in bringing it down, because elves were flocking to Solas’s cause at the end of Trespasser. He had agents working for him already. What do they know that we don’t know?
Apparently nothing, because by the time Veilguard rolls around, there are no mention of agents. He is working alone. His only motivation now seems to be he’s too deep in his sunk-cost fallacy. The Veil is unnatural, so it must be removed—consequences be damned. We are never given any reason to think Solas has a leg to stand on in his pursuit of tearing down the Veil. We never hear any kind of counter argument from anyone, not even Solas, as to why the Veil should come down. We are only told it will destroy the world. It will drown the world in demons. This is all Solas’s fault.
There is no nuance. No complexity. No moral quandary to mull over. The game gives us vague warnings with no explanation as to what exactly is so world-annihilating about the Veil coming down. We must take Varric’s word at face value. We’re the heroes; Solas is the villain. Stop him.
It makes me wonder why Solas was ever a companion in Inquisition, let alone a romance option. Solas was presented to us as a complicated character in Inquisition. We had the potential throughout the game to make him see the value of this world, to help him realize he was wrong about it. “We aren’t even people to you,” the Inquisitor says in Trespasser. Solas replies, “Not at first. You showed me that I was wrong...again.” He began the third game viewing the world as tranquil, seeing the people in it as nothing more than figments in a nightmare, just as we saw our companions in the In Hushed Whispers quest. He ends the game having made friends, having recognized he was mistaken. He might have even fallen in love. (Or he may still seen no merit in this world if the Inquisitor antagonized him the entirety of their time together.) But something makes him continue with his plan to tear down the Veil, despite recognizing this world is real. He must know something we don’t. Something we’ll learn about in the next game.
We’ve been hearing about the Veil for three games now. We’ve set up our complex antivillain for the next installment, and he’s going to tear the Veil down. We swear to stop him or save him. But it has to be more complex than that. It can’t be so straightforward. Uncomplicated. Simple. Boring. Right? Right?
Nope. He really is just the villain, mustache-twirling and all. He apparently had no greater motivation, no as of yet unrevealed knowledge that would put this whole Veil thing into a new context. It was really as simple as the Veil falling will destroy the world, so Solas must be stopped. There is no new information that is revealed which makes us question what we are doing. Solas is never given any nuance or complexity to his actions. Nuance and complexity have actively been taken away. Both him and the Veil are looking like they are the worst things to be in a story: pointless. Why introduce the Veil if it’s just going to remain unchanged? Why introduce a character like Solas, bother humanizing him (for lack of a better term), giving us his backstory, setting him up as a cunning antagonist, only to make him look stupid, then put him on a shelf until the last ten minutes of your game?
Solas was the trickster archetype of this tale. He was our version of Loki from Norse mythology. What is the role of the trickster archetype? To challenge the status quo. To bring about events of extreme change, like say, the tearing down of a Veil that holds back all of magic. Loki is a huge contributing factor in Ragnarök. Through his manipulation, he causes the death of the beloved god, Baldr. This ushers in a long winter, which signifies the beginning of the end. Loki is imprisoned for this crime. When the final battle between gods and giants begins, the sun and moon are swallowed, plunging the earth into darkness. The earth shakes and Loki is freed to fight on the side of the giants. The world burns in raw chaos, falls beneath the sea, and is reborn. The world is remade, and a new realm of the gods and a new, better earth is formed.
It really felt like this was the setup they were going for. Solas causes the death of Mythal, and this is his catalyst for creating the Veil, which ushers in a world without magic. This could be seen as equivalent to the long winter. Solas falls asleep, trapped in dreams. He wakes and sets in motion bringing about the apocalypse. It’s not a perfect one to one, but it’s there if you squint. We have a war against the gods in Veilguard. I was expecting a few remaining Titans to wake and join the fight. But we don’t get any of that. There is a final battle, but it does not end in the end of the world. Or a better world. It just ends, and everything is the same.
It seems our trickster god caused his apocalypse thousands of years before our story started, when he created the Veil. His role in this tale was over before ours began, and he really is just some relic from a long-past age. He has no role, no purpose in this story. He is here to be thwarted. He is no Loki at all.
If you can’t tell, I wanted the Veil to come down. Did I think the Veil coming down would be painless? Have no negative consequences? No. Of course not. But keeping it up has negative consequences too. And it made for an interesting story. Or at least it could have. But we never explore that. The game presents no counter argument to having the Veil stay up, which, again, begs the question: what was the point of introducing the concept of the Veil at all?
Did I think the Veil coming down was actually the best solution to help Thedas become a better place? I don’t know, and I never will, because the game never argues for it one way or another. It just tells you to want it in place and to stop asking questions. In real life, a catastrophic event is not the best way to solve any of the world’s problems. But this is the realm of fiction. We have gods and monsters, magic and myth. We have introduced the status quo of Thedas, recognized it needs to change, then our trickster god appears ready to fulfill his role in the narrative.
Instead, it all comes to nothing.
I got to the end of Veilguard… and everything was more or less the same as it was at the start of Origins. Veilguard actually tries its hardest to pretend any previously mentioned problems don’t exist, so of course the Veil coming down has no merit. There are no problems to solve in this world, apparently. Solas is just stuck in the past and can’t get with the times. Silly Solas.
The Veil isn’t even a permanent solution. It wasn’t to begin with. It was some duct tape wrapped around a broken pipe, and we’ve just slapped an extra piece of tape on it. It’s still leaking. It is still unnatural, and will fall eventually one way or another. Large amounts of bloodshed weaken it, so I guess Thedas better achieve world peace real quick to avoid any battles. There were seven super-powered mages holding it together… now there is just one. Ironically, the Veil was going to fall after two more Blights anyway. The Wardens were doing Solas’s work for him! It would also have released the full force of the Blight at that time… which Solas was trying to avoid, I presume.
It feels like keeping the Veil up just pushed a big problem onto Thedas’ future generations. We’ll keep slapping bandaids on it until it all falls apart. Someone else can deal with the fallout, but we’ll be dead by then, so who cares.
Primarily, I wanted the Veil to come down from a storytelling perspective. The Veil was an interesting concept and I wanted the story to do something interesting with it. Conflict is what makes stories stories and the Veil coming down could create so much compelling and complex conflict. And the Fade is weird, and I like weird. Stories are also about change, and I wanted to see Thedas change. Yet, Veilguard is over, and barely anything has changed. Instead of magic coming back being a conflict for the next game, they went with Fantasy Illuminati. Oh.
The Veil turned out to be a nothing-burger, and no problems in this world are even close to being solved. Slavery is still rampant in Tevinter. The elven people are still oppressed everywhere. Mages have no more rights in the South than they did in Origins. Spirits are still trapped and being corrupted. The Calling still exists, though might be different somehow now? They don’t really get into that. The Chantry’s validity is still not allowed to be questioned. The Blight still exists in some form, but again it’s vague. Oh, and we learn the dwarves have been gravely wronged, and the Titans are still tranquil. At least if you redeem Solas and a romanced Lavellan joins him, they can work together on healing the Blight and helping the Titans. Oh, good. One problem is being acknowledged and some action will be taken. Offscreen. Hurray? Solas doesn’t have a really great track record of fixing problems, so Lavellan is definitely going to need to be there to make sure he doesn’t fuck it up.
For some reason, this game seemed terrified of letting us think about anything for more than two seconds. It shied away from complexity or nuance at every turn. The game is called The Veilguard—ironically, that word is never uttered in the game—but we are given no real motive for guarding the Veil. We’re unquestionably the hero. The villains are uncomplicatedly evil. Save the world… never wonder what you are doing or why.
I wanted the game to make me question if the Veil staying up or coming down was the right choice. I needed to be given a real counter argument. Convince me the alternative would actually be better or worse, because as I mentioned… things suck quite a bit in Thedas already for a lot of people right now. Let the Veil’s fate be a difficult choice to make. If the conflict cannot be what to do about the Veil, it should be am I doing the right thing about the Veil. If the heart of your game is so thin on motive, everything else falls apart around it.
I hoped they were setting up a complex, Thedas-sized existential conflict for this game in Trespasser, but no. I wanted something to happen, but nothing did.
I want to feel challenged and changed by a story, not left feeling empty. I’m tired of superficial entertainment. I want to sink my teeth into a narrative that doesn’t paint the world in broad strokes of black and white, good and evil, heroes and villains.
Ultimately, I think my issue is why even introduce a concept like The Veil if you’re not going to do anything interesting with it. Or anything at all. What I thought was Chekov’s Veil turned out to just be a MacGuffin. And that’s disappointing.
Santa is on strike due to global warming. All presents this year will be delivered by Sasha the Christmas Tiger. Milk and cookies may not be sufficient.
I’m about to save you thousands of dollars in therapy by teaching you what I learned paying thousands of dollars for therapy:
It may sound woo woo but it’s an important skill capitalism and hyper individualism have robbed us of as human beings.
Learn to process your emotions. It will improve your mental health and quality of life. Emotions serve a biological purpose, they aren’t just things that happen for no reason.
1. Pause and notice you’re having a big feeling or reaching for a distraction to maybe avoid a feeling. Notice what triggered the feeling or need for a distraction without judgement. Just note that it’s there. Don’t label it as good or bad.
2. Find it in your body. Where do you feel it? Your chest? Your head? Your stomach? Does it feel like a weight everywhere? Does it feel like you’re vibrating? Does it feel like you’re numb all over?
3. Name the feeling. Look up an emotion chart if you need to. Find the feeling that resonates the most with what you’re feeling. Is it disappointment? Heartbreak? Anxiety? Anger? Humiliation?
4. Validate the feeling. Sometimes feelings misfire or are disproportionately big, but they’re still valid. You don’t have to justify what you’re feeling, it’s just valid. Tell yourself “yeah it makes sense that you feel that right now.” Or something as simple as “I hear you.” For example: If I get really big feelings of humiliation when I lose at a game of chess, the feeling may not be necessary, but it is valid and makes sense if I grew up with parents who berated me every time I did something wrong. So I could say “Yeah I understand why we are feeling that way given how we were treated growing up. That’s valid.”
5. Do something with your body that’s not a mental distraction from the feeling. Something where you can still think. Go on a walk. Do something with your hands like art or crochet or baking. Journal. Clean a room. Figure out what works best for you.
6. Repeat, it takes practice but is a skill you can learn :)
I have been in EMDR therapy recently to help with past trauma and like 90% of the appointments is just this post. Which I thought was silly at first bcs I was like "well I know how I'm feeling, I feel bad" but man you have no idea. Literally JUST talking through whatever stressful thing I have going on at the moment and whenever I feel a Big Emotion stopping and acknowledging, naming, and sitting with it. I've made more progress with my trauma and mental illnesses just doing this in a single year than I have in like 10+ years of therapy.
It might feel silly or pointless at first but stick with it, it really helps.
As someone with alexithymia, I have found DBT's handouts on "Understanding and Naming Emotions" really helpful in being able to tell what emotion I was having to then validate it or manage it. They are detailed. On each emotion page, Marsha Linehan (long may she live) put things under the following headings, to create a detailed emotion profile:
[Emotion] words - synonyms for and variations of the main emotion e.g. under anger is fury, outrage, resentment, bitterness, annoyance, frustration, hostility, etc
Prompting events for feeling [emotion] - so for anger some prompting events could be "having an important goal blocked," "you or someone you care about being threatened or attacked," etc
Interpretations of events that prompt feelings of [emotion] - similar to above, but it is thought patterns or beliefs that could prompt having a feeling - an example for anger is "ruminating about the situation that caused the anger in the first place"
Biological changes and experiences of [emotion] - so for anger, bodily experiences like fast breathing, a tightness in your chest, tensed muscles, being unable to stop crying - and urges you might get, like wanting to hurt someone
Expressions and actions of [emotion] - just what it sounds like. For anger some examples are: walking heavily, stomping, slamming things; brooding or withdrawing from others; mean expression; physically or verbally attacking someone; crying; grinning
Aftereffects of [emotion] - what happens after the first intense wave of emotion finishes. For anger it includes: narrowing of attention, ruminating about past and imagined future situations that could make you angry, depersonalisation and dissociative experiences
I tend to slowly scan each part of my body for physical sensations, body language, and urges (ie "biological changes and experiences") and then try to match those to an emotion, now that I have those cheat sheets. Getting good at this took a lot of practice and repetition. For me at least, it is a manual skill I have had to build up.
Working backwards to figure out what emotions you might logically have in response to an event and seeing if those match what you are feeling can be really helpful too.
You can find these DBT emotion handouts here (scroll to page 7 for the start of the emotion profiles):
And here is every single DBT handout from the official manual for anyone interested (don't sue me pls):
Also helpful to other people I have talked to is this emotion-sensation wheel by Lindsay Brahman, which some people find easier to follow:
Just don't do a me - I took this too literally at first and thought that only the sensations directly branching off the emotions made up those emotions. In reality there is a lot of mixing and matching, and a lot of stuff not covered on the wheel. It is a rough (but often useful!) guide.
And here is another useful infographic that comes from this article by Greatist, which they adapted from a 2014 study that aimed to map bodily sensations of emotions. Yellow areas are the most activated/tense regions (so they might feel hot, tight, tense, full of energy, warm, maybe sick or fluttery if it is your stomach), and blue areas are the least activated regions (feel heavy, hard to move, maybe weak or cold)
And finally a tip for my neurodivergent friends: when you are scanning your body for emotions, look for signs or causes of overstimulation first, and address that before you try to do any of this - headphones, leaving a space, eating or drinking, turning off lights, weighted blankets, going somewhere cooler or warmer, stimming, whatever you need/can reasonably do. In its early stages overstimulation may feel like an intense emotion, and unfortunately mixing them up can lead to some bad and unproductive times.
It came without ribbons. It came without tags. It came without packages, boxes, or bags. And he puzzled and puzzled til his puzzler was sore. Then the Grinch thought of something he hadn’t before.
Maybe Christmas…he thought…doesn’t come from a store.
Maybe Christmas…perhaps…means a little bit more.
FESTIVE SEASON 🎄 HOW THE GRINCH STOLE CHRISTMAS
dir. Ron Howard (2000)
a while ago I read this sci-fi short story from the 50s where a guy is kidnapped and interrogated by aliens using a very sophisticated lie detector, but he realizes that the lie detector works off technical truth, and with some careful phrasing and misdirection, he manages to make them believe that humans are a race of immortal, overpowered, omniscient telepathic beings. and it works.
my favorite part is when he tells them that humans are "capable of transportation without the aid of spaceships or any vehicles, just by using mental power to control physical matter". it's true, we can. it's called walking.
okay I found it, it's The Best Policy by Randall Garrett
and it has other gems such as "I know beyond a shadow of a doubt what every member of my race thinks of you" (they don't know you exist) and "every human knows exactly as much about the location of your home planet as I do" (nothing)
Y’all, if you care about feminism, then you ought to care about the history and context of the miniskirt. The 60s were an era of rebellion against the 50s, and the skirts were part of it. They were literally cutting edge fashion, and a statement that women made against the more housewifey style of skirt from the decade before. It was Grace Lee Whitney herself who suggested to Roddenberry that they wear them, and Nichelle Nichols has said she never had a problem with them. They are a product of their time yes, but the women chose to wear them because of the context of that time.
Picard in that dress is so good. Look at him! He looks formal and serious and dignified! He looks like he’s captain of his ship and he’s got some important business to do. And he’s in a dress and tights. And it’s not a joke. It’s not a joke about a man in a dress! It’s just, you know, a man who is wearing a dress, and that’s normal and appropriate. It’s part of the uniform. It fits him. It’s totally unremarkable and that is so rare and I’m so happy.
I feel obligated to point out that this is Picard’s literal dress uniform (his Extra Special Fancy Uniform), and he hated his dress uniform? But he hated it because the collar was uncomfortable, not because it was A Dress. There’s zero commentary on how it’s A Dress and a lot of bitching about its lack of comfort.
northern hemisphere babes we made it to the longest night of the year. we made it. for the next 6 months, every day will give us a little more daylight than the last. let's go. take my hand. climb out of the darkness with me
You don’t know real fear until you are traveling in Dragon Age: Origins and the crossed swords appear before you’ve reached your destination. When was the last time you saved? Please let it not be the one with the spiders. You were a good person, you didn’t deserve this. The Maker truly did turn his back on his children
Procrastination because reasons @naerysia - Tumblr Blog | Tumgag
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