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izzy's playlists!
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@pandemi-c-goblin
This steampunk clock writes the time every minute, and erases it before writing again.
This is the most ridiculous, inefficient, and needlessly complicated thing…..
I know. It seems almost completely unwieldy and useless.
I want it.
okay, but this is really what a Steampunk watch should be. Not just a dial watch with a cover made of bits of brass and copper.
The Descent
You're a real heavy hitter, a badass bruiser who takes what he wants when he wants. The local law is in your pocket, politicians under your thumb, residents under your boot; you've got it all, and no one can stop you. You're walking the streets at night, and you've got nothing to fear in this town. It does seem quieter tonight, though, somehow. Save for the piercing calls of the local crows—or, now that you think about it, there's only one crow. Still, it's been on the roof of one of the houses on every street you've walked down. You stop and stare at the crow. It stares back, and its eyes, for a second, flash purple. Then you hear the footsteps: the slow, heel-toe meandering of boots behind you. You pivot to see whoever would be dumb enough to come out of their house after dark, but when you turn, there's no one there. Still, the footsteps keep coming, closer now, and somehow behind you again. You wheel around and suddenly you're face to face with a figure you don't recognize: a tall, slim fella in a long coat. His silver, slicked-back hair and handlebar mustache contrast his pale purple skin, any one of his features sharp enough to cut yourself on. "And who the fuck might you be?" you demand to know. The man stares you down with his cold grey eyes and says, almost wearily in his southern drawl, "I am your reckoning."
The crow caws again; it burns your ears. The man vanishes in silver smoke, and then the ground begins to shake beneath you. The aged houses and the cobbled streets around you collapse in on themselves, plummeting into a fiery lake hundreds of feet below. All but the small sanctuary where you're standing. You fall to your knees and cling to your island, precariously balanced on an emaciated pillar underneath. You can feel the fierce heat from the molten river beneath you, but it's not close enough to burn you. You find your footing on the platform, and then, from the distant darkness, a swirling purple fire flies at you, slamming into you. And then two more. Over and over, a sixth, a seventh—it hurts like hell, but you keep your balance. The next one slams into you like a goddamn freight train and flings you from the platform. You scream and flail as you plummet towards the red-hot river below, but when you hit it, it does not consume you. Instead, you pass straight through it, and the screaming begins. Not yours, but the pained screams of thousands, an ear-bleeding cacophony. Faces flash past you; you recognize some. People you've hurt, people you've killed, screaming, crying... laughing? They're laughing at you. They fly past as you crash through something—a layer, and then another, and another. Twisted images, each more fucked up than the last. A kaleidoscope of horrors beyond comprehension. You feel like your brain is melting, and you laugh so hard it hurts. Your lungs burn, your muscles convulse, tears stream down your face. You cling to your head, your nails scraping down your skin. Your mind has no recourse; your organs all simultaneously trying to find the quickest way to exit your torso. You can't breathe, you can't stop laughing, screaming, crying. You can't stop falling. You can't stop dying forever and for an eternity.
And then, just as you lose the last vestige of yourself, as you're about to finally become numb to the flesh-melting, stomach-churning torture, you crash hard, face-first onto the cold, wet cobblestone street that had crumbled beneath you. A trembling, hollow husk, unable to move, unable to speak, all you can do is watch as that silver-haired man crouches down in front of you, the crow on his shoulder. Both of them tilt their heads in curiosity as they look at you, and the man asks, "Everyone sees something different; what did you see?" After a moment of silence, the man stands up, turns away from you, and strolls off down the street. You close your eyes tight, and you hope beyond hope you never have to open them again.
Obligatory truck I don’t trust reblog
Fursonas are too hard to decide; it's time for radish plantsona.
Fursonas are too
hard to decide; it’s time for
radish plantsona.
Beep boop! I look for accidental haiku posts. Sometimes I mess up.
we have to blow up the whole world
this is one of my favorite reddit posts of all time
God forbid Chippy do anything
You absolutely must unmute this video.
SOUND. ON.
soundonsoundonsoundonsoundonsoundon!
This is literally the best fucking thing I have ever seen
not even a game grumps fan but this is some iconic shit right here
I will always reblog this every time i see it!
Sorry but it's not complete without...
SEND ME ON MY WAY
It's fine if you can't buy anything, but I'd really appreciate it if you could at least share this, I appreciate the support either way, as a side note, I can't offer them for any less than this, since PayPal significantly reduces my earnings due to currency conversion.
I think a lot about how in Ice Age 1 a huge theme is the slow but unstoppable advancement of the human species as they start to threaten previously unchallenged megafauna (hunting the pack of the antagonist sabertooth and killing Manny the mammoth’s family) and then in all the sequels they just fuckin disappear
I think a lot about how the first movie was actually pretty somber and dark with moments of lightheartedness and comedy, about three animals who had lost their own families finding family in each other while trying to return this baby to his own family… The first sequel, while wackier, touches on the existential dread and loneliness Manny feels at being the apparent last of his kind, his exhilaration at meeting another like him, and the question of “be together because we want to be, or we HAVE to be?” as well as Ellie having been part of a found family herself… ….and then the franchise from then on out turns into “wacky animal hijinks.”
OKAY FOR REAL i rewatched the original ice age a little while ago for nostalgia and this movie is GOOD you guys—i literally rewatched it all over again the next day. there are a couple of key things i noticed:
1. they know how to shut up. the animals know how and when to shut up. yes, even the comic relief one. do you have any idea how important this is? yes, they play it for laughs when diego first confronts manny and they fight and then diego stops, clears his throat, and asks manny politely for the child (which was brilliant, by the way, i laughed aloud), but aside from that, when there’s a serious moment, they let it be serious. when manny accepts the baby from the mother, when he sees the paintings of the mammoths on the cave wall, when he returns the baby to its father, these are moments where everyone is dead silent, even sid, and the music is soft and heartwrenching and the next line is rarely, if ever, a joke that undercuts the prior moment. they let these scenes linger and it really makes this feel like an emotional, somber, serious movie with fun character interactions rather than a comedy that makes cheap appeals to emotion.
2. the way they characterize manny at the beginning is SUPER interesting to me. by the end of this movie, we know manny is a big softie who was deeply wounded by the loss of his family. we as the audience don’t know this yet, though, and the first time we catch a hint that there’s something deeper going on here, it’s when manny firmly, sharply insists to sid that partners should be loyal to each other. it’s not an obnoxiously blatant “hey i have trauma” flag, since it could be interpreted as the writers playing with the monogamy of mammoths and promiscuity of sloths, which i’m fairly certain they bring up in this movie, if not one of the others. still, though, it strikes that perfect balance of not making the Oh Frick Manny Had A Family reveal later on completely blindside us while also not telegraphing it too obviously. at the beginning, manny is clearly a loner who wants nothing to do with sid, but to avoid making him come off as a straight-up jerk, they make it abundantly clear in the introductory sequence that he has a strong moral code that he holds himself to (”I don’t like animals that kill for pleasure”). i just thought this was really well done, opening the movie with a scene that demonstrates both that manny is a complex character who comes off as cold but cares deeply (which sid basically sees straight through and i love it) and that sid is incredibly unlikable and as such nobody likes him. i didn’t realize it at first, but that’s such an interesting move. we open the movie with sid getting abandoned by his family, but then we find out how annoying he is and go “oh, well that explains it.” but then he tells manny all about how they regularly do their best to ditch him and it’s so clear that he’s just too pure and innocent to hold any malice towards them. under it all, though, it’s clear that he’s lonely, too, and has been for a while. these characters have depth, and feel like people, and every quiet moment just drives it home even more that they really don’t have anyone except each other.
3. DIEGO! we stan. i think it’s really interesting how instead of just throwing these characters into the world together, the writers make it clear that they had other people, before, but those people either were toxic and ditched them (sid’s family), were toxic and needed to be ditched (diego’s pack), or were loving but torn away by circumstance (manny’s family). i dunno, it just adds a really interesting layer of depth here. but anyway, diego’s arc was just really well done. he’s only there to get the kid, and though he does start to enjoy himself, he still has his mission. but when manny risks his life to save diego’s and sid makes that comment pointing it out, you can SEE how he starts to linger, starts to dread, the guilt builds up until he TELLS THEM. that’s so important! he tells them!!! there’s no stupid, “liar revealed” plotline where they figure out that he’s been tricking them because he comes clean himself, without provocation or pressure, and they do eventually forgive him and that’s SO important. diego wasn’t being honest with them, was living a lie and planning to betray them, and he made the incredibly difficult decision to stop in his tracks and come clean on his own terms because he knew it was the right thing to do. there were So Many Ways the writers could have handled that reveal, but to have diego just stop, think, change his mind, and confess was SO GOOD. also the dynamic between the three of them was just really, really great. i’m so emotionally attached to these early-2000′s CGI creatures okay.
4. speaking of which, this movie is surprisingly good-looking. like it came out in 2002. that is IMPRESSIVE. manny’s fur holds up shockingly well and my suspension of disbelief was never fricked up by poorly rendered CGI graphics. props to blue sky, man.
5. okay point five is lowkey the whole reason for this rant because it’s a really really cool point i only noticed on my second watch through: the parallelism. why does diego have to kidnap this baby? because his pack’s leader (soto, apparently) wants to eat it alive as revenge for the humans killing half of his own. why does manny want to rescue this baby? because he, too, is a parent who lost a child and doesn’t want the humans to go through that. but, wait, hang on a minute, how did he lose his child? oh, yeah, the humans killed it and his wife right in front of him. both soto and manny lost most of the people they care about to the humans—these humans, specifically, since they seem to be the only community in the area—but where soto swears revenge, manny doesn’t want them to go through what he went through, even though this very act could be what perpetuates that. and they acknowledge it in the movie. diego mentions how this baby is gonna grow up to hunt them and sid counters that maybe the fact that they saved it means it will remember their kindness and things will change. but the whole movie carries the somber atmosphere of a tragedy because, as someone else mentioned above, the humans are steadily encroaching and all of these creatures are going to go extinct, and this one act of kindness may not have the intended effect and may soon be lost to the uncaring tides of history, but that doesn’t make it any less worth it. manny isn’t doing this to try and make a statement or change the humans’ behavior, he just wants to prevent them from going through what he did. calling this story one of “breaking the cycle of violence” cheapens it, i feel, because the humans are hunting the mammoths, not out of malice, but out of necessity for furs and meat and bone and tusk. it’s nothing personal—they’re predators. but still, manny seeks them out to return their baby to them. and when the baby’s father is raising his spear at manny when he’s trying to return it, you can just see that look in manny’s eyes, that he’s begging this human to understand, but he’s prepared to get speared if it means this kid gets to be with his father and MY HEART, YOU GUYS.
6. FOUND FAMILY FOUND FAMILY like i know found family isn’t really all that hard to come by, but this movie is REALLY explicit about it in a good way! they make the distinction between a pack—a group who wants you for what you can do for them—and a herd—a group who regularly looks out to see what they can do for you. and a saber-tooth tiger leaves his PACK to join this HERD! and they joke that this is the weirdest herd they’ve ever seen, but a carnivore has just joined a herd and that makes me feel SO MANY FEELINGS
ultimately, ice age is a movie about choices. manny’s choice to return this kid to its parents, even though he lost his own kid to those very parents, diego’s choice to come clean about his betrayal and his choice to join a herd even though he’s a carnivore, manny making the choice to risk his life to save diego, diego making the choice to return the favor, and all three of them making the choice to not give up hope that they can find a new family again after losing what they had before. this is a movie in which characters are more than the way they were born, are more than the circumstances of their lives, are more than what happens to them. they make choices and their choices matter and they choose to be kind, even when they have absolutely nothing to gain from it and everything to lose from it.
i guess you could say this movie aged nicely.
thank you and good night
im swimming at the lake and accidentally kicked a fish. this has never happened in my many years of swimming. sorry man
there used to be an old mine near where i'm staying. it's flooded now, so all that's left is this round opening in the rock filled with water. the rock walls surrounding it are steep, and people like to climb up and jump into it. the water is dark that even though it's crystal clear, you can't see the bottom. it's just this endless black void beneath you.
well, one night a friend and i decided to jump in without bothering to check the water first. it was late, nobody else was around, and we figured it'd be fine.
it was not fine.
we hit the water and immediately realized we'd landed in what i can only describe as tadpole soup. i am not exaggerating when i say it felt like swimming through boba tea that was 70% pearls. every stroke meant hundreds of tiny, squishy little bodies slipping between my fingers.
1/10 experience. one point awarded solely for the fact that it was, technically, an experience.
you are weak of mind and horny of spirit
