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Product Placement
Monterey Bay Aquarium
EXPECTATIONS
Sweet Seals For You, Always

PR's Tumblrdome

titsay
Aqua Utopia|海の底で記憶を紡ぐ
d e v o n
art blog(derogatory)

shark vs the universe
NASA

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will byers stan first human second
$LAYYYTER
TVSTRANGERTHINGS
🩵 avery cochrane 🩵
Not today Justin
One Nice Bug Per Day

@theartofmadeline
almost home

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@qualitative-decay
Murderbot entering Ravi-Hyral: YOU ARE A REGULAR GUY. YOU CAN ENTER A SPACE. YOU ARE A REGULAR GUY. YOU CAN DO THAT TRANSACTION.
Goddddddd thinking about that narrative moment when something horrible is happening and the character who has been frantically trying to come up with a way to fix it and getting more and more frantic and panicky just—stops. Because. Oh. There’s the solution. They’re not getting out of this alive but like. It’s a solution for everyone else. Okay. Okay.
they'd prefer it if she didnt leave at all
sidequest with secunit and three picking a bond company to break into & steal updated security keys/hacks/databases so they don't fall behind in the endless arms race of digital security
“The Shonen Protagonist joins The Organization” is such a cheap and easy hack for framing a narrative because the author never has to come up with a reason why the protagonist gets involved in each arc. It’s just that The Organization has a new Mission for the protagonist every time and the protagonist gets to say, “Righteo, thanks plot for telling me what to go do.”
Which makes Fullmetal Alchemist so much funnier because Edward Elric very very much does join The Organization. He’s in fact quite famous for joining The Organization. Where The Organization is a hostile fascist dictatorship with immense military power which is good at both giving orders and punishing defectors.
And yet over the course of the series Edward is so allergic to ever being told what to do that he in fact never ever goes on an Organization-Ordered Mission. And the exactly one time The Organization DID try to tell him what to do Edward hated it so much he fucked off and impaled himself at the bottom of a mineshaft about it.
the absolute devastating intimacy of a forehead rest. when you are both just so tired from existing in a world that demands you to be a rigid, functional individual, and you finally collapse into each other and just lean your forehead against theirs, or against their shoulder. it’s the physical equivalent of dropping your shields. it’s saying i am entirely heavy right now, and i am trusting you to bear a piece of that weight. and the most beautiful part is that the other person doesn’t even flinch. they just adjust their stance, tuck you a little closer, and absorb the impact. we were designed to divide the burden of being alive.
are you here, Stanley?
@outerwilds-events My entry for campfire fest 2024 day 7!! Open prompt -> I chose universe for this one ::] it's pretty basic but I tried getting out of my comfort zone for this illustration! So here it goes.
-> More Outer Wilds Art!
@lovely-arps you're about to make me cry 😭💕
I need a blowjob but I don’t have a penis or a strap on and I’m not taking off my pants so you’re just gonna have to figure it out
This is all I got
The BEST trope is when a character tells another “let’s run away together, we can leave all of this behind and start a new life somewhere” and gets rejected. And then the rest of the tragedy unfolds
I love characters who are like "I'm a terrible person" but when you look closer it's more like
"I adapted to survive something and now I don't know how to stop being that version of myself."
really specific trope i like that i feel like can only be explained in a diagram
category 12 thinking about season four martin event please keep me in your prayers
when jon asks about his poetry and hes like i havent exactly had a lot of time recently and its like. that may be true but its obviously more than that. like theres always talk (and this idea has become less en vogue in circles adjacent to me over the last decade but it is by no means gone) of creative geniuses throughout history being so good bc they were mentally ill but in reality its actually unbelievable how difficult it is to make art when youre deeply depressed. its one thing to write a poem when youre sad bc youre, For Example, pining after your boss who hates you, but its another thing entirely to write a poem when youre actively, deliberately cutting yourself off from the world and your own emotions. where does the poetry come from if you cant dig your hands in and pull it out of the world or your emotions. and why would you even care about poetry if its not for and from the world and your emotions. and how do you begin to heal if you cant access the world and your emotions. and and and
no literally like the fact that 1. jon felt such a strong need to connect that he 2. dug up the memory of something he knows martin likes and 3. asked about it in That Voice and then 4. martin didnt even react. he didnt even get all breathless and excited that jon cared enough to ask. he didnt even like. smile. remember how happy he sounded when daisy told him that people said he and jon were close. thats how he wouldve responded if jon asked him about his poetry in season three. but hes too far gone for that! lol!
Yyyyyyup basically it'a gonna haunt me until I die
the backrooms are simply not as scary conceptually if there is Something In Them
the whole reason why they're so unnerving is BECAUSE there's nothing in them!! because they're unrelentingly liminal and lonely and uncomforting. there shouldn't be a monster guy in there chasing you. you should glimpse other humans (?) from a distance but they walk away before you can close the gap and then they're gone. things should run away from YOU. do u get it
"and there was a MONSTERowooowwohhhh" the monster is isolation and banal beige sameness and uncanny valley architecture. you fool. you rube. you're putting a hat on a hat and the second hat is not only unnecessary but it ruins the first hat!!!!!!! "there's a monster in there" great so now it's just another place for a monster to be. ridiculous
network effect.png
stargazing