poor joel he will never be free from grian and gem
todays bird
Jules of Nature
One Nice Bug Per Day
$LAYYYTER
Cosimo Galluzzi
cherry valley forever
Sweet Seals For You, Always
KIROKAZE
occasionally subtle
Show & Tell
Three Goblin Art
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Not today Justin
Game of Thrones Daily
trying on a metaphor

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AnasAbdin

izzy's playlists!
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@querro
poor joel he will never be free from grian and gem
reblog to reblog this post from the person you reblogged it from
While I nodded, nearly napping, suddenly there came a slapping,
As of some one gently flapping, flapping at my chamber door.
“’Tis some fairy,” I muttered, “slapping at my chamber door—
Only this and nothing more.”
Quoth the walrus, "Are you sure?"
had to draw it
so baby hold me closer in the toast slot of your toaster
that i know you cant afford
take the toast out of the toaster
spreading cheese up to the corners, nacho mess onto my bowl
EXTRA:
cookies for you
- The Long Awaited Meeting Between Times New Roman and Comic Sans | Zac Oyama and Brennan Lee Mulligan
people say folks with adhd struggle with "delayed rewards" aka long term goals and as such we tend to focus more on short term rewards. what they don't talk about is that at when we Do accomplish long term goals we don't actually feel anything proportionate to the amount of work we did to achieve it. In my head I suffered for a while and then money spontaneously appeared in my bank account.
"Don't you feel satisfied that your windows are so clean now?" It sucked and it sucked and now I don't care. I just remember the sucking.
is this anything
i think if tango decides to make a decked out 4 someday, i would pass out
cause decked out 2 is already impressive. decked out 3 is..
..its hurting my brain
i cannot fathom how tango is capable of all these things. not to mention that insanely delayed gratification, i could never
Gem: I did see my favorite hate comment ever today though? I-I think it might be my fav-my favorite hate comment. And--it-it was that I'm turning Hermitcraft gay. (she laughs) It-it gave me a-a very good laugh. It--they, they meant it as hate, so genuinely, but I did not take it that way.
Gem: Like--(giggling) I. Find myself in situations so frequently, where the men are roleplaying kissing each other, and if I could stop them, I would, okay. I would be more homophobic, I would stop them! I can't! They keep going, I (through laughter) I don't know what it is.
Gem: But it's not me, it's-it's th--nobody's holding a knife to them right now and making them do that. (laughs)
Gem: They're just like it. I don't-it's not me. (laughs) God, it was one of my favorite comments I've gotten. I-I immediately sent it to Grian. (laughs)
Gem: (eight seconds of silence) I'll take credit, if I-if somebody has to take credit, I can. (laughs) But I don't think, I don't think it's me. (five seconds of silence, then, laughter) Entry (? she says a Twitch chatter's name here) thank you for the twenty-three months, I haven't, but I'll look into it. I have heard--well, I've heard of Project Hail Mary, actually--
Gem: I should read that, I have heard a lot about it. (six seconds of silence, then reading a comment) "It's not you." Yeah, I don't think it's me, unfor-the men are just like that. They-they're-they-they're like it. Already. I don't know. They-they came like it. I didn't--it wasn't season eight that that started.
Alot of my friends give me crap for watching mcyt and yea I kind of get it but this? This is really why I watch it. It's not just hermitcraft; I feel like it happens with most great roleplay servers or whatever you'd call them.
It's not just these men, I think it's Minecraft roleplay. Mcrp: you get to be as gay as you want. No repercussions.
The players: OH HELL YEAAAAA
hello fellow artists. google has fallen. pinterest/duckduckgo AI filters don't work. do not despair; here is a list i made of places to find reference images without having to sift through piles of worthless garbage. (for future editing convenience i am just linking my blog post on dreamwidth.)
✨ good places to find art reference that are not full of AI trash 🌈
reblogging for personal use
ART REFERENCE NOT FULL OF AI?! YESSS
THANK YOU
I'm not the one you really want Instagram | Twitter | BlueSky • Do NOT re-upload my art. • Do NOT use my art for generative AI training. • Using my art for profile picture(s) is OK with credit.
The code in the Guitar is probably not "1225".
HEAR ME OUT. HEAR ME OUT. I think it's longer than just 1225. The way the narrative actually treats it, we haven't yet gotten the code in the guitar. While we saw the first 3 digits as 1 2 2, Kris tears us out before we can finish it, and then there's the entire holiday manor SOUL sequence in which we struggle with Kris over the guitar, and then Carol shows up and ruins everything. Susie then goes on a long speech about how everything was going perfect until Carol showed up and then emphasizes:
That we will have to make another attempt on the Guitar Code tomorrow. This is re-emphasized later on if you inspect the shelter:
We know where one of the codes *is* but not its actual value. At least in the eyes of the story, we did not successfully retrieve the code hidden in the guitar. We will have to try again later in the story. But when discussing this with others, I commonly got a reply to the degree of: " But we already know the code inside the guitar, it's 1225! Why would we waste time going back to get it when we already know it! " And to an extent I get that. But I would like to propose something:
The code isn't 1225. At least, not completely. Consider this: If the code were just 1225, wouldn't... wouldn't Susie just be able to memorize that? It's 4 digits, it surely wouldn't be that hard. And look at what she actually says:
Not, "I couldn't really make it out", or, like, "I forgot it", but, she "didn't get to write it down". That to me seems like specific phrasing. You wouldn't need to write down a code that's only 4 digits, would you? Maybe at some point to keep it safe, but, in the moment? Susie's... Well, Susie is Susie, but surely she's not that stupid.
I refuse to believe Susie would see "1225" and go "Oh, shit, it's the code! I need a pen and paper right now, there's no way I can memorize this for a few minutes."
And so I propose a solution: It's not just 1225. It's 1225 plus some additional numbers- potentially a year? Probably the year Dess went missing. That could add up to 4 additional numbers, making it an 8 digit code, making it more reasonable that Susie would feel a need to write it down. Potentially foreshadowing for this also exists. Remember this scene?
The joke here is literally that there's a "code" that seems to only have 4 inputs at first, Susie literally suggests memorizing it, but then it's revealed that it's too long to memorize and must be written down, pen on paper.
Feels like it could be foreshadowing to me. TLDR: I think the code in the guitar is an 8-digit code, not a 4-digit code, thus solidifying the idea that Yes, we Do have to go back for the Guitar.
UPDATE!!! In the Weird Route, her dialog here is slightly different.
She claims she found the guitar, noticed the code, then took the Guitar to the living room? This makes absolutely no sense, if the code is a 4 digit code. This basically deconfirms the idea that her problem was that she didn't get to SEE the code- she was alone with it! The problem was that she needed to WRITE. IT. DOWN. I can't believe I neglected to consider this before. It's so real, the code has to be longer than 1225, there's no way it makes sense if it's not.
I can't wait to meet you!
i want to eat them
Monarch Kris :)
HOMAYGAD
this is so cool
been thinking a lot about people's varied reactions to the chaos & perceived inconsistencies around the rules of limited life and because i taught games professionally for a decade and have done a lot of reading on games academically, I have a few propositions for the fandom to consider.
proposition one: Your interpretation of gameplay events is not the same as a monolithic "the narrative" to which all players are equally subject.
Narrative is not what happened, but the interpretation and meaning attached to the events that occurred. Narrative is when we "give experience a form and a meaning." (Harris-Miller)
This construction of narrative - giving meaning to experiences - can occur in the way a video is cut an edited, as well as in the audience's interpretation after the video is released.
Social play is player interaction, both in the derived from the structure and rules of the game (being "It" in tag) as well as the social roles brought from outside the game. (1)
In transformative social play, players use the game context to transform social relationships.
Most players in the life game are more concerned with narrative as it relates to transformative social play - such as, what does this event mean for me, my alliances, my enemies, and the shifting of roles along that spectrum?
Narrative within the game is dynamic and always changing in response to ongoing events and shifting relationships. Viewers' narratives about the games are more static since they exist outside the game context and are not a part of ongoing social play.
Letting go of a single unified "narrative" lets us think about the differences, tensions, and resonances between players' in-game construction of narrative, the narrative constructed by the player's video edit, and the retrospective audience construction of narrative. (*)
proposition two: Fairness is decided by the players, not the rules.
Playing a game requires trust and safety with the other players. (DeKoven) Even in tic-tac-toe you have to trust that your opponent will take reasonable amounts of time per turn before you sit down to play.
We can distinguish between ideal rules (rules as writ, such as a physical rulebook) and the real rules (the general consensus on what playing the game should look like). (2)
Real rules can include how sportsmanlike behavior is defined, and when "breaking" a rule doesn't count; a common example is forgiving a player who genuinely made a mistake on accident and did not intend to "break" the rules.
The real rules are what actually matter in developed gameplay, and they can be negotiated and constructed inside the game as new events, situations, and dynamics occur. (3)
Brushing past Scar's "illegal" kill on greens is not him getting away with breaking the rules, it's the group coming to a consensus on the real rules of the game. Cleo asking Impulse if her kill on him can count and him finally agreeing is not the breaking of (ideal) rules so much as it is defining the real rules.
proposition: Players' own individual motivations and definitions of sportsmanship or interesting play inform their contribution to the general consensus on real rules and leading them to play "imperfectly" in favor of having more fun or staying true to something.
Purely optimal play is boring to the players and viewers, and taken to an extreme allowed by the ideal rules, would violate the real rules implicitly agreed to by the players.
"Optimal" gameplay in the life series could look like hiding in a hole underground for the entire game if the end goal is to survive the longest, but that would make a boring video and would likely be considered supremely unsportsmanlike by other players and their audiences.
Playing perfectly optimally is one motive to play a game, but is basically never the sole motivator if it's one at all.
Even if everyone in the life series has a goal to "keep playing the game as long as possible," that could mean being focused on winning, or being focused on making allies or not making enemies, or it could compel you to give up your life for someone else who's running out of time because to you to play the game is to play together. (4)
Scar is a perfect example of someone who consistently chooses "non-optimal" goals such as always having the enchanter and goes to great and stupid lengths to achieve it even if it means sacrificing winning.
This "non-optimal" play provides something for other players to play off of and react to, often leading to transformative social play, significantly meaningful narrative, or interesting negotiations of real rules. (5)
synthesis: The most interesting narratives are born out of situations where players negotiate the real rules, not ones where the (ideal) rules are broken.
The life series is inherently highly experimental - even as more seasons build on the experiences of prior ones, the constant addition of new mechanics mean the game is more or less always being playtested rather than simply played.
The "rule" against carrying Third Life into Last Life failed because it is basically impossible to eliminate the out-of-game contributions to social play, especially in a social deduction game where knowledge of other players' habits and behaviors is useful metagame (6) currency that can't be un-learned.
Some of the series' most iconic narrative moments - the end of 3L or DL, he loves me, etc. are born out of the tension between ideal and real rules, where players are forced to take a stand or advocate for something opposed to the "ideal" rules such as allying with reds, sticking with your soulmate, or that there can only be one winner. (7)
I'm offering the above as a way of showing that I think these imperfections and changes between seasons are actually the coolest thing about them and have the potential for transformative fan works in addition to transformative play.
if limited life's copious tnt minecarts via skynet and highly-manual, inconsisent giving and taking of time for kills which may or may not be deserved according to strict interpretations of the rules as stated aren't to your taste, that's just how it is sometimes! It's understandable to not enjoy ideal rules that are loosely defined or interpreted or are imperfectly implemented from a mechanics perspective, but understanding that the players of the actual game did agree and consent and get to negotiate the consequences and meaning of these imperfections is not some unfortunate side-effect but in fact an important part of any gameplay.
The various types of narratives and the various motives for playing mean there can't be a single unified narrative for all players - but thinking about these things in terms of tensions and synergies opens doors for talking about the many narratives and the relationships between them. you can hold multiple seemingly-conflicting narratives as a viewer and put them in dialogue and produce new meaningful narratives in their contradictions or overlap! go forth and embrace the chaos and tension between the chains of context that produce meaning and the freedom to look at that complex web and derive fuller meanings from it!
because this post isn't long enough, more citations and examples from the series below the cut:
Loop 1
She realizes its a loop almost immediately. Pearl isn't stupid. She looks around the circle and sees the familiar group, some in old clothes, clothes she recognizes, and she knows. When Grian announces that their soulmates will be randomized in a few minutes, when he calls go, she starts trying to fix it right away. That's her mistake. She clings to Scott's side, citing their closeness in the previous game, a desire to stick to what she knows. It's an easy lie. It's the two of them and Cleo who start gathering resources together before the roll. The message pops up in chat IntheLittlewood got the achievement [We Need to Go Deeper] and some part of her sings in vindication. He would have gone with or without her, he never should have blamed her.
The dice are tossed and their soulmates are chosen, and Pearl sets her flint and steal at her feet, giggling as the fire damage is reflected on Scott. Scott and Cleo are both taken aback at her eagerness, off put by the way she casually brushes off the damage. Scott scrambles to heal while Pearl smiles. He stares at her with wide eyes.
"You're crazy," He says, "I can't believe I've got a soulmate who's crazy! I don't want to stick around for this,"
He walks off and Pearl scrambles to catch up. Cleo looks at her sympathetically, putting a shockingly gentle hand on her arm.
"I'll talk to him, you wait here," They reassure. So Pearl does. Because surely it won't happen again. This is just a misunderstanding. She shouldn't have laughed. But it'll be okay, right? Cleo is so much better at making Scott see reason than Pearl is, even if she doesn't understand why.
Pearl waits. She waits and waits, only venturing a little further into the cave where they were mining to gather enough iron for gear before returning the entrance. It's turning night soon enough. A wolf wanders up to her, sniffing around curiously. Pearl's got a few bones from skeletons, so she may as well tame it, she figures. As it sits at her feet and she first runs her fingers through its coat, she recognizes it. Tilly. Her girl found her again. Pearl gets down on the stone floor, settling criss-cross, and just pets her, eyes filling with tears. She never thought she would get this again. Tilly looks so much better than when Pearl last saw her, wild and rugged but undamaged.
The zombies are calling outside before Pearl gives up. Her hands find the familiar pattern of her tower. It's not the same height, she doesn't make the roof the exact same way, but it's a tower all the same. Cleo doesn't come back for her until the session is almost over, and by then she's resigned herself to being alone.
"I can't convince him, I'm sorry. I don't know what's up with him," Cleo explains, "But I'm not going to stick around and let him freak out over nothing. He and Martyn can have each other. I'll stay with you. Screw the universe, we can choose our soulmates,"
Pearl is shocked. This wasn't even a possibility in her mind. But Cleo brings a bed, builds a floor in the tower just below Pearl's. They end up both living there, away from the draft, while the top floor is used as storage. Two beds set up across from each other. Pearl has gotten so used to sleeping alone. But the sound of Cleo's snores is not unfamiliar to her. They settle into a rhythm, building their army of dogs (not as large as the one Pearl had before. She doesn't need their warmth). Pearl never finds her way to the box, she shies away from Grian's fishing rod game, and Cleo beats away any rumors Scott spreads that Pearl has gone crazy.
They don't last until the end. Their first death is Pearl's fault, she meets a creeper while mining for diamonds. Their second is Scott, caught by the warden in the ravine. And for their last, Scott and Martyn manage to tick off Grian and Scar, and that's it for them. Pearl doesn't learn who wins, she's not allowed to watch like she normally would.
Because she wakes up again, in that circle at the start of the game.
fuckin love time loops