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Alisa U Zemlji Chuda
RMH
Stranger Things
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Product Placement
Cosmic Funnies

izzy's playlists!
Claire Keane
"I'm Dorothy Gale from Kansas"
PUT YOUR BEARD IN MY MOUTH

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Andulka
Peter Solarz
he wasn't even looking at me and he found me
Not today Justin
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Kaledo Art

JBB: An Artblog!
trying on a metaphor
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@trashcoyote
g1 decepticons
ive asked this a million times but my dumb ass has forgotten the answers and also tumblrs search function sucks so i ask yall once again:
do you know what "the devil is beating his wife" means (and also tell me where youre from in the notes if u want)
yes
no
ill tag it this time so i dont lose it
me: chat what do we think
the angel and devil on my shoulders: can you not call us that please
A few things that annoyed me this week first.
Stop it. STOPPP it bestie, stop! I thought we were done with this word pls we were done. We were done, they're on good terms now, stop it. I'm serious.
The Witness is not he/him!!!!!!! I don't know if this is to show that Shaxx doesn't know/care, but still. Don't misgender the bastards! The Witness is it/its only! Has been for over 2 year consistently.
Summer in Dillon, South Carolina
Though the proverbial "showdown at high noon" is largely a media invention, many famous gunslingers of the American Old West did engage in formal duels at least occasionally. The main differences from the popular media version are twofold:
Formal duels were rare; most famous gunslingers duelled only once or twice in their entire careers, and a gunslinger with three or more duels under their belt would have been considered extraordinarily prolific (and also extraordinarily stupid – see below);
Those gunslingers who did duel typically made a point of accepting challenges only from opponents of demonstrably inferior skill; there was something of an unspoken agreement among prolific duellists to avoid duelling each other by any means necessary, as they knew the surest way to cut short one's career was to duel someone who actually knew what they were doing!
Anyway, the reason I bring this up is because some day I want to write a semi-competitive tabletop RPG where the player characters are all rival gunslingers living the high life on manufactured drama and exaggerated tales of their legendary prowess while going to elaborate lengths to avoid having to actually fight each other.
guys I had this realization the other day that Redwall works really well for reading aloud, and kinda half-remembered something about the author reading to kids? So I looked it up to see if I had made a connection.
And it turns out, yes, actually, because he read aloud to kids at a school for the blind. But all the books they gave him to read were depressing. So he wrote Redwall, a story about heroism and courage and making it through struggles, and filled it with so many sensory, visual details so he could give them something better and I just-- that's so wholesome-- help
i remember reading the Redwall books as a kid and noticing that they talk about food all the time. like, both that food and eating keep coming up in the dialogue, and also that characters have tons of feasts where every dish is described. at the time, i think i found it a little repetitive but now i realize he was probably lingering on those details because he knew sense of taste was something his audience could access and appreciate, and that is in fact very—well, sweet.
Don't write a story you want everyone to like, write a story for a few people to love, and they will share it with others who will love it too.
the line between "sacred" and "scared" is the placement of a single letter. which probably means nothing. but i'm going to read into it.
"Be not afraid"
I have heard fisher cats’ vocalizations being described as screams or cries of kids or children… but I never understood exactly how uncanny their actual sounds are!
These cats are powering up
They literally do sound like children pretending to be animals. That’s wild.
I'll never not repost this...
Vincent Price as the Devil/Mr. Scratch
The Story of Mankind (1957)
if you give “stupid” characters rural/southern accents i don’t like you and if you give “smart” characters rural/southern accents but it’s a punchline i don’t like you even more
the other day I was out at lunch with some people I don’t know too well & they got talking specifically about West Virginian accents in the context of a movie that takes place there & that the movie opted out of doing accents & one of them laughed and said “I mean, can you imagine if characters sounded like that in serious moments??” I was like yeah I can because everyone where I’m from does sound like that. Y’all are so annoying.
no need for a more specific word because it all falls under classism and/or racism.
west virginia is home to some of the strongest labor & union movements in U.S. history, from miners’ strikes to the 2018 teachers’ strikes (where 20,000 teachers went on strike together with community support).
For the last 100 years it has become very beneficial to those in power for the rest of the country to think of us as very stupid, backward, “inbred,” etc. It’s not an accident. there were real efforts made to create & proliferate the stereotype of the stupid hillbilly.
Likewise it’s not an accident that dialects like AAVE are treated as a joke. Easier to dismiss civil rights leaders if you think what they say is inherently comedic or uneducated.
a lot of people in the tags saying they live in places where they hear people mock accents & dialects a lot & it upsets them. just want to remind you that it’s up to you to challenge that in the moment. when someone makes a shitty joke at the expense of someone else, someone else has to tell them it’s not funny & why. we don’t learn in a vacuum. maybe they’ll listen, maybe they won’t. still gotta try.
at some point you likely had an “ah-ha” moment where you realized an unconscious bias you held needed to be unraveled. likely someone else pointed it out to you, whether that was in a conversation or something you read/watched online.
it’s not enough to learn your own lesson and move on. you have to pass the lesson along.
All of the following is IMO, so YMMV.
"Accent bigotry" - Irish = stupid & possibly a drunk; Northern Irish = bigoted & possibly a terrorist; RP English = educated & probably trustworthy (though also nowadays possibly a villain) - is one of the reasons I'm ... let's call it "ambivalent", about what TVTropes calls "Funetik Aksent".
"Phonetic" misspellings and dropping letters in favour of apostrophes happen at both ends of the literary social scale, but there's seldom any doubt about who's in "Who's Who" and who isn't.
The person who said this:
"Bless your ’eart, sir! I'll go up and tell 'Er Lydieship now, sir, and I bet you’ll be ’earing something in ’arf a jiffy."
didn't go to the same school as the person who said this:
"Dinin' at a London club, deah boy, then huntin' an' shootin' an' fishin' in th' countreh. Whatevah could be bettah?"
Further lot development may and should reveal that neither of those speakers are what they seem - salt-of-the-earth working class or disdainful peer-of-the-realm - but what they SEEM is telegraphed instantly by the way their speech is set in print.
(Sharon McCrumb did this in "Zombies of the Gene Pool" - a big burly man who sounds like a hillbilly villain from "Deliverance" is a linguistics professor born in the region and doing it deliberately to mock the assumptions of the people hearing him.)
Unless there's a good reason for it (for example, a character revealing their true origins by accident or for emphasis) often the only thing writing speech like that does, is to indicate These People Here Speak Properly whereas Theyum Fohx Theah Tawks Funnih.
That comes complete with baggage which the writer either doesn't know about, doesn't care about - or is fully aware of and using deliberately.
*****
Other reasons for ambivalence: a little Funetik Aksent goes a long way; it's often tiresome to read (and to write); most of all, if readers are unaware of some important detail - such as what sounds the weird spelling is meant to imitate - it's pointless.
There's an example of Unaware right in the TVTropes article, which states:
Neil Gaiman's short story "Shoggoth's Old Peculiar" in "Smoke and Mirrors" parodies the New England accent found in Lovecraft stories.
No it doesn't.
For one thing, just looking at them would have shown that speech from Lovecraft stories (here "The Dunwich Horror")...
“They know it’s a-goin’ aout, an’ dun’t calc’late to miss it. Yew’ll know, boys, arter I’m gone, whether they git me er not. Ef they dew, they’ll keep up a-singin’ an’ laffin’ till break o’ day. Ef they dun’t they’ll kinder quiet daown like. I expeck them an’ the souls they hunts fer hev some pretty tough tussles sometimes.”
...is nothing like speech from "Shoggoth's Old Peculiar"...
"And for me, too," said his friend. "I could murder a Shoggoth's. 'Ere, I bet that would make a good advertising slogan. 'I could murder a Shoggoth's.' I should write to them and suggest it. I bet they'd be very glad of me suggestin' it."
For another thing - this is much more excusable - that writer clearly didn't know about "The Dagenham Dialogues", a series of British comedy sketches from the 1960s. performed by Peter Cook and Dudley Moore.
(Not knowing isn't a surprise. Those sketches aren't as famous as they might be because of the infamous BBC policy of wiping / reusing programme tapes to save on costs and storage. "Monty Python's Flying Circus" almost went the same way; a lot of "Doctor Who" and many other popular shows DID.)
What's actually being parodied are the "Dialogues" characters "Pete and Dud", playing two acolytes of Cthulhu. They're described thus:
"Sitting in one corner were a couple of gentlemen wearing long grey raincoats and scarves ... sipping dark brown foam-topped beerish drinks..."
Rather, or indeed very, like this.
The Defence rests, m'Lud.
These acolytes discuss H.P. Lovecraft's style and vocabulary (overblown and eccentric), the location of sunken R'lyeh (just off the end of the pier, but handy for the shops), Great Cthulhu who lies dreaming (though temporarily deceased), and so on and so forth.
It's an excellent simulation of Pete and Dud and yet, apart from a couple of dropped-letter apostrophes, der's nun uv d'yoojul kunstruksh'n trikz. Instead it's done by matching the repetition, pace and rhythm of the originals.
*****
Incidentally, "Shoggoth's Old Peculiar", the titular beer of the story, is itself a parody of Theakston's Old Peculier, a not half bad dark ale.
Note the difference in spelling: "PeculiAR" means strange or odd, "PeculiER" means a kind of Christian ecclesiastical court, so that's another beery association with a temporarily deceased god. Accidental, coincidental or deliberate?
Knowing @neil-gaiman, my money's on deliberate. :->
*****
Here he is, reading "Shoggoth's Old Peculiar": Part One, Part Two, Part Three.
And here are a couple of bits of "Dagenham Dialogues": One and Two.
I was really enjoying Peter's analysis and then suddenly I was reading about my story. He's spot on, on every point.
never let anyone tell you that trawling through mediocre victorian poetry isn't worth it. we just happened upon an absolute BANGER of a worm poem. go read it or else 🪱🪱🪱
the reviews are in... glad everyone's enjoying song of the worm
[id: tumblr tags reading 'dude This Fucking Rules', 'holy fucking shit! that was legit so cool?', 'holy shit that is fucking metal', 'oh this fucks severely', 'yeah no this fucking SLAPS', 'yo this RULES']
maybe cain wldnt have killed abel if they had video games to healthily channel the violence between siblings. unfortunately back then the only smash brothers they had was smash brothers head in with a rock
@heresylog
I think if Cain and Abel had been born in 1991 and played Dune, Cain still would’ve killed him. Or he would’ve outsourced by trying to contact the dark web assassins but he’s actually talking to police.
i call this the headcanon chart. see my vision
elaboration
Most tabletop RPGs don't bother to have a rule like "characters can't walk through walls." It is either implicit or prescribed through having a special ability that specifically allows one to do. Now, an RPG that specifically had a character option that stated "this character cannot walk through walls" would instantly reframe every other character in the game. If only a specific type of character has some limitation that we humans would assume to be self-explanatory, what the hell is the baseline in this game?
Games have implicit or explicit assumptions about their characters. In D&D it is assumed that characters can see, hear, speak, walk unassisted, and so on. These capabilities can be taken away but only through very specific rules interactions. A character's ability to see isn't marked until a player says that they would like to play a blind character.
I don't even know where I was going with this. This started out with me thinking about how funny it would be to make like a supplement for a game that features these really strange and specific abilities that suddenly change the assumptions of the game. Like, a supplement that has a creature with an ability like "Floorwalker: this creature can walk on floors." Because none of the other creatures in the game have that ability, it's now implicit that they can't walk on floors.
Anyway if anyone would like to help me salvage this post by saying something insightful go right ahead, I'm gonna go make some pasta.
every single reblogger has tagged this with some variation of ‘me’, except for the one person who tagged it