Things I love about Big Mac:

-Klinger’s refusal to yield at the prospect of a MacArthur visit

-Trapper and Hawkeye respecting his efforts

b4 death B) - angel w a little hat below cut <3

tried to stick to their death dates a bit but. idk i only googled for like 5 mins. also i wanted those old news print colours 😌

My name is [BRUTUS] and my name means [HEAVY] so with a [HEAVY] heart I'll guide this dagger Into the heart of my enemy

Something about having absolutely no choice in who you marry. About being literally forced by the law to spill blood - to accept this stranger as your husband over a man you truly care for or accept the fact that the man you love might die because you put him in danger. Something about risking becoming the wife of a man you've never even seen before a few minutes prior because you know anything would be better than putting your beloved in harm's way. Something about the trust inherent in that decision and in the way she speaks of it after. Truthfully, T'Pring doesn't know the captain and she doesn't know Spock. Either one of them could have taken her as their wife but she does know Stonn. She knows that Stonn will remain by her side no matter what. They made a plan together. They have an agreement which T'Pring believes will be upheld even though the plan changed with the arrival of Kirk. Stonn will always be there, always, and Stonn will be hers. Something about the language used around T'Pring: Ownership, subservience, non-personhood. T'Pring is an object that Spock can win. She cannot reject him, she has no say in the matter other than having Stonn 'claim' her instead. Even when Spock leaves after being very clearly rejected by T'Pring he says "Stonn, she is yours." as if despite her clear rejection he still owns her and is must formally 'give' her to Stonn. But the language T'Pring uses around Stonn is a break from that: "There was Stonn who wanted very much to be my consort, and I wanted him." Stonn who wanted very much to be HER consort and she WANTED him. The language here is very particular - It's not, for example: "Stonn wanted me to be his wife" - he is HERS. And she WANTS him. There's a mutual affection there and a strong trust - a trust which seems to be well founded since Stonn (though silent) stands by her side at the end of the episode. <- That might seem small but if Spock would reject her for 'daring to challenge' (again, the language is not 'because I don't want you' but more of an implied disgust at her having the AUDACITY to reject him) then it's not a stretch to assume that it'd be considered an insult in the TOS Vulcan society to NOT choose Stonn as her champion after a prior agreement. Anyway T'Pring was a woman in an impossible situation within a society which saw her as more of an object than a person and she wanted Stonn and Stonn wanted to be hers and she trusted that he would understand if she had to publicly pick someone else to ensure his life would be spared and he did understand.

So I see folks pointing out that Louis' circle A tattoo is more likely an aesthetic choice than an announcement of a political commitment to anarchism, and saying basically that that maybe makes him a bit of a poser and I mean- I GUESS. But I don't like to look at things that way and I don't think it's useful. As I see it the subversive sexiness of the symbols of resistance have ALWAYS been gateways for people who are drawn to the struggle in vague ways and that's GOOD. Aligning yourself with those values is good no matter the reason, in my book, especially given the wretched options available out there, but also the journey doesn't necessarily stop there. Gatekeeping queerness victimizes people who are just trying things out and starting to discover that it may run deeper than just trying on a new look who should instead be welcomed and helped along their path, and I fail to see how gatekeeping political affiliations is any different (plus how counterproductive to actual movement building is that?)

ANYWAY. What I really want to say about Louis is that while I KNOW that Louis is probably not secretly a theory reading anti-state communalist anarchist, I think that actually Louis' optimism and idealism (and his unwavering commitment to allying himself with the working class and embracing those roots) are a perfect fit for the philosophy and always have been. I know that anarchism is mostly understood as being about throwing molotov cocktails and fighting the state (and the allure of its symbols are that they signify this, a terrific aesthetic for him to choose to sign on with in my book), but that's honestly largely cartoonish stereotyping that comes directly from anti-anarchist state propaganda. That resistance is necessary in this hellscape of oppression we live in and is super important, but in its heart anarchism is only about the state in that the state and capitalism currently stands in the way of its goals. The whole point of anarchism is that it's NOT about the state! It's about being able to imagine something better than a state, it's about how we live and about how we SHOULD live, it's about HOPE and picturing something utopian and something free of the ways capitalism pits us against one another! What could be more Louis than that?

"I need you and you need me and I love that" is as beautiful a way of talking about the cornerstone of anarchism that is mutual aid as any long winded essay I've read (even if what he meant was contextually different), and I think when he talks again and again about how special the space fans have made around him is he is expressing an intuitive understanding of the importance of autonomous zones, places and moments outside of the shitty life imposed on us by the system (also a huge part of anarchist thought). Maybe I'm just being an optimist but I think that Louis DOES understand that caring for people and wanting self-determination and freedom for all and allying himself with the working class involves a certain amount of resistance to and positioning yourself in opposition to the state. Thinking the symbols of smashing that state are cool isn't meaningless; it's a CHOICE. There are other cool symbols out there and I just happen to think that feeling a resonance with certain ones is something in and of itself, even if at this moment he does not choose to start a fight with the media about it all.

i love that it wasn’t obi wan who swooped in and saved luke and defeated reva, but that it was reva’s own decision, that even if obi wan had never realized anything was going on, she still would have brought luke back to owen and beru, she still would have spared him, she still would have realized that killing luke wouldn’t have done anything, that she needed to be more than what vader was. 

reva’s turn away from the dark side, away from grief and hopelessness and hate and rage wasn’t foisted upon her because she was bested in battle, or because someone else got her to see the light. she made that choice, on her own, and for herself. luke is alive because of reva, and only reva, because of the decision that she made in that moment, and no one else had any bearing on it. it wasn’t obi wan’s ingenuity or prowess or abilities that saved luke, it was just reva. just reva and her mercy, and her deliberate choice. it’s absolutely wonderful.

defining will's love for hannibal as religion stands as an overpowering symbol of how will's emotions are powerful enough to mold a man into something akin to god, even with his flaws, even with his mortality, even with his own devotion to him that isn't some imprisonment or necessity or a show put up for valour or honour but formed of his own volition that itsn't driven by lust unlike so many other metaphors and so called "analogous" loves, is such strong visual and visceral representation of the human psyche omitting life outside of its own want and turning it into piety. in this essay i will...

I have a very specific headcanon of a post- Phantom Planet Vlad that’s been trapped in space for ten years that lives inside my head rent free

I’d love to write something for it someday, but for now here’s this

swlf indulgent 11pm young simon doodle before bed goosnight

i think one of my biggest gripes with TSATS is the sentence structure and the way that things are phrased.

Sentence structure: the book is CONSTANTLY using ", and", or "then", or "but" instead of splitting up a phrase into two separate sentences. Once I noticed it, I couldn't stop noticing it. In some places it works fine, but right out the gate, as the first line of chapter one, it 1) caught my attention in a negative way and 2) felt immediately clunky and awkward.

The way that the book demonstrates action also feels unnatural and doesn't flow as well as it could. Things are described as happening "now", such as when Kayla takes her lolipop out of her mouth and holds it at her side, the book narrates it as "now holding the lolipop at her side". We didn't SEE that action occur, we're just being described the RESULT of the action, does that make sense? As a reader, you want to SEE the action, you want to SEE her tug the lolipop out of her mouth, see her hand hang by her side as her expression pinches with anxiety over the discussion. We don't want to just be told that "now" her lolipop is out of her mouth, y'know?

There are also sentences that just feel flat out unedited, phrases that have too many words for what they want to accomplish, or with a structure that doesn't make sense - like on page 56, the sentence "They raced up the steps to the platform, Nico easily outrunning his boyfriend, though that was mostly due to Will having to get his land legs again."

First of all - why are they running up the platform? In the previous line, where we're told their cab driver got them to the station with 6 minutes to spare, the specific choice of saying "to spare" makes it sound like there is plenty of time to make it to their train. In the sentences after, we even learn that Nico and Will wound up waiting for their train anyway, so, the fact that they're running when Will feels sick reads...weird, to me. If I was car sick, and then somebody forced me to run for no reason, I would not be a happy camper.

Second of all - The addition of the final third of the sentence, after the second comma, should be it's own phrase. It should be given it's own space, like "(though that was mostly because Will didn't have his land legs back yet)." because it's not important information, just an offhanded comment Nico is making.

Third of all - "though that was mostly due to" and "having to get his" are clunky and wordy. It could've just been "Nico easily outrunning his boyfriend, who didn't have his land legs back yet." It's a smoother sentence that doesn't get bogged down by the extra words.

And that's just one instance. This book is LOADED with moments like this, where action will get lost in a sentence's wordiness. The book tries to be quick and snappy, in Riordan's style, but it fails because it can't quite nail down the phrasing.

There are also moments where the only thing the characters are interacting with is each other, only grinning, grimacing, sighing, glancing at one another, etc etc, instead of doing actions while they speak. Fidgeting with their hands, shifting from side to side, looking away at their surroundings, that kind of stuff is how you convey a MOOD. Body language is important when writing character conversations!! Is somebody relaxed, or are their shoulders tensed up, arms folded across their chest with their muscles flexed, leaning back on one leg with their body halfway tilted away, as if they were ready to flee at a moment's notice? These are the kind of details that I'm missing in TSATS, the kind of things that feel like they're missing.

I also have a lot of gripes with the dialogue itself.

People don't talk like they do in TSATS. The content of what they're saying is realistic enough, sure, yeah, but the specific way that a lot of the dialogue is phrased? It doesn't feel natural. Try reading some of the sentences out loud without editing any of the words. It doesn't sound the way a human being SPEAKS.

THAT'S what I mean when I say these characters are OOC. The way that they're speaking is uncomfortable and feels as if they're being used as a puppet, or a mouthpiece for what somebody ELSE wants them to say.

dont mind me. im simply just putting together a ludgercasey angst collection.

252

265

203

268

271

283

310

356

492

497

After the absolute carnage and chaos of Session 3 and 4, I desperately wanted to see a graph of everyone’s life left compared to each other, and this is the result of that. I will include close ups of each session below the cut, as well as screenshots of the full (colour-coded!!) data. Updates: Session 5, Session 6, Session 7, Session 8.

Note that I’m using the times that everyone should have based on their kills and deaths, and not what was actually shown (since I know Tango was accidentally given 1.5 hours for his boogey kill instead of just 1 hour, and Skizz hasn’t yet received his 30 minutes for killing Tango), so we’ll see if these times are rectified for Session 5, or if I will adjust my graph to show what is actually used.

Before I show the close ups, I just want to explain the colours used. I picked a base colour for each team and then used a different shade of that colour for each member of the team, to make it easier when looking at a mess of lines. TIES are red because Tango made the bowtie on the tower red (and also because of the red tie in Skizz’s skin, and also Tango’s skin is red). The Bad Boys are green because of all their crops (wheat and potatoes and carrots so far). The Nosy Neighbours are purple because of Watcher-related reasons. Mean Gills are teal because of the coral reef and the warm water colour (and also Scott’s hair). Clockers are orange because Minecraft clocks are gold, and orange is the closest colour to that. Below is a screenshot of all the colour choices I had, and I labeled each one with the player I picked for it

Now for the close ups of each session, with labelling for where each player is at at the end of each session. The grey squiggly downward line is simply the average of all the players’ times at that instant, and the green, yellow, and red horizontal lines mark out 24, 16, and 8 hours respectively. There are no markings for the number of hours, but each gridline is an additional hour, so you can count up and down from the colour-coded lines.

Session 1 close up

Session 2 close up

Session 3 close up

Session 4 close up

So as you can see... there’s less than three hours between the bottom nine people, and a much larger gap from them to the top five. And all three of Skizz’s teammates are amongst those with the most time, so I don’t think Skizz will be first out if TIES play their cards right.

Next I am going to show the data tables I used to generate the graphs! I colour coded them so you can easily see green lives vs yellow lives, and also how often some people switched between them (and you can also see the single second Scar technically turned green during Session 3 before dying, which is also the weird orange vertical line on the graph).

There’s a new row every ten minutes, and every death created two new rows, the first of which is the times a second before the death, and the second is after the death, in order to create the sudden vertical drop.

Deaths are marked with red borders around the box, and time being gained is marked with a green border. All times are in hours and only display to two decimal places, but were calculated down to the second (and the times in hours, minutes, and seconds can be seen at the very left.

Without further ado:

Session 1 data

Session 2 data

Session 3 data

Session 4 data

I find this is a super good visualiser of all the green and yellow switches during the session.

And to visualise the absolute chaos of a specific ten minute segment during Session 3... below shows how much space the chaotic ten minutes takes up in the data due to all the deaths... compared to the entire two hours before it (remembering each row is a new ten minutes or a new death... so for a single ten minute segment to take up almost as much space as two hours, really shows a lot)

Anyway, I had an absolute blast putting all this data together and I’ve spent so much time since the weekend just staring at all the pretty graphs and data. I hope this helps other people keep track of all the death and carnage and times and so on, like it helped me.

Desert duo is a disease and I am on my goddamn death bed

They are Shota4Shota4Shota to me

Do you think Derek has a Patrick Bateman-esque skincare routine? Do you think he gets cosmetic treatments or procedures regularly?

Imagine him having a nail tech visit him in his dad's house to give him a manicure and pedicure every 2 weeks because he's too ashamed of the fact he does it and wouldn't be caught dead getting one in public. And then if you point out that he's got such soft smooth hands he gets all defensive

Thirty year old headcanon no matter what any canon tries to tell us: Mikey enjoys science experiments, is delighted when Donnie asks for his help, and often experiments with his art, media, and culture interests using the scientific method. Although it is in fact canon in various incarnations, the fandom has always had this annoying habit of claiming that Mikey is too dumb. Stop that, fandom.