family portrait :D young sam and sybil are behaving themselves and vimes is throwing a hissy fit because they tried to make him wear the helmet
[id: a digital painting of three people sitting for a portrait in a domestic interior. young sam is standing with his hands behind his back and beaming proudly. vimes is standing behind him with his hand on his shoulder, wearing a shiny military uniform and a surly expression. sybil is sitting on the right with an arm around young sam, smiling at the viewer. a plumed helmet is sitting on a table on the left. end id.]
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One of the most common questions I get about my games is "can I play as this? can I play as that?", and I'll level with you: basically every game I write is about a narrowly focused experience, so if you're the sort of player who's afflicted with the contrarian urge to insist on playing a character who's the exact opposite of whatever type of character a game is notionally about, regardless of what type of character that is, you're probably not gonna have a good time.
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me : alright, teef, you know you don’t like angst. you’re too emotional for that stuff, most you can do is hurt / comfort, so don’t go reading something that is angst, especially if it’s tagged
also me : ooo, what’s this? *clearly angsty fic*
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In all these years, I've never learned how to tag someone, so I have to come to you directly, to show you the tears on my cheeks because he's sitting so quietly, curled up, watching a world he'll never know through a tiny crack in the wall.
Thank you!
You know, it's a little odd. All of the pieces in this series are about isolation and escape--Icarus, Orpheus and Eurydice, Prometheus, and certainly the Minotaur. But A Crack in the Labyrinth came first, and more than any of the rest, it's about resignation. About having fought and scrabbled and clawed desperately and still...not having made it. Still being trapped inside, alone.
And when I made it, I hadn't really intended to say anything more than that one piece, but I just couldn't leave it there. I had to give him the whole story--an innocent beginning, same as anyone. I couldn't leave the ending as it was written; I'd initially just intended to have the conclusion the myth gives him, slain by Theseus, but...if I'm going to say, "I'm the minotaur, monstrous and alone and told by the world that that is right and deserving," then I am also saying "you, who feels deeply for this, for whom this resonates, you are also the minotaur and we are monsters who deserve the ending that is written for us." And I...just can't bear to. There has to be hope.
So there is, very literally, light at the end of the labyrinth, one way or another.
Anyways, I used this song for that photoset on the clock app, but I think you would also enjoy it. Cow Boy, take us away.
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hi sorry in advance if this is weird but i couldn't for the life of me figure out who machete was reminding me of and just now i figured it out - surku the dog from the moomins. can't remember enough to tell how accurate that is personality wise but something about the image of a distressed pointy-nosed dog shivering in a coat... plus ne on molemmat ahdistuneita queer ikoneita
I love Surku! Surku must be protected at all costs.
If you ask me, he's even more distressed in the comics.
I keep him on my fridge door as well.
But now that we're on the topic of Moomin characters, I must add that I see Machete in various Fillyjonks a lot. The short story Fillyjonk who believed in disasters is one of my favorite pieces of literature ever, when I first read it it shook me to my core, I still revisit it on yearly basis. For someone who seemed so wild and free spirited by nature, Tove Jansson did remarkable job at catching and depicting the essence of anxiety, uncertainty, vague sadness and irrational fears. At least in my opinion.
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