Random assortment of headcanons (special NPCs)

((Remember, these are my personal hcs of the AC characters, some might be somewhat based on canon, some are completely made by me and not meant to be taken as canon.))

-Tom and Sable actually have a very dark sense of humor, they just hide it.

-Leila (Kapp'n's daughter) has a speech impediment, she's an older kid, the "baby speech" shown in the game, is because of that.

-Timmy and Tommy have a speech impediment too, the repeating after its sibling thing it's a way to cope and improve their speech.

-Mabel suffered from frostbite at some point of her childhood, now her fingertips and completely numb.

-Isabelle's teeth are slightly crooked and shaped weird, due to her tendency to open everything with her mouth.

-Sounds like a joke, but Dr. Shrunk has a real psychology degree.

-Lloyd has a whole team of contractors made and run entirely by gyroids, and yes, you guessed it, all of them are named after him.

-Jack can shift sizes and appearence, but to not intimidate mortals he sizes around the height of the villager.

-Brewster is not awkward, he's just silent, however, depending on the person, he can cause awkwardness on them.

-Also, just like Shrunk, Pascal has an actual degree on marine biology, he just wasted in on pot and a boathouse.

-Lottie wears a lot of makeup because she's very baby faced and wants to look of her age.

-Celeste hasn't graduated yet, she'll graduate soon tho.

-Considering his shanties, Kapp'n is a HUGE momma's boy, but not in an unhealthy way.

-With adequate sleep and outside of her job, while still pretty snappy, Phyllis becomes easier to approach.

-As much as Harvey hates technology, he had to get a phone because harriet basically forced him to, of course its all because if there's an emergency, she gets to know. She got him a flip phone, no complicated technology bs for Harvey.

-Rover went to college with Nook before quitting college.

-As I mentioned before, Gulliver is pretty much dead, probably died between ACCF and ACNL, pretty recently.

-Resetti has two children (that are already adults), he hasn't seen them is quite a while, often leaving him thinking all he could've done wrong.

-Harriet's hair has an odd shape because of a failed diy perm.

-Blathers is an actual insomniac, Celeste on the other hand is a night owl with no insomnia.

-As I mentioned before, there are two faceless fellows, Blanco and Blanca, I decided to make them twins since 1. They had their sexes changed on their release (male in Japan, female on the rest of the world) 2. They seem to be in charge of different roles.

-Talking about Blanco and Blanca again, they seem to have favorite victims subjects, Rover seems to be Blanco's favorite, while Blanca only appears if she's interested enough in you.

Can I say though Yi Sang and Aeng-du's instant connection and solidarity is one of my favorite things about this event, it's just so sweet and also so special how they find that feeling of safety just from also knowing someone from the homeland they have left behind while they remain so out of place in The City. It stands out so much when the general mentality of the world is "everyone for themselves" but S Corp's people and those who had to leave it behind seem to have found so much understanding and sympathy with each other.

Overall I find it so interesting and unique that more than any other District in The City the people of District 19 feel such genuine attachment to the land and its heritage, not just with Aeung-du, Kim and the rest of the Blade Lineage but going back to Dongbaek and Dongrang's EGOs too, it's just so special to see that very united sense of culture and heritage in a world that despite being multicultural and multilingual seems to have largely left such notions behind

you know I wasn't going to comment on anything s3 in detail or write a super long divisive post because that's draining and tiring and I just want everyone to have fun and find joy in fandom in whatever way is best for them. And yet here we are. Who'd have thought?

All I wanted from season 3 was for Wilmon to talk to and with each other, to get to know each other (better) and to try to understand and support each other and grow together. To be a couple in love and working on their relationship, learning from each other. Them against the world, facing problems together as a team. I wanted romance and hugs and honesty, and all I got was them being horny. I mean don't get me wrong I love them being horny, but I don't want that to be their entire (positive) relationship and the only thing they have going for them as a couple. Please just have an actual, proper conversation with each other?

This post however is not about that. This post is about Kristina.

I hate what they did with her. I hate her entire character arc (if you can call it that) in s3. I hate what triggered her breakdown. I hate that instead of breaking the circle of abuse and emotional and physical neglect she no doubt suffered, she perpetuated it.

She left her son alone when he needed her most. When all he needed was a hug and a good long cry and the assurance that he's not alone, that she's there for him. That she understands. For someone (his family) to be there and listen and assure him that for them, Wille comes first. (I mean not all, he also needed proper therapy for one, but that'd have been a great and important start)

Wille is a child. Her child. Wille needed her and she failed him. She pushed him away and she sent him away and she left him alone.

(the same is true for Ludvig of course, it'd be extremely sexist etc to not put the exact same expectations and blame on him as well, but alas this post is only indirectly about him as everything always is at best)

However.

Her son is dead.

She's been groomed to believe her entire purpose in life is to be a mascot (which comes with very specific expectations and restrictions she herself said she struggled to adapt to) and to give birth to the next mascot.

I don't pity her for that, but that's still her entire identity and purpose in life. It's always been, and now the next mascot is dead and she has to burden the son she thought would be spared with it all, pun very much intended.

But let's return to my first point first. Her son is dead. Not just the next mascot. Her son.

Yes, Wille's brother died as well and I'll never make light of that. It's horrible and a grief and pain impossible to put into words. Especially as a kid or young teen. Wille needs all the support. Still.

It's not the same.

I know it's not the same because I know exactly what it's like. Both of it.

Granted I'm not a queen, but I did have a cousin who died aged sixteen. We lived in the same house their entire life and shared a bedroom for years. We were like siblings. It was my first time experiencing the death of a close loved one and it was horrible. We all struggled for a long time. Their siblings and I and the entire family, and they will never be forgotten, but it broke my aunt and uncle. Fifteen years later and they're still broken.

I also have two sons and a spouse who are dead (no I didn't lose them, I know exactly where they are) and I promise you it's not the same. A dead sibling is nothing like a dead child. (not that it's a competition)

I'm not going to talk about what it does to you internally, but I will tell you what you'll experience from the outside world when your family dies excitingly enough to make it to the local newspaper. Then feel free to multiply it by a large number of your own choosing when you're royalty and the entire country is looking at you and you've been groomed to never lose composure.

Everyone will call and show up and want to show their support and their condolences (that lasts until about a week or so after the funeral). And they will get two words in and break down and cry, each and every one of them, and then it's your job to console them and be strong and deal with all the arrangements and lawyers and bureaucracy. And it'll have to be you for most things no matter how supportive your family might be, because it's you who needs to sign shit and show the school a death certificate. Everyone will mean well, but it'll be everyone else who'll require reassurance and you who'll have no choice but to function because at first there's so much to do. So much. You won't have time to breathe until after the funeral, and after that there're still so much more to do and take care of you'd never have considered before. For weeks. You can ask someone else to drive you but it'll still be you who's required to show up and do the thing. Some things will drag out for months and more. You don't have time to break down and be weak. You can't afford to, because you also have a job and other responsibilities and a duty to your dead loved ones.

But then the day comes when it's 'over' and there's nothing more to do. Sure people still look at you with pity and whisper behind your back wherever you go and fall quiet, unsure how to react or what to say, because you're now the lady who lost her family in a freak accident, but everything and everyone else moves on. That's normal. It can't not. But it's that quiet after which is the most dangerous.

I hate that they made Kristina's breaking point her son publicly coming out as queer, renouncing following traditions without thought and admitting to having been in the video. I hate it so much, because that was a choice made with an entirely different motive behind the one I'll expound on now and I hate that. Don't instrumentalize grief and the loss of a child and sibling to further prove and underline your political agenda (which I agree with). It cheapens it and was very much unnecessary. We all would've gotten the point without it as well.

But you know what? I can't fault Kristina for that.

You don't know your breaking point until you reach it. It can be anything. There's a reason the saying goes 'the straw that broke the camel's back'. Everyone has a different one and they often feel very ridiculous to oneself (which is a very helpful feeling in that situation, believe me /s). I've talked to numerous people who've gone through something similar. In my support group and in grief counseling and group therapy. No one I've met had a 'logical' breaking point.

Mine came late last fall when I saw a robin outside my window. Yes a bird. We'd have one come every winter to eat the oats and raisins etc we put out for it, and my youngest would spend endless hours every day before dusk looking out that window waiting for the robin to come and eat for a few moments at a time, less if he started clapping out of excitement.

That was it. Boom. I was useless for the next seven weeks.

You don't let your grief overcome you. That isn't a choice. You don't choose not to function when a loved one dies. You don't choose to be depressed or to have the most ridiculous thing be your breaking point. You don't choose to be too strong to not let the grooming break you or to be too weak to be unable to break out of it. And you don't choose to be unable to sit at a birthday party and enjoy cake with a son you know you'll have to force into a role he never wanted, the one your dead son was supposed to fill.

Does that make Kristina any less of a shitty mom? No, of course not. Nor does it change anything for Wille. Kristina's grief shouldn't be Wille's concern. But you don't choose any of that, and the stronger you have to appear the farther you'll fall once you just can't hold it together anymore.

I grew up with a very large, multicultural extended family. There wasn't an hour I was awake at home as a kid when I wasn't hugged or kissed by a younger cousin or aunt or my mom (it was super annoying). We talked and still talk about everything. I married into a family which was a bit less physical and more Swedish in showing their affection, but they are still very open and loving and genuine. I had all the support I could ask for. They're the best and I couldn't have asked for more.

It's not enough. Your child is dead. And Kristina had none of that.

Is Kristina (and Ludvig) super annoying for going on and on and on about Erik and how perfect he was? About always bringing him up when they have a son right there who needs them desperately?

Yes. It annoyed me too. I kept catching myself being furious on Wille's behalf and Simon's with how Wille reacted to the not-comparison between Erik and Sara. But I understand Wille's reaction to Simon and I understand Kristina and Ludvig.

Because once your child / sibling / spouse / dog dies?

They become perfect. My oldest once poured syrup where he shouldn't (it was a Nordic winter night and the car was thirsty) resulting in us being out of our only car, our insurance laughing at us, and us unable to afford a new one. It cost a lot of money, my spouse almost their job and made our life a lot harder for well over a year. He was old enough to know better (and leave the house by himself to go outside and play). He never did anything wrong in his life. He was perfect. They were all perfect.

Erik? What we learn about him is horrifying, and it being normalized and dare I say institutionalized, with him probably not having second guessed his actions, makes it worse instead of better. I do believe Erik was the kind of guy who just didn't (care to) think and merely did what was expected without further thought. That doesn't make it better either, because those kinds of people are the ones who keep corrupt systems running. I might be wrong about his character entirely, but it doesn't matter, because as soon as he died he became perfect.

It's weird what death does to our perception of a loved one. Or maybe not. It's also weird what death does to our perception of everything, because suddenly everything will remind us of that person.

A cloud? A scent? A sound? Toilet paper? Kristina is at the stage where everything she sees and feels and smells and hears will remind her of Erik and his death. Of how he's dead and now Wille has to become him and that is the worst.

Also her son is dead.

No she can't just pull herself together and eat the damn cake. Everything she talks about is Erik because everything she currently is is Erik. Her son who is dead.

There is a reason this is such an often used trope in fiction.

Kristina spent all her life being told that her duty to the throne is her only purpose in life. Be queen. Represent Sweden. Produce an heir. Part of why she's as old as she is is no doubt because Pernilla August is awesome and you can't not hire her when that's an option, but nothing else in this show is a coincidence and done without thought, so I refuse to believe that Kristina hasn't always been meant to be an older mom.

Maybe she had fertility issues. Maybe she for whatever reason didn't want kids and put it off for as long as she could. She's certainly not maternal. Unlike every other woman her generation, no one ever expected her to be maternal. That's not her job.

Quite the opposite. Kristina is old enough to have been raised at a time when royal mothers weren't expected to have any hand in raising their children except for approving (or rather disapproving chosen) nannies and playmates and tutors and the like. She was very likely the first female heir apparent, or maybe she was simply the heir because she had no (male) siblings. Either way her job was always to be a monarch, not a woman or a mother. That's what staff is for. That's not an excuse, but it does explain her as a character.

She was groomed and forced herself to adjust (I do believe forced is the right word, because unlike Erik she seems to (have) be(en) a lot more like Wille than she'd like to admit). She had to be strong and queen and represent Sweden. And then her son and heir died and she failed at both.

I do believe Erik was always the 'easier' child, doing what he was told and taking only the freedoms he knew he'd be granted, while Wille is willful, argues, has a temper and his own head. (that doesn't mean Erik was happier or better adjusted)

And now Erik is dead and Wille has to fit the mold. Wille who got to go to a normal school and clubbing and was let to run wild with little preparation for the role he'd someday have to support his brother with. Arguments can be made that Kristina and everyone else never cared about Wille until they needed him, but I'd like to think she meant well and gave him the freedom she could, and because she is a bad parent she thought she was being kind, and because she is queen no one told her otherwise until it became a problem.

Kristina has never been a good parent, and I honestly believe saying someone meant well is an insult and not an excuse, but I do believe she tried the best with what she knew, the best she could.

It wasn't enough, it was the opposite of enough, but she tried and her breakdown is not a weakness but something which was a long time in coming.

She's not maternal. Her job wasn't to be maternal. Her job is to be a mascot and have other people make sure the next mascot is fed and watered and able to perform. Her being too brainwashed to see how horrifying that is does not make her innocent or any less of a bad mother, but why would she think of acting any other way?

She's ashamed of her breakdown. She can't be weak. Not in front of the nation and not in front of her son and heir. Wille can learn and grow and change. Everyone can and it's never too late, but Kristina here is meant to be what Wille risks becoming if he doesn't, if he gives up and becomes a thoughtless mascot.

Kristina is not a victim and I can't forgive her for being a shit mom, but she's also not the devil. She's a mother who lost her child, and she's spent her whole life being told that the worst thing she can do is to appear weak.

Well guess what? At one point that simply doesn't work anymore.

This post by the lovely @voldiebeth is what motivated me to write a similar one. I originally planned on reblogging and merely adding my own thoughts, and I did talk to her before posting, but then it became something even more personal than originally planned, and considering the difficulty of the subject I found myself more comfortable making this a standalone post. I know that's not proper tumblr etiquette, but please bear with me. Many thanks to @voldiebeth for motivating me to put my convoluted thoughts and feelings in writing and order them a bit. It was very cathartic.

It's always "You can't judge what people enjoy in fiction!" and never "Maybe being critical of what societal stereotypes and narratives we feed into with the content we make is a good thing, actually". Sometimes it's not about whether you're a bad person or not, sometimes it's about the giant pile of garbage propaganda you add onto. 🤷🏻‍♀️

Will saying "remember, you're the heart" right before Mike says I love you is wild because like- if she heard that, the best case scenario is it paints her a full picture of the fact that he and Will solved this issue together.

He said earlier that he had been thinking about it the past few days, but that is omitting a key detail: Will. The problem there isn't their conversation, it isn't the reference, it isn't anything revealing, really, but the fact that Will is involved in this for him. Even if it is genuine and even without the painting, the fact remains that Will resolved Mike's insecurities for him to tell her he loved her and it WORKED.

The word "remember" on its own might be more hurtful than "you're the heart", honestly. "Remember what we talked about". Even just any encouragement at all, a "you got this", tells us that he didn't contemplate this alone like she thought. Honestly, at that point, there's a part of me that's hoping you still can't say it. Because one way or another, you needed him for this. One way or another, I couldn't do it when I begged but after a couple days with him, you're good as new.

[That tiktok sound but instead of "3.5 years" and "white man", it's "I waited for eight months, gay man did it in one week. I waited for eight months, gay man did it in one week. I said I waited for EIGHT MONTHS. The gay man did it in one week.]

Even if everything is true, he couldn't figure it out without Will. And that hurts. If I'm her and I'm thinking through all this, I'm thinking "so that worked? He's what did it? You're so confused and too scared to talk to me about it for 8 months, you avoid the word "love" like the plague and can't tell me why, you lied about being able to during the conversation, but one week alone with him and you've reflected on your actions, felt remorse, and can apologize in bullet points and say "I love you" freely eight times, all of a sudden." I'd also be thinking, though, that he might not know. Give him the benefit of the doubt. I'm mad at him but I forgive him - because he might not know he's lying.

I just rewatched the scene and I think this fits. My break down of each of her reaction shots below the cut (but I encourage you to watch with it in mind yourself if you don't want my analysis to influence you too much first):

This is her when he first starts talking

This is her after hearing Will. She knows what's about to happen. She knows what he's about to say and part of her is hoping he doesn't because of what that would mean for his relationship with Will.

This is her right after he first says it.

This is her as he continues into a more in depth apology, showing the amount of progress he's been able to make so rapidly the past few days. From this angle, she look she's recoiling and I've said before that it almost looks like it's shot from the POV of the vines shackling her.

He says he can't live without her and she seems to look up again and listen more actively than she was but she also looks in thought and then squeezes her eyes shut again. This situation is oh so complicated.

"It was so big it almost swallowed you whole." This is such a Mike joke to make. And there's something comforting about that delivery. She makes the third face above as he's saying his life started the day they met, but she laughs when he makes the joke. Because that phrasing is the most earnest thing in this speech. Everything else, however true to him, is tied to Will. But she loves him. And it was so very him to say it that way.

But she immediately falls to this next face. Because it was the most earnest thing he's said, and though she's relieved to feel him in this speech, it still isn't for her. And the fact that it's the most earnest thing is also a bad thing. She knows he's going right back to how he was talking before.

He says he's loved her every day with or without her powers and she recoils and squeezes her eyes shut again.

"You're my superhero". She hardens - whether it's anger or determination/choosing to harness this as her motive, I fluctuate. But she hardens.

He says he can't lose her. And that feels like another complicated, harder to read moment. But she does soften back to more expressive like she was before, even if what she's expressing is pain. I think she believes him. Her feelings around the context are more hard for me to read on each watch of the end of this, though.

And I think Max is what finally gave her the most actionable motivation, because this is her the second before she notices Max again. She does not look determined, or even angry, just sad like she's looked this whole time. This does not read to me as the face of a girl about to take action like we see in a moment.

And all of this is also consistent to me with why she wouldn't talk to him much in those two days or address but still rest her head on his shoulder in the hospital. She still loves him. And this hurts, but it isn't his fault.

And finally, to go back for a comparison shot:

This is her when she thinks he's about to say it because he worked it out alone versus when she thinks he's about to say it, knowing that would mean it's because of Will. And that's everything I need to know. Whatever she's feeling the first time, hopeful or apprehensive, it isn't what she's feeling the second. She perked up the first time. She resigned and deadened the second.

YEAH IT- wait- what?

Next->

<-Previous

ily: i love you

ilysm: i love you so much

ijgtsbhhaphfasykysmlriyhcitwydidkhliwltlfyhbeatiatatlaathswwyswcyiycbidkhygtfidkiyffoiyfebiwytkwwhslibtthfiaribtfyingttytcbingtttcytcbbtcliynnogtcyaarjktilyaihigttpaigtphohc: i'm just going to stand behind her head and press her forehead and say… you know you saved my life, right? if you hadn't come into town when you did, i don't know how long i would've lasted. these last few years have been everything. and through it all, through all the laughter and all the hardships, she was with you. she was choking you. if you come back, i don't know how you're going to feel. i don't know if you'll feel free, or if you'll feel empty. but i want you to know, whatever… whatever hole she's leaving, i'll be there to help fill it, all right? i'll be there for you. (sniffs) i'm not going to tell you to come back, (tearily) i'm not going to try to compel you to come back, because that choice, laudna, is yours now. no one gets to control you anymore, all right? (sniffs) (tearily) just know that i love you, and i'm here. i'm going to take pâté and i'm going to put him on her chest.

the other thought i am circling around, which this post by @facille and the tagged reference to terra nullius helped click, is reading the cataclysmic scene between john and M--’s nun as a (forcible?) conversion to catholicism. 

john discloses the religious backgrounds of several of his friends, but i don’t believe he confesses to any himself. (do correct me!) in any event, he explicitly says that “[he] didn’t want to believe there was a thing like a soul,” which sets him decidedly against the nun’s ideology at the start of his necromantic journey.  the nun’s martyrdom (which we are invited to read as explicitly violent, as we are so often in this series!) is a scene that i think we can very easily read as a coercion (to say the least) of a (catholic) idea of the soul onto john. through her suicide, he is converted to her cosmology and her logic becomes a key method through which he can make sense of alecto’s gift. it becomes the spine of his empire, this violent, core reinscription and redivision of the earth into (catholic/catholic-esque) selves. john stops seeing the soul as “too big” and despite seeing the soul as a method through which he can touch the vastness of alecto. through her suicide, he is still persuaded by the existence of individual (catholic) souls, and that the nun has offered him a useful, divisible unit of measurement. (also, as an aside, it remains interesting and tragic to me that this repeats, later, with cristabel being the catalyst to kick off, and inscribe, lyctorhood into the empire.)  i think a fuller reading along these lines would be greatly enriched by a deeper knowledge of the specific historic relations between Maori peoples and christian missionaries in ‘new zealand,’ but there’s a lot of nuance to this scene that strikes me as very much in conversation with dialogues between Indigenous peoples and the violent imposition of the catholic church in other parts of the world. picking one very obvious, but illustrative, example out of many: “’Because we didn't have souls, that gave the right for these explorers to do whatever they wanted with Indigenous Peoples — murder, rape, enslave,’ said [Kaluhyanu;wes Michelle Schenandoah].”  anyway, i may well be repeating ground the (very good!) aforementioned post already laid out very neatly. what i mean to add, i suppose, is that necromancy’s logic is a distinctly religious logic; the soul, as presented in and so fundamental to john’s empire, is an explicitly catholic idea. the ‘soul,’ here, is not a neutral unit, not without biases and assumptions. intentional or incidental, i think the scene between john and the nun is one of several interesting and rich negotiation around john’s identity as an Indigneous person + dramatization of (christian) colonialism. + one that might add some good texture to john’s subsequent treatment and formation of alecto et al and the way catholicism becomes ascendent in his empire.  edit: noting this under the read more so it stays with all reblogs of this post, but the reference to terra nullius was from @txttletale!

i am SO excited for atsv because when miles inevitably goes through the classic spiderman sacrifice of personhood arc, it'll be unlike the million other times we've seen it before. spiderman, and most superheros, are usually known for their scientific genius, and especially in peter parkers case, that ties DIRECTLY into his spidermanning. peter doesn't have ambitions past being spiderman and defending the city. he was an aimless teenager when he got his powers, and anything coming close to a hobby is usually monetized (photography) or put into his vigilantism. when peter goes through his sacrifice of personhood arc, it's all sacrifice of relationships with other people. and usually it's the job of those side characters to bring him back to himself, and he doesnt often do any soul sesrching beyond "i guess i love mj enough to not let myself be completely consumed by spiderman." but miles is an artist. he exists separately of spiderman. his sacrifice of personhood (I'm guessing in spiderverse 2) will include sacrifice of his artistry, and he'll have to come to the conclusion himself that his art, and his personhood, is worth saving.

6 Animal Crossing humanized villagers 3.1 (My villagers)

I was supposed to upload this an insane amount of time ago... Yet I didn't, I have no excuse reason for not doing this, but here they are.

I know the size is wildly different from the others but that's what happens when you play with archive sizes, either the base image had to grow or the characters had to shrink and decrease in quality, there was no middle ground.

-Snake wants to be a ninja and all that jazz. His hair in naturally pink. Inexplicably, he's good friends with Gloria. He does have normal ears under his dressing, the hoodie ears are not real. The most uncanny part is that his bunny ears are not real indeed but they do seem to perk up, act and move accordingly, nobody knows how.

-Bianca is just your typical wannabe superstar, although she DOES have a good amount of following on her social media so she's not too unknown. She tends to extend her "just nod and smile" social media personality to real life, not because she's fake but because she wants to be as positive as possible, sometimes leading to bottling up her feelings (unusual for peppies since they tend to be pretty expressive).

-Vic is a grumpy old man with extensive navigation experience, probably got stuck in a foreign place for a long, long while and was presumed dead. Had to move after he was found alive because he didn't feel at home anymore.

-Leopold comes from a long line or teachers, professors and deans. He's no exception, he wants to be a teacher too, but still hasn't been able to get to his goals and feels like he's running out of time. Decided to move out while he rearanges his plans.

- Gloria is a lady that kinda lives in the past and loves all vintage stuff and is obsessed with old hollywood (Kinda like Jasmine Chiswell). Aside from her aesthetic and tastes she's always up to date with all trends, makeup and technology. Moved to chase for an actress career but eventually settled down to a more stable and quiet life.

-Naomi was a singer in a cover band. After the band dissolved, decided to make a living as a makeup artist, avant garde style was her speciality. Decided to leave the city to take her craft to smaller villages and islands.

-Snake is in his late 20s

-Bianca is in her early 20s

-Vic is in his early/mid 40s

-Leopold is in his early 30s

-Gloria is in her mid 30s

-Naomi is in her early 40s

[Original dA post: 14/7/22]

TIKTOK IS CURRENTLY BEING TARGETED!!

Context, tomorrow, the house is planning to vote to pass a bill in which will “ban tiktok in the US”

this isn’t the first time they’ve tried to ban tiktok, but it’s getting serious now and we need to have as much opposition AS POSSIBLE

and this won’t just happen to tiktok, if we allow this to go through, this bill will allow government to ban ANY app that they deem as a “security threat”

it’ll open the floodgates so that other apps like discord, instagram, twitter, and even tumblr could get banned as well

biden himself has said he will for sure pass this bill if it were to reach him

which is why we need HEAVY OPPOSITION TODAY

CALL YOUR REPRESENTATIVES AND TELL THEM TO NOT PASS THIS BILL

I don't go here but I've been pondering once again how Stanley from parables would interact with the narrator, but the caveat in my little puzzle is the narrator cannot have a solid corporeal form. How would physical affection work between them? The narrator clearly can manipulate Stanley's world on a whim but how does Stanley touch back? Does he draw little pictures and hearts on the sides of the cubicles? Can the narrator feel his body heat if he leans against a wall? That still leans into the "very slightly corporeal" territory but I'm thinking very hard about it

who else up pondering how the hell quinn went to college?????

I know that people headcanon that if V1 has a voice, it’ll be SAM (and I like that voice for them), but here me out:

V1’s voice sounds like AquesTalk.

More specifically, the one that serves as a voice provider for Uta Utane/Defoko, the default UTAU voicebank.

House approves bill targeting publishers for sending schools sexually explicit books

A Tennessee bill that would open book publishers and distributors to criminal prosecution for sending obscene materials to public schools is headed to Gov. Bill Lee.

by Vivian Jones

The Tennessee House of Representatives approved Senate Bill 1059 in a 71-22 vote. It already passed the Senate last week, and now heads to Lee’s desk. 

Sponsored by Rep. Susan Lynn, R-Mt. Juliet, and Sen. Joey Hensley, R-Hohenwald, the bill would empower local district attorneys and the Tennessee Attorney General to criminally charge and prosecute book publishers who knowingly distribute materials that violate state obscenity law to public schools and school districts. 

Book publishers and distributors could face felony charges and fines of up to $100,000 per violation, if the bill is signed into law. 

“This is only for books being sent to the school,” Lynn told The Tennessean. “Certainly, if there are any sexually explicit books in teacher’s classrooms or in school libraries, they need to come out. You can’t give sexually explicit books to minors.” 

The Tennessee Association of School Librarians opposed the bill. TASL’s Legislative Committee noted that the bill could impact book publishers and distributors’ willingness to work with school districts in Tennessee, adding that it “creates unnecessary bureaucracy, limits students’ access to books, and leaves us with lots of questions.” 

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