Yeaaaaaaaaaaaaaaaaaaaaaa

the_infinite_and_the_divine_(2020).txt

i just. i had to. this concept is so funny to me.

What are some of your favorite tropes that you have to hold yourself back from for fear of overusing it?

it would've been slightly less personal to ask me what my organs looked like

this is from like a month ago but i still think it’s kinda funny. i’ve had a lot of dreams lately that were just gravity falls fanfiction, and sometimes i feel like they’re more in character than the way i write when i’m conscious

toh x omori

combining my 2 favorite fandoms because why not

Wade is just like me fr

I always find it funny when a singular Warhammer 40k fan makes like, this enormous ultra-quality animation or series or something.

Not because they made it

But because the reaction is always "ONE PERSON MADE THIS!?"

And I'm like "Bro, do you know what 40k is? Do you know what 40k players do? Do you know what being a 40k fan is? It's PATIENCE, and NEVER CEASING FOCUS and A COMPLETELY IMMORTAL DEDICATION TO YOUR HOBBY."

Like my guy, a 40k player will spend 600 days in a row painting miniatures to make them all matching army colors just so he can go join a game that's gonna last 16 weeks and span the entirety of the game shop every time they set that shit up.

And y'all are somehow amazed when a singular 40k fan spends 3 years making a 40k fan-series that looks higher quality than a Blizzard cinematic?

“In King Lear (III:vii) there is a man who is such a minor character that Shakespeare has not given him even a name: he is merely “First Servant.” All the characters around him—Regan, Cornwall, and Edmund—have fine long-term plans. They think they know how the story is going to end, and they are quite wrong. The servant has no such delusions. He has no notion how the play is going to go. But he understands the present scene. He sees an abomination (the blinding of old Gloucester) taking place. He will not stand it. His sword is out and pointed at his master’s breast in a moment: then Regan stabs him dead from behind. That is his whole part: eight lines all told. But if it were real life and not a play, that is the part it would be best to have acted. The doctrine of the Second Coming teaches us that we do not and cannot know when the world drama will end. The curtain may be rung down at any moment: say, before you have finished reading this paragraph. This seems to some people intolerably frustrating. So many things would be interrupted. Perhaps you were going to get married next month, perhaps you were going to get a raise next week: you may be on the verge of a great scientific discovery; you may be maturing great social and political reforms. Surely no good and wise God would be so very unreasonable as to cut all this short? Not now of all moments! But we think thus because we keep on assuming that we know the play. We do not know the play. We do not even know whether we are in Act I or Act V. We do not know who are the major and who the minor characters. The Author knows. The audience, if there is an audience (if angels and archangels and all the company of heaven fill the pit and stalls) may have an inkling. But we, never seeing the play from the outside, never meeting any characters except the tiny minority who are ‘on’ in the same scenes as ourselves, wholly ignorant of the future and very imperfectly informed about the past, cannot tell at what moment the end ought to come. That it will come when it ought, we may be sure; but we waste our time in guessing when that will be. That it has a meaning we may be sure, but we cannot see it. When it is over m, we may be told. We are led to expect that the Author will have something to say to each of us on the part that each of us has played. The playing it well is what matters infinitely. The doctrine of the Second Coming, then is not to be rejected because it conflicts with our favorite modern mythology. It is, for that very reason, to be the more valued and made more frequently the subject of meditation. It is the medicine our condition especially needs.”

from ‘The World’s Last Night and Other Essays’

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Captain America and Superman are Jewish responses to the Nazi idea of the ubermensch that ask different, but equally compelling questions in response to it. Captain America asks "what if the ubermensch was real, and he loved Jews?" and Superman asks "what if the ubermensch was real, and he was a Jew?"