I’ve seen a lot of fan art and this is one of the best sets I’ve seen :O
Animated Kermit is just a really horrible frog.
The way this kermits mouth moves cracks me up.
My brother is getting mad at me because I won’t stop saying “TEETH”
Fix it! Do it! Accidentally unscrew it! It’s time to fix things with Soos!
I can’t get enough of the terrible after effects
It took me a good while to realize I was not watching youtube poop, and that’s just perfect.
God this really is made for a very specific generation isn’t it…. the fucking Daft Punk reference, the shitty 90s airbrush artwork with pyramids and mystical bullshit, the compression green screen artifacts… it was worth waiting for it to come out in english and not russian
Soos is so perfect
god bless gravity falls
How I look when roleplaying normally.
How I look when roleplaying pairings
How I look when my muse won't cooperate and I struggle to do any replies.
How I look when I am impatient for a reply.
How I look when a roleplay dies.
How I look when real life people catch me roleplaying.
Alright roleplayers let’s see your variations!
A game is a product of stunning complexity, not merely in its technological base, but in terms of the game’s objects, in their being and relating to each other, composing a world with a logic all its own. As thrilling as it can be to watch such a world move, like a massive diorama or ticking clock, that mechanical splendor is often put to little use. It is swallowed up by the game’s miniscule vocabulary, that omnipresent set of one word commands: kill, run, hide, jump. This is why World of Warcraft,consisting in 2009 of some 5 million lines of code, remains by and large a game about death.
Indeed, game after game for the past decade has put us in the shoes of wanton destroyers, forming a heroes’ hall of simpletons backed up by an equally vapid menagerie of sidekicks. Meanwhile, the old mainstays — your city builders, your adventure games — have become more niche than ever. The arrival of the Xbox 360 and the PS3 coincided with the expansion of the videogaming mainstream, but instead of widening, the scope of future products narrowed, and we discovered the future was going to be about guns and violence.
To insist on this picture, however, is to misrepresent much of the work being done by developers large and small. New things have been learned. New types of games are being made, and are finding their audiences. And a new type of discourse is rising around them, one far removed from the language and customs of review websites. But we shouldn’t fall into the error of thinking that it is only the indies — the small, peculiar people — who are advocating for and putting forward these new (or returning) sensibilities. The mainstream, big developer houses have been looking in the same direction. Yes, they are less free to pursue that path, but we shouldn’t be too harsh: they have many compromises to make. Consider that no big-budget game is published that does not involve the exercise of violence. Very well: for a designer, filling the space in and around the violence becomes the real work.. There are always games willing to rise above their vocabulary, and in this environment it is necessary to create a distinction between what they are made of and what they are about.
How do we find that distinction? Not as easily as the Bechdel Test scans for sexism, I’m afraid. Nevertheless, I propose this test: “Is it possible for a novelist to be born in this videogame, and base his work upon it?” The framing is straightforward but the answer is not. Where the Bechdel Test has us scanning for a particular piece of content, here we investigate the possibility of life as a novelist. We can do so from many angles, applying many types of expertise, but whatever view we take a single effort is common to them all: inserting ourselves and our imaginations into worlds as different as BioShock’sRapture and Pong’s black digi-court.
A proposed test for emotional complexity in games: “Is it possible for a novelist to be born in this videogame, and base his work upon it?”
I want Karkat to have never had any kind of frozen treat before and one day Rose is eating ice cream and he’s like what the fuck is that so she gets him a bowl and he eats it in like two seconds oh my god this is the tastiest shit I’ve ever eaten in my life but then he gets a brain freeze and oh god she fucking POISONED IT DIDN’T SHE I’M GOING TO DIE HERE WRITING IN A CHAIR CLUTCHING MY HEAD THIS IS THE END.
The mental image of Karkat having massive brainfreeze was just too good not to draw.
god is this still going around
Tip for all my student readers: if you’re too lazy to use a bibliography creator like NoodleBib or RefWorks, let Google generate your bibliography entries for you. All you have to do is google the article/book title in Google Scholar, click “cite” at the bottom of the search result, and copy either the MLA, APA, or Chicago cite into your word document.
For some reason a bird speaking Japanese is mildly off putting.
> Literal translation
Bird:” ‘Uhm Hello, this is the Ono family.”
Bird: “What’s wrong?”
Owner: “Abe-chan, you’re a little too early. Once the phone’s picked up, then properly say hello.”
Bird: “Okay, understood.”
Owner: “Do you really understand? I’m counting on you. Hello, this is the Ono family residence in Gifu.”]
Bird: “Okay, I understand!”
Owner: “Got it.”
> That’s clearly some sort of Pokemon.
> Off-putting? It’s like birds were meant to speak Japanese!
> For some reason it’s never occurred to me that birds can mimic languages other than English. It’s so cool, though!
The world will soon understand why birds are so awesome and deserve to be our overlords.
FROZEN: IF ELSA WERE THE VILLAIN
This original Disney-Villain-inspired song explores the Frozen film, had Elsa been the villain as originally intended!!! It’s Poor Unfortunate Souls meets Be Prepared meets Oogie Boogie meets Mother Knows Best meets Let it Go!!! I hope you enjoy!!!
I have a keen thing for villain songs and well, this woulda been an interesting take for Elsa