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Like Ten Minutes Of Sleep

@rorykurago / rorykurago.tumblr.com

she/her || Australian || Jaegers. Military. Space. Women at war. || I write about tattooed J-Tech gearheads sometimes. || "no" to boobplates, "yes" to solarpunk and artillery
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works w/ youtube, soundcloud, twitch, twitter (gifs and videos), tumblr (video and audio), and most other websites you're probably lookin to download stuff off of.

for anyone wondering about privacy and whatnot, i'm happy to say that the developers are pretty committed to have 0 trackers and 0 data retention. you can read more in their "about" section, but here's the basic important stuff:

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wukker

COBALT MENTIONED OUTSIDE OF TWITTER???

^ (one of the lead devs that made cobalt)

thank you for your thingy, it's real useful 🙏

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reblogged
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unpretty

The Outbursts of Everett True was a comic strip that ran in papers from 1905 to 1927, wherein the aforementioned Everett True regularly beat the everliving shit out of rude people as a warning to anyone else who might consider being rude. Men have not only been taking up too much room on public transport for about as long as public transport has existed, but the people around them have been irritated about it for at least a hundred years. The next time someone tries to claim that manspreading is a false phenomenon, please direct them to this strip so that Everett True can correct their misconceptions with an umbrella upside the head.

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guyalice

I have never before heard of Everett True, but if he “regularly beat the everliving shit out of rude people as a warning to anyone else who might consider being rude,” I have a strong spiritual connection with him.

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hotcocoachia

I fucking love him

i can imagine this guy’s voice very clearly in my head but i couldn’t put a name to it 

He also jabs racists in the eye!

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tumblunni

I love the justice grandpa of fists

I’m very lucky to own a book that’s a collection of most of these comics (sadly not all of them) and would highly recommend hunting these down if you can. Sorry for the lack of a scanner but phone photos will just have to do.

He was a enjoyable cuss who didn’t care for war mongering.

Especially profitable war mongering and excuses for it!

He certainly didn’t like selfish husbands and fathers!

Politicians who turned on their words once they got theirs weren’t safe.

He said fuck the police!

He absolutely didn’t like people ruining little things for kids.

He stood up for foreigners. Especially those doing their best to communicate with limited second language knowledge.

He was not having any tomfoolery when it came to gun safety and laws. Especially with youth involved.

You had better not abuse a animal with him nearby. He’d right that wrong real quick!

And best of all him and his wife were both prickly cusses together. Relationship goals.

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biglawbear

I have a new role model

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briarchubnj

😍

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runcibility

“justice grandpa of fists”

It’s nice to see a fat dude in a political cartoon that’s NOT being used as shorthand for greed and corruption.

Hes like the personification of motherfucker unlimited

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bogleech

Reblogging this newer version of this thread with so many more strips I haven’t seen…why did this character ever disappear. Where did you go, Everett.

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tramampoline

we need him more than ever…

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sarabeth72

Grandpa Fuck Around & Find Out. Love him.

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reblogged
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animentality

Additional context because I know the radfems are going to get their hands on this and love it:

  • "Korea has the largest gender pay gap in the rich world, with women earning 31 percent less than men, and women still face widespread discrimination in the labor market, something the movement recognizes."
  • "In 2016, a young man murdered a young woman in a Seoul public bathroom, telling police after that he killed her because women had always ignored him. Despite the perpetrator’s own statement, police refused to label the murder a hate crime. Furious, women flocked to online feminist message boards, communities, and chat forums. This wave of digital feminism attracted women from all backgrounds, including working-class women like Minji and Youngmi, making it different from traditional Korean feminism, which was largely confined to universities, NGOs that often received government support, and other elite spaces.
  • In December of that year, as Korea’s fertility rate hovered at 1.2 births per woman (it has since slid to 0.78, the lowest in the world), the Korean government launched an online “National Birth Map” that showed the number of women of reproductive age in each municipality, illustrating just what it expected of its female citizens. (South Korean president Yoon Suk-yeol won the election in March 2022 with a message that blamed feminism for Korea’s low birth rate, and a promise to abolish the country’s Ministry of Gender Equality and Family. ) Women were outraged by the map, observing that the government appeared to consider them “livestock”; one Twitter user reportedly created a mock map illustrating the concentration of Korean men with sexual dysfunction. Several of these digital feminists responded with a boycott to the reproductive labor expected by the state and decided that the surest way to avoid pregnancy was to avoid men altogether.
  • It was through these online communities that 4B emerged as a slogan, and ultimately a movement.

It's not just about hating men.

It's a political statement and protest for equality that specifically seeks to eliminate the way the way Korean women are used, abused, discarded within the patriarchy by their own refusal to participate in any of it or associate with anyone who benefits from it.

It's very specifically about Demanding equality from men in power by refusing to take part in the patriarchy and challenging the way it perceives women.

It's becoming a topic in the west now and so I wanted to add all this context with the addendum that this is NOT an inherently transphobic movement. It's also completely autonomous meaning there is no "leader" of it.

Each person will have their own reasons and method of participating in this movement. Anyone can join or be part of it. Yes this includes radfems and TERFs so when they eventually try to co-opt this movement as their own let's remember that they don't speak for all feminists and theyre definitely NOT the voice of oppressed Korean women who started this, and as such have No reason to put themselves in the spotlight of this movement. And we have no reason to let them.

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reblogged

i get that karl urban is a beefcake but bones is not a fighter, ok? he's not violent, he's not getting into bar fights, he's not physically strong, he barely knows how to shoot a phaser, he's not working out at the gym, he's not punching people. it doesn't matter if bones is being played by deforest kelley or karl urban - he'd lose an arm wrestling match against an eight year old.

leonard mccoy is barely passable in a fight and fighting would be his last resort anyways. the man is a staunch pacifist. don't let his grumpy nature fool you into thinking otherwise.

some aos fics tend to write mccoy as a badass action hero-esque army doctor and that's just not him. leonard "just an old country doctor" mccoy is not john wicking it up in a crisis. he's gonna throw a wimpy punch that's gonna miss and then get his ass wiped. i'm sorry. it's just how he is and i love that about him. literally every other tos character throws down more than bones.

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rorykurago

OP listen to me... I know you meant this with all your fandom heart, but I promise you Bones canonically promised a man that if he said again that a healthy colony had no need of doctors, then Bones would personally put him in hospital. Let the man throw fisticuffs and then go back to his mint julep.

(The episode is TOS S01E24 This Side Of Paradise, if you're interested.)

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reblogged

The thing about having read our way through two previous books full of necromancers and weird eldritch shenanigans is that the absolute horror of what happens to John as a person doesn't quite register.

John's own glib, matter of fact narration tells the story as an apotheosis. He was doing great. He'd have fixed everything if only people had listened.

But reading between the lines in the John chapters, you glimpse something rather different.

John basically spends the first half of the Jod chapters sitting in the dark with his creepy yellow eyes, not eating or sleeping, literally stroking his favourite corpses and coming out with chill and fun statements about how he can feel their skin when he's away from them and he's 'waking up'. Cool, cool.

Passing swiftly over the cow dome, Presidential Puppet Pals, and the suitcase nuke, day to day life in the cow dome must have been fun... You're all on the Interpol watchlist, the Vatican is asking a lot of questions, the police are outside and John - who hasn't slept in a week and doesn't eat anymore and is probably wearing some kind of weird novelty tshirt - comes wandering past while you're eating breakfast, followed by a dozen silent, dead-eyed corpses like some kind of mother hen. He makes a cow joke, and then zones out because he got distracted by listening to the bacteria in your gut.

And then some guys die accidentally and it turns out he can eat death energy. So now he's got creepy Twilight eyes, an entourage of corpses, a cape, some very dodgy eyeliner, and he's barely breaking a sweat as he instantly kills over 100 people, says it was an accident, and then, dead serious, tells his followers to drag dead UN peacekeepers inside to add to his 'skeleton army'.

By the end, he's not slept or eaten in weeks, is tweaking his own bodily processes on the fly, is puppeting the dead US president and possibly an army of over a hundred corpses, monitoring G- in Melbourne, carrying on at least two conference calls, and helping to build barricades out of chairs.

And I just keep thinking how weird it must have been for his friends. How sometimes he would have seemed like the man they'd known and loved for so long, and sometimes he would seem different. Did they ever find themselves mourning the man he was? Did they ever stand there as he tuned into something they couldn't fathom, staring at them with those yellow eyes, and feel some awful, uncanny valley terror? Did he ever feel like he was losing himself? At what point did the cow jokes stop feeling like oh, classic John and start to be a reminder that his desire for vengeance and the scope of his powers were outstripping his remaining...perspective?...restraint?...humanity?

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yuck-pfaugh

Note: I’m writing this only because I haven’t seen anyone else touch on these specific points. I’m not Māori, so my understanding may be mistaken; if so I would be very grateful for correction and elaboration from tangata whenua. (And I’ve only read Nona once so far, and we all know that’s a scratch upon the surface of it.)

Tazmuir has received fandom flack for saying in interviews that Gideon and Harrow are both Māori without mentioning it in the text — which understandably reminds sf/f readers of a certain other author’s tendency to dispose of the difficult bits outside the actual work. I think it is clear by now that the reason it wasn’t dealt with explicitly earlier on is that Tazmuir sticks religiously (ahem) to the flawed and limited knowledge of her point-of-view characters, and in the Nine Houses they have no concept of pre-Resurrection races and ethnicities, because Jod has not allowed them knowledge of any world but his. (Besides, explaining Gideon’s lineage in a Doylist aside would have been rather tricky without revealing, before their proper time in the narrative, juicy details about Jod himself.)

My prediction is that we will find out Anastasia was also Māori. Maybe, probably, from the same iwi as Jod and/or G1deon.

Which makes Harrow, her last descendent, Māori as well.

No matter how many generations separate them. No matter how much other blood.

“Mixed Māori” or “[percentage] Māori” is kind of a pākehā concept. The more important question is, do you whakapapa? Do you know who you are? Do you know where you come from? All it takes is one verified ancestor and you’re in the club, no matter how long it’s been or what brand of egg carton your skin looks like on the book cover. I think Harrow is descended not just from a line of Tomb-keepers but a line of kaitiaki, guardians of the land, who through Anastasia’s private pact with Alecto are sworn to protect her — Papatūānuku, the earth mother born from salt water — and who have been holding on for ten thousand years to right Jod’s wrongs. We know salt water is sacred to the line of the Ninth House; we know that Alecto was called “the saltwater creature”; we know that it’s Nona’s natural element, which calms and renews her; all this links Alecto/Earth specifically with Māori creation myths, more than any others. And we know that preserving the ancient bloodline of the Ninth, Anastasia’s bloodline, in Harrow’s own improbable and desperately yearned-for person (that Alecto can recognise at a taste), was the goal Pelleamena and Priamhark pursued at the cost of the Ninth House’s entire future.

Yes, this series is portraying an indigenous man as the destroyer of Earth. We know that Earth chose him as her saviour and he betrayed her, imprisoned her, set himself up as master of an empire that was her antithesis, then imprisoned her again — arguably worse sins for someone who was born into that special relationship with the land, whom the Earth loved and trusted so much and still loves even now because love past understanding is her gift.

But here’s the answer to that. Here’s his opposite number. Harrow, who fell in love at first sight with the Earth, who found in that love her reason and her drive to continue living and to hold to her goals through intolerable trauma, who has a unique combination of bloodline and genius and Jod-and-Alecto-derived power (through her Lyctorhood with Kiriona Gaia, wherever that ends up going) with which to fulfill this sacred pact entered into by her tipuna Anastasia.

Harrow being Māori is not a trendy convenient afterthought. It’s an integral point.

Harrow knows who she is. She knows where she comes from. She knows where she’s going: Hell itself, to get to the bottom of all this shit. So I think we will be hearing more along these lines.

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reblogged

paired with their often intimate and violent subject matter, i find the incidental way tamsyn muir frames women and their bodies throughout the locked tomb series to be refreshing bordering on radical

consider harrowhark; in the first book we see her as gideon sees her. she's a hideous ghoul with a flat ass and no tits, she's a delicate sopping wet beauty with a sharp face and angel bow lips, she's a triumphant and awe inspiring master necromancer screaming and fighting drenched in her own blood. the shape and condition of her body is allowed to take on meaning contextually based entirely on the situation and how gideon feels about their relationship in any given moment

she then spends the second book hobbling around with a sword twice her size, ripping apart her body to use as a weapon and passing out in her own vomit, struggling to eat and sleep – she and puts herself through absolute hell and never once thinks anything of it, and we're made to mourn this not as the desecration of a beautiful woman but as a manifestation of a human being's despair and self loathing, and we see this specifically contrasted against the care gideon tries to take when inhabiting her body during the last act

it's jarring, in nona, when we're suddenly made aware that her body could be perceived or valued as a commodity, when pyrrha is assumed to be nona's pimp. it feels strange and horrifying when we learn alecto's form was modeled for a doll, learn that she was given a woman's body as a display of ownership, an alternative to being consumed, and as we're processing this we watch gideon, paul, and ianthe, immediately setting aside their conflict in a desperate scramble to preserve harrow's body for no reason other than because it is harrow's and they love her

feminist fiction often focuses on women's relationship to a body which is valued more than the person within it – and that is a worthy experience to explore – but as a transsexual butch(ish) dyke, i have never really had the privilege of seeing my body as a precious commodity, never felt like it couldn't or shouldn't be a sight of violence and disgust, and as a result the locked tomb books have made me feel seen in a way that few other works of fiction have?

we as an audience are not made aware of how attractive any character would be outside of the context of our lesbian POV characters' perspectives, their relationship to patriarchal beauty standards is an utterly irrelevant detail we're never told and only occasionally glimpse through implication. the women in the locked tomb books are simply free to exist, to have experiences and feelings, to love and hate and grieve and suffer and die like anybody else, and to have those experiences reflected in their physical vessels

it's a perspective that's so fundamental and obvious that to praise muir for it for it feels almost patronizing, but i also think it's a huge part of what's made the series so resonant for so many queer women and i feel that that's worthy of highlighting and celebrating

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Write a horror story in the format of an Internet search history

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reblogged

This could've been SO MANY different Mountain Goats lines: at first I thought "I will be made a new creature one bright day", "Well, you looked me in the eye, ready to die/We were becoming what we are Collapsing stars". "See that young man who dwells inside his body like an uninvited guest" is possibly too on the nose. But this one, from Heretic Pride, caught my heart because of the sense of triumph in death. Artist credit @sunfloowerlatte-art

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hey did you know that uhh

  • i. the monster's body is a cultural body
  • ii. the monster always escapes
  • iii. the monster is the harbinger of category crisis
  • iv. the monster dwells at the gates of difference
  • v. the monster polices the borders of the possible
  • vi. fear of the monster is really a kind of desire
  • vii. the monster stands at the threshold… of becoming

oh shit i didn't expect this to actually get notes lmao

that said, while i think cohen's writing is evocative, it can be a little dense, so while i'm here, here's my capsule summary (you can also hear me talk about this in the first episode of my podcast) (listen to @ghostswerepeopletoo)

  • i. the monster's body is a cultural body - The monster is a work of fiction to be analyzed through tools of literary and sociological theory.
  • ii. the monster always escapes - As long as the cultural fear from which the monster stems persists, the monster will reappear in retellings, reimaginings, and sequels.
  • iii. the monster is the harbinger of category crisis - Monsters defy binaries and challenge easy comprehension or categorization.
  • iv. the monster dwells at the gates of difference - The monster represents the Other.
  • v. the monster polices the borders of the possible - Tales of the monster exist to discourage unacceptable or taboo behaviors.
  • vi. fear of the monster is really a kind of desire - Subjects can vicariously participate in the disruption of the social order through the monster.
  • vii. the monster stands at the threshold… of becoming - Within the monster we find information about the self.
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Links to Pacific Rim creator Travis Beacham's own posts on drift compatibility and drifting

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