i have tested positive for tzatziki
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@sabisuki
i have tested positive for tzatziki

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Revue of Souls
If you're writing anything involving cons, scams, heists, or morally questionable characters who are very good at lying, here are some free resources I've been using for research. Saving you the "why is this in my search history" anxiety.
1. The FBI's Famous Cases & Criminals archive (fbi.gov/history/famous-cases) has detailed breakdowns of real fraud cases, Ponzi schemes, and confidence operations. The language they use is clinical and precise, which is perfect for getting the procedural details right.
2. The FTC Consumer Sentinel Network publishes annual reports on the most common fraud tactics in the US. Great for understanding how modern scams actually work and what makes people fall for them.
3. The Smithsonian's American Art Museum has a free digital collection of forgery case studies. If your character forges documents or art, this is gold.
4. Court Listener (courtlistener.com) is a free legal database where you can read actual court transcripts from fraud trials. Want to know how a real con artist talks under oath? This is where you find out.
5. The Internet Archive's collection of old newspaper crime sections. Search for "confidence man" or "swindle" in papers from the 1920s through 1960s and you'll find incredible real stories that would feel too dramatic for fiction.
Bonus: The Psychology of Fraud section on the Association for Psychological Science website has accessible articles about why people trust, how deception works cognitively, and what makes someone a convincing liar. Essential reading if you want your con artist characters to feel psychologically real.
Reblog to save for later. Your WIP will thank you.
今日のカニギター
[Image description: A cutesy, bright red crab electric guitar for sale. The headboard is shaped like a crab claw, and it has little, nubby legs and black shiny eyes. End description.]
Pro Tip: Dumplings can prevent the negative status condition Passive Suicidality

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Caught Up On My Stories BTW. Handling It
@crabussy reminded me of u
black + white magazine april 2000
haaah? what the hell is this? some sort of damn beast... it's kind of badass
Name: Dopped Snuffler
Type: Forest/Shadow
Powers: Dig, Truffle Find, Radiant Death Flare
Catchphrase: "snrrf..!"
damn... he's some stone cold mother fucker huh? kind of a badass... wouldnt want to cross him on a bad day
Nippon, 1960, the 75th Anniversary of the Japanese Emigration to Hawaii

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i am not a psychiatrist but i do find it really weird how autism checklists are so often focused on "outward" signs of autism rather than what is going on internally. i don't know how to explain it but "do you make eye contact with other people" feels like a much less relevant question than "how does it feel when you have to make eye contact with other people?"
while i'm here, the other one that always pisses me off is "do you interpret idioms literally, for example 'bull in a china shop'?"
well, no, obviously. i know what "bull in a china shop" means because that is a popular phrase with a clearly defined meaning. and if i hadn't heard it before, then i would still not interpret it literally, because it has the cadence of an idiom and i would probably be able to work out from context what it meant. what is the point of this question
third and final complaint: "are you good at noticing subtext?"
i feel like the problem with this question is best illustrated by a conversation i had with a friend a while back, where i said something like, "i feel very safe with you because you don't do subtle hints and you are always very straight-up with me about what you are thinking and feeling."
and he laid a hand on my shoulder and was like, look dude i'm gonna be straight up here. i am subtle with you constantly and you simply do not notice <3
@luckyybones hope you don't mind me screenshotting but you are actually so correct
An abandoned theater in Rochester, New York. Formerly a pornographic theater, then just a facade after the Walgreens next door gutted it to use as a warehouse. The Walgreens with it's shampoo and baby formula and half of the store locked in cages; the contradictions stare into you. You go because it is the nearest pharmacy, close in walking distance for you and your disabled loved ones.
The Walgreens shuts down and it too, is now just a vacant facade, next to a vacant facade. You stare into the large windows meant to advertise it's contents, now only showcasing absence. A wide open space with torn up floors. You think about how perfect the location could be for low income housing, for squatting, for anything other than standing as a constant reminder of the city's failures to her people. The parking lot is empty, save for the occasional cop car, to ensure no one uses the lot or the building for anything at all. The cop ensures the space will stay as useless as himself.
They add letters to the theater's marquee; a reminder and encouragement of surveillance. "If you see something, say something. In progress call 911, over and done call 311." They board up the doors, ensuring that the space will stay in it's intended form: empty, useless, an eyesore that reminds everyone of their place. The freshly boarded up door has been emblazoned with a message from those who lack.
"A man would shelter, if he could / in the nook behind this new plywood / the building, abandoned / the man is too / how I wish you'd imagine / that it were you."
Pictured above is Rain, an artwork by Thurlow Small Architecture, hung from the M Street NE underpass in the NoMa neighborhood of Washington, DC. It’s one of three artworks in a series commissioned by the neighborhood to beautify the area.
And by beautify, I mean drive out the unsightly homeless.
Local law states that the homeless cannot encamp on, in, or under public art, so the NoMa Parks Foundation identified three underpasses uniquely situated out of the elements and targeted them for their installations. Now of course, it doesn’t completely deter souls seeking shelter, but it does empower law enforcement to harass them and drive them into more hidden, less comfortable crevices of the city. Out of sight and out of mind.
There is a cold, cruel beauty in the piece. It’s almost self-conscious in a way. Art weaponized against the viewer, designed to resemble the very element they are trying to escape. Rain.
One hundred thousand years ago, I was decapitated by a mighty hero on an empty continent in a vast ocean. The small amount of blood that dripped from my head grew quickly into a sapling that bore poisonous fruits, while the torrent of blood from my body grew into a mighty tree that overtook and swallowed its weaker, deadly sister within a night.
After three hundred years of stillness, the great tree flowered a single flower, but it failed to be pollinated and withered away. After three hundred more years it flowered again, this time being pollinated by the primitive insects that formed from the wilted petals and colonized the land. After one hundred and fifty years of forming, a single, seedless, golden fig was produced, and fell to the ground.
The insects that ate it suddenly grew to understand that they were in fact, alive, and were capable of dealing with the truth of their death in meaningful ways. They and the children they bore formed societies within their colonies, and worked together to ensure that every individual life had meaning.
One insect, a scientist, warrior-priest, and poet, concluded that, because the golden fig brought his people awareness, and a near-perfect world, a second would bring the gift of immortality to his kind, whos natural lifespan was to be born, have children, and die over the span of a week. He discussed the idea with his peers, and his peers to the public, and though there were occasional disagreements about his belief, nearly everybody agreed with his theory.
The insect and all of his top scientists, with the approval of those they sought to help, began worshipping the tree in primordial, pre-awakening and recent-post-awakening mannerisms, believing it to be the closest in respect to the sacred time of their creation, coaxing the tree to produce a second fig.
After three hundred years of their efforts, the scientists generation and thousands of generations that came after that long dead, the project continued, and the tree flowered for a third time.
It was pollinated, and so, for one hundred and fifty years, the insects waited for it to fruit.
One morning, the sun rose, casting a golden light upon the world. The insects all awoke to find the long-awaited second fig sitting high upon the branches.
The next night, it fell, and was divided equally among all the bugs, so that none will die again. They ate the fig until only the seeds remained and continued their prosperous society, with the passage of time being the only way to test if death would take them, unwilling to kill eachother in case the fig rendered them immortal in age but not body.
Eventually, the eldest of their society stopped dying, but remained old and withered. The adults grew old but remained healthy, and the larva pupated and grew to maturity but remained childlike and stunted in their mannerisms. This brought on a golden age that lasted tens of thousands of years.
The tree, however, having created three flowers, began to die, having reached the end of its own natural lifespan. The insects, now living on a timescale similar to the trees, were able to recogize this, and panicked.
They realized the second fig had viable seeds, and planted one. They had no way of knowing this, but from deep within the great tree, stewing, seething, lived the first plant to ever touch the soil, the poisonous sapling, still alive, living within its sister. In its dying throes, it granted the great tree its virility, its sap, stamen and pistil, and while the resulting fruit gave the gift of life, that of the great tree, the seeds within that fruit were of the poisonous sapling, and would grow only more plants like it.
With bated breath the insects had no choice but to watch as the new tree they planted grew gnarled, far too quickly, and with odd leaf shapes and premature flowers. All the while, the great tree continued to suffer.
It began refusing to absorb water from the ground, causing its leaves to shrivel and fall, and the soil to get swamped. Opposite of that, it began rotting from the inside out, releasing toxins into the earth so that no new plants could grow. The insects, terrified, planted the other two seeds, but they were wrong too.
The conditions were perfect, so the new poisonous saplings began proliferating heavily, breeding with eachother, spreading thorned roots into the earth and smothering what remained of the great tree, swallowing it within a night. They bore poisonous, rotting fruits in excess, and had foul tasting leaves.
The insects were left in a state of famine, left with nothing to eat yet unable to die, cried out day and night for a hundred years, but eventually came to eat what came of the plants.
The poison, while not fatal to the immortal bugs, erroded their minds over time, and they began to worship the first tree the way they did the second, living their entire lives off what it made. Their society, though still non-violent, began to drift apart, with every individual simply no longer feeling the need to interact with others, and every other feeling the same.
After another ten thousand years of collective solitude, and despite the wisdom they possessed that comes from living for such great lengths, the once great insects became indistinguishable from a regular swarm, constantly buzzing, constantly eating, locked in a stalemate with the rapidly growing plants and fruits, consuming at the exact rate of production, too simple to get bored of it, no love, no life, capable of reminiscing but not willing to, reduced to animals, yet so much more.
I find it hilarious they gave me hay despite having it just yesterday
Why are you eating hay?
They keep giving it to me?
Low Orbit Solitude [ 13 colors ]

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Gustave Doré (1832–1883), “The Gnarled Monster”
illustration from “The Days of Chivalry; Or, The Legend of Croquemitaine” by Ernest L’Épine (as Quatrelles), 1866
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