April 16, 2014

benjamingrimes:

Blood Moon eclipse. Next time I’m going to rent a longer lens.

4/15/14

April 16, 2014

nickacostaisme:

This is a little photoshop side project i’ve been working on. The premise is what if the Tardis mixes up control rooms on the classic Doctor’s. The Tardis has hinted in the past that the old Control Rooms are never deleted just archived. She has also said due to the fact it’s a time machine she has also archived Control Rooms that haven’t been created yet.  

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April 16, 2014

unfriendlyblackandhot:

look im not saying that kissing bucky would have restored all his memories im just saying steve could have at least tried 

8:18   |   14,370 notes |   
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April 16, 2014

sigmalibrae:

paulnewmanlover:

probably not original theories about Welcome to Night Vale that I’ve been thinking about since episode 43

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You know what? It’s not implausible.

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April 16, 2014

nightvalianzigraves:

saint-virelai:

BELIEVE IN A SMILING GOD

I modified my Kevin outfit a little bit. Headcannon: He plays ukulele because it’s the happiest instrument on the planet. He also wears an apron now because I freaking like aprons. 


Reblogging for weapons-grade cuteness.

7:56   |   1,882 notes |   
   |   reblog     Source: prince-virelai |    originally posted by prince-virelai|   via sigmalibrae
April 16, 2014
Kevin | A critical look at his character and actions

sigmalibrae:

simperingsynernist:

((I am going to attempt to get this written down all in one place, finally. Contains spoilers for episode 43 a little while after the cut. There is also discussion of violence and gore, but nothing worse than what’s in the podcast usually

To put this briefly: fanon Kevin is wrong. “Fanon Kevin”, in this case, is the popular fan-interpretation of Kevin as a blood-splattered killer, as a villainous character and as someone with harmful intent. This is, objectively, a wrong interpretation of fact, though it has not come about without reason. The narrative of Welcome To Night Vale has purposefully and placed Kevin in a negative light, but when you strip away this falsehood and look at the facts, you see that Kevin is very similar to Cecil, and once you rule out what Kevin isn’t you are left with what he is

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This is utterly fascinating to read and think about.
I wrote too much so I’m putting it under a cut but basically 1) Viewing Kevin through Cecil’s eyes is such an interesting point to make 2) How do Cecil and Kevin respond to horror (as partially representative of the different ideological approaches each might be taking) and 3) symperingsynernists’ essay is super worth a read so check it out.

Because first, it points out something that is super important about Cecil: we are predisposed to view Kevin as negative because Cecil frames him that way. There are a few recent things in Night Vale where Cecil has framed things in a way that may not be entirely accurate to the situation (projecting onto Meghan Wallaby post-surgery, or assuming that Dana is afraid when he talks about her in “Numbers”). It is easy for us to want to believe certain things about Cecil - for instance that he always tells the truth, or always has the ‘most accurate’ understanding of events as they are happening, but remember: subjectivity is a huge complicating factor. And Cecil’s impressions of things might not be entirely accurate; communication is difficult but sometimes we can only know something about a person’s motivations / thoughts / feelings by directly asking them.

Second, re-framing or re-examining Kevin as a character with similar traits to Cecil - concern for other’s well-being, intelligent reporting that ‘toes the line’, subtle choices in word use that invoke a particular meaning - means we can examine how he’d fit ideologically?

Because of the atmospheres (corporate dystopia in Desert Bluffs, government dystopia in Night Vale) each radio host seems to have their own implicit approach to violence / acts of violence or more broadly the presence of horror in daily life.

One possible approach is to acknowledge horror. Represent, write about, and talk about it, and collectively discuss the impact it’s having on people and what could or should be solutions to it (even if the solution is simply to acknowledge that it is a part of life).

This approach seems to be embodied through Night Vale, although much of the citizenry seems predisposed towards violent, reactionary response: how Telly was dealt with. The Mountain Apologists and the City Under the Bowling Alley. Now, granted, these examples aren’t necessarily a response to violence or horror; they’re more a response by citizens against an ‘other’ who challenges or supposedly threatens Night Vale’s beliefs and/or way of life, and there’s a decidedly political bent to them, and they’re definitely meant to satirize actual political events that have and are happening in North America (demonizing other countries in order to justify war, for instance). Even so, it’s important to note that often times Cecil has to directly give his own opinion in order to express that he feels “violence isn’t an answer, it’s a question… the real answer is much more terrifying” because the assumption is that violence would be the only appropriate response.

Another approach is to deliberately gloss over violence or horror by instead focusing on ideal scenarios - an “everything is fine” mentality in some cases, but in others simply a desire to shield society - or certain segments of society - from experiences that are difficult or potentially damaging. This approach seems to be embodied throughout Desert Bluffs… or more specifically, it could be embodied by KEVIN, because Strexcorp is only interested in the glossing-over as it happens to further corporate goals. For instance, by creating an illusion of accountability and innocence in the horrific environmental conditions being created around DB (like the 4-armed radioactive deer attracted to the distribution plant).

Now, these two points above are slight oversimplifications. Talking about what appropriate responses to violence and horror are is still (and probably always will be) an ongoing debate. I’m thinking as an example about the movie “Bully” when it was released in North America; A documentary that is brutally honest about bullying in High Schools, talks directly to students and is representative of actual experience… and got slapped with an R rating that would have prevented the intended audience (teenagers) from seeing a film that is meant to bear witness to things that are actually going on. My personal opinion is that it’s more important to be able to talk, think about, and educate others on things that are actually going on (subjects of controversy and violence and such) but that the approach being taken needs to be carefully thought out due to cognitive dissonance, responding for survivors of trauma, making the discussion a safe space with guidelines for authoritative speech, etc. I digress.

Regardless, the point I’m trying to make is that Cecil and Kevin - as reporters who actively self-censor and choose their words very carefully in direct response to a VERY THREATENING WORK ENVIRONMENT THAT DEMANDS THESE RESPONSES FROM THEM- possibly have very different approaches for reporting on horror. Cecil directly showing/telling citizens what is ‘actually happening’ before focusing on a possible response; a consequence of this approach being that his listeners may internalize violent behaviour / reaction as a response before thinking about why things might be ‘innocent’ as opposed to frightening. Kevin, for whom it is necessary to gloss over or deliberately ignore violence and horror… but who instead gives citizens an alternative expectation for how they ‘ought to’ behave. A possible consequence of this approach? If violence and horror are never overtly discussed or addressed, they remain alien experiences and a calm response might not be possible, simply because there is nothing for the respondee to fall back on as ‘this is what I can do’. Or it makes it possible to ignore and discount violence as something that “isn’t happening” and therefore “isn’t an issue”.

I’m not sure I’m in full agreement about all the points the OP makes, simply because a few of them have to be based in extrapolations from the show - mostly about the state of affairs in Kevin’s studio with the viscera-equipment and such, because I think we need more information directly from the show before we can say whether Desert Bluffs was a gore-streaked horrorshow prior to Strexcorp’s arrival or as a consequence of. HOWEVER, I am in agreement that many fanon interpretations of Kevin are highly reductionist in nature and that’s disappointing to see. Even if it turns out that Kevin IS somehow maliciously inclined, he should still be well-rounded with complex motivations and beliefs and morals and values because, well, people are like that. 

April 16, 2014

Wait a second. I just realized what the descriptions of the dark planet — a beautiful, powerful, terrifying thing which surfaces before the protagonist’s eyes and eclipses everything ordinary — reminded me of:

the image of the Golden Pavilion rising before the protagonist of Mishima’s novel when he attempts to sleep with a woman (chapter 5). I don’t have the English translation at hand, so forgive this extremely non-literary translation I cooked on the spot:

And then, the Golden Pavilion appeared.

A fine, melancholic work of architecture, full of dignity. The remains of past luxury, the gilt from which hasn’t peeled off completely. It floated, clear as always, at an incomprehensible distance — both near and far, close and distant.

It rose between me and the life I desired, and thought at first it was tiny like a miniature painting, it grew before my eyes, and, like that elaborate model in which I could see a giant temple enveloping the whole world, it filled every corner of the world which surrounded me, fitting with it perfectly. It filled the world like majestic music, and that music became the meaning of the world. The Golden Pavilion, which at times I thought to be distant, to tower outside of me, now completely enveloped me, gave me a place within its walls.

The girl became far and small, blown away like dust. When the Golden Pavilion rejected her, it rejected my life too. Why would I reach for life when I am fully immersed in Beauty? And Beauty too probably had the right to demand my devotion. It’s impossible to touch eterntity with one hand and life with the other. (…) In life we are intoxicated my moments which seem like eternity, but the Golden Pavilion knew well that it was nothing compared to the image of eternity which seems like a single moment, like the Pavilion itself just then. It is then when the eternal existence of Beauty truly stands in the way of our lives and poisons them. The momentary beauty of which life allows us to catch a glimpse cannot resist this poison. It instantly collapses, perishes, and life itself is shown under the brownish light of destruction.

…I wasn’t under the Golden Pavilion’s spell for long. When I came to my senses, it has already disappeared. It was just a building which stood far away to the north west, and there was no way I could have seen it.

Compare the vision of the planet luring the protagonist away from the normal life (transcript from cecilspeaks):

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April 16, 2014
amare-habeo:

Roland Topor (French, 1938-1997)

Uranus, 1977

amare-habeo:

Roland Topor (French, 1938-1997)

Uranus, 1977

April 16, 2014

A Story About You and A Story About Them are not episodes but spiritual experiences

April 16, 2014

7:03   |   215,813 notes |   
   |   reblog     Source: brazilshit |    originally posted by brazilshit|   via c-has-a-blog
April 16, 2014

creekdontrise:

A member of management

6:53   |   397 notes |   
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April 16, 2014
He may be crying. I know if he is or not, but I am choosing not to tell you, because this is private information and you have no real need to know it.

Episode 45, “A Story About Them”

It’s so cute to see Cecil learning about boundaries. Carlos has taught him well.

(via shessuchamess)

Cecil’s good with relationship boundaries; just not so good with privacy.

Remember this from Condos though:

And I said “Yes! Yes! That would be, well, that would be neat!

"But somewhere else, OK? A duplex, or an apartment…I don’t think a condo."

And he said,"No, not a condo."

And then he said…

Listen…he thinks I shouldn’t tell you everything, that…I should leave a little something there that belongs just to us.

Carlos definitely influenced Cecil.

6:42   |   102 notes |   
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April 16, 2014

“I was thinking of inviting you to dinner,” says the one who is not short.

He often voices what he is thinking of doing, and rarely does any of those things.

“That would have been nice,” says the one who is not tall.

“Yes, it would have been,” says the other, a tad dreamily perhaps. That is not an adverb that is supposed to crop up in a car of this description. Few adverbs are.

“Mmmmm mmmmmmmmm mmmmMMMmmm mmmmmmm mmmmmmmmm,” says the man with the hood over his head.

they just ride around with the guy in the car with a bag over his head, leave him in the car to get lunch, & get chewed out by their supervisor 

April 16, 2014

"This is a story about you," said the man on the radio. And you were pleased, because you always wanted to hear about yourself on the radio.

"This is a story about you," said the man on the radio. And you were pleased, because you always wanted to hear about yourself on the radio.

April 16, 2014
Theory on the nature of the Dark Planet Lit By No Sun

three-sixth:

thief-in-the-dark:

Includes spoilers for A Story About Them, so read more below the cut.

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Looks like we had the same theory. Personally I think it’s a death omen, but I don’t think Cecil died, just escaped death. But it does potentially suggest a pattern since the man is not short was replaced (like Cecil potentially was).