it’s a long way down to the bottom of the river

it’s a long way down to the bottom of the river

posted on August 23rd   164 notes   via jenovaah   Source




Red? I think it’s red. 

I basically did this once and it’s how I got pink eye.

I can’t tell if you’re making a pun or if you’re telling an actual story.

Either way, I’m still laughing.

posted on August 23rd   131,187 notes   via eulerami   Source


i don’t even know what i’m doing with my time anymore but hey heres the magic the gathering butt cracks guy and hes gonna bless ur blog




i don’t even know what i’m doing with my time anymore but hey heres the magic the gathering butt cracks guy and hes gonna bless ur blog


posted on August 23rd   11,015 notes   via zevranarinais   Source

Booker’s arsenal.

posted on August 23rd   1,260 notes   via gamerlandaria   Source

just stop lazarevic       g o
               n o t a c h a n c e, come on

posted on August 23rd   123 notes   via verggil   Source



posted on August 23rd   65,217 notes   via ludzies   Source
posted on August 23rd   322 notes   via eulerami   Source


i love these looks!

posted on August 22nd   36,841 notes   via zevranarinais   Source

Nicki Minaj’s reason behind the “Anaconda” music video

posted on August 22nd   7,750 notes   via zevranarinais   Source




Daud Headcanon: Moral disengagement is the process of disabling our mechanisms of self-condemnation in order to avoid a negative moral reaction to our own conduct. The technique that Daud utilizes is a mixture between dehumanization and justification.

Dehumanization in that his targets are nothing but puppets or a government entity. There is a sense of distance between himself and his victim. They’re nothing but a job.

Justification in the sense that this is a necessary evil to bring a greater good: financial stability for himself and the Whalers. This isn’t about ridding the world of corrupt politicians or some other altruistic goal. But with the Empress, it didn’t quite work. He couldn’t quite disable that negative reaction and like the sea wall, guilt broke through. 

I GOTTA BUILD OFF THIS POST OH MAN. someone mentioned this before, but it’s so obvious that Daud takes no joy in his work. he’s ruthless, efficient and so to the point that it’s almost hard to even call him an antagonist in that regard. there’s an element of necessity to everything that he does, even if there’s an ingrained brutality to it - no excess, no pleasure, no relishing the moment, just what needs to be done. with jessamine, he was there one minute and gone the next without so much as a word. 

i certainly think part of his dehumanization was based on the idea that the people he did kill deserved their fate - the way he describes them is far, far from kind ( “[…] I’ve felt the blood of scholars, of noble pedophiles, of guildsmen, of unfaithful lovers, of politicians who were far too just for their own good, and of law enforcers who came too close to bringing the wrong man to justice […]”). a justification, perhaps even a delusion, that what he saw as necessary - for his survival in a foreign continent as a 16 yro kid who’d been hijacked from his home, and later, the whalers - was more than just killing. because he’s seen that and he takes no joy in it, it’s ugly and it’s brutal and excessive. his hands do violence - but there is a different dream in his heart.

he’s the kind of man who’s seen so much that he simply fails to be phased by anything anymore. you delete your empathy, because the consequences never come back to you if you do your job as coldly, as efficiently as you can, and you move on.

jessamine was the first target he failed to do so with. because the results of his actions were staring him in the face constantly - it’s easy to be far removed when the consequences don’t come back to you, except this time they did. it was emily wailing out her grief in the flooded district and burrow’s fist crushing into dunwall and billie stabbing him in the back. he did to emily exactly what had been done to him and that is the kind of slow-burn guilt that really festers.

and he knows he’s guilty, because it was his choice. hiram handed him the coin but he would give it all back if he could because no one should have to kill an empress, but he killed one anyway. 

Excellent points made to all, and I’d like to add my own two cents re: justification and ‘a different dream in his heart.’ Daud mentions that when the Outsider marked him, he said he was someone special. Given that he was taken away as a kid (either from a mother that he clearly respects if not loves, or he lost her before even that), having powers would suddenly be the perfect means by which he could exact some sense of justice. 

And that’s probably why the Outsider found him so interesting at first, because Daud in the beginning was very much a ruthless Low Chaos!Corvo. He took the time to learn about his powers (I headcanon this was what he was doing when he travelled the Isles/hid out in the Academy) and to build himself a reputation. An assassin of his caliber doesn’t happen by accident; he made himself that way. All throughout the Outsider watched as Daud fashioned himself into the most terrifying weapon Dunwall ever knew and was delighted. 

By the time we get to the events of the game, Daud isn’t just bearing the weight of Jessamine’s murder; it’s the entire path he walked that led him up to it, because all of it was deliberate. The Outsider might have marked him on a whim, but he chose to become an assassin long before he chose to kill an Empress. He’s self-aware enough to know that Corvo is his foil (in Low Chaos), which is why he finds Corvo’s decision to spare him so striking. Here is a man who was made into a weapon like him (though for different reasons), who is Marked like him, who so obviously sees the power he wields and somehow does not use it as a younger Daud would have and did.

posted on August 22nd   79 notes   via mugumugu   Source