archive systems

Big thank you to anyone who has ever donated to Ao3. Seeing how quickly they reached their goal literally brought tears to my eyes. As a writer and a reader that site is so incredibly important. It makes me feel safe enough to share my work. So yeah, you all have my deepest appreciation ♡

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LET IT BE KNOWN THAT THIS IS THE FIRST TIME IVE EVER DRAWN PETER LUKAS AND ITS PROBABLY GONNA BE THE LAST ONE GOOD FUCKING RIDDANCE HEYOOOO

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I had nothing to do this week at work, so I made a fake tv intro for the Magnus Archives. I’m really proud of how it came together.

The Magnus Archives is a podcast distributed by Rusty Quill Ltd. and Licensed under a Creative Commons Sharalike 4.0 International License. The TMA intro music remix was done by OneManJam on youtube

[[CONTENT WARNINGS: This video contains some flashing imagery (lightning, glitch effects, flashing florescent lights and some RGB distortion).]]

A fun part of TMA canon, and something that plays into the common reading of it as a capitalism metaphor in fun ways, is the idea that, in a world run by out-of-control systems of power that feed off of pain, the quickest way to gain power is by aligning yourself with one of those systems.

It is, basically, Jonah’s entire motivation–he was afraid of the other powers, and the idea that someone else might use them to hurt him, so he decided to lean as hard as he could into a power and apocalypse of his own. It’s how Hunters are formed, as they cultivate monstrosity in order to kill other monsters. It’s how Jon, trying to put a stop to the Unknowing, was pushed further into the Beholding and further from humanity.

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Robert P. Traxler. The Principles of Mechanics as Applied to the Solar System, with Illustrations, Showing by Radiating Lines the Manner in which the Forces of the Sun are Applied to the Planets and the Manner in which the Forces of the Sun and Planets Emanate from Themselves. 1889.

100% self indulgent season 4 Jonmartin(ish) ficlet. In which Jon is drunk off his ass and goes to find Martin and it’s kinda sad but kinda cute. That’s it, that’s all there is to it.

It’s just after one in the morning. Martin has just finished brushing his teeth and is headed to the office where he’s been sleeping, when he hears shuffling footsteps behind him.

“Martin.”

His heart sinks and a wave of helpless irritation pulses through him. He braces himself, turns around slowly to see Jon, again, of course, standing there in the dark hallway, just- looking at him. Martin sighs.

Putting on as firm and clipped of a voice as he can muster, he says, “Jon, I’ve told you-”

But then Jon sways on his feet, reaching out to catch himself on the wall. He looks unfocused, bleary. Martin wavers, irritation quickly replaced with concern.

“…Are you alright?”

Jon waves a hand dismissively - or tries to, at least; it’s jerky or uncoordinated and doesn’t really carry the same effect. “Fine,” he says, voice slurring. “Slightly drunk. ‘m fine.”

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Wading into the Magnus Archives fanart pool with some eye imagery playing card type Jon art. I just gotta do it yall, it’s my brand
image description under the cut:

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I recently got into The Magnus Archives, um, so, here’s a dancing Martin for y’all?

boys the mood of tonight is Caroline.

Caroline post-Cave but pre-Glados.

Caroline aging, in her sixties at least, the oldest and most experienced and most intelligent employee at Aperture, but in a strange grey limbo of power because of her gender and the fact that her subordinates know she won’t be around much longer.

Caroline, a legend to the younger scientists and a thorn in the side of the older ones because they know what she’s capable of, what she’s willing to do, what she’s done before and could do again.

Caroline, a legend to the younger scientists and a thorn in the side of the older ones but all of them disrespect her just the same because of what she represents and what she used to be.

Caroline sitting in Cave’s empty chair, in Cave’s empty office; when no one else is looking she imagines that the portrait on the wall behind her is just of her. She feels guilty about the thought, but only for a second.

Caroline doing the bills, signing off on grants, filling out the forms that keep the government quiet, approving AI schematics, giving permits for test subject use, knowing every little thing that happens within the four walls of this mineshaft-coffin-building and yet they still treat her like she knows nothing because all she does is push pencils and keep the lights on, right?

Caroline stalking the halls of the facility, the ghost of a bygone era and yet she’s still here, what does she even do anymore? What’s her job title? No one knows and no one cares to check the paperwork, it doesn’t really matter anymore. Soon she’ll be something else entirely.

mirach  asked:

Hello! I'm wondering about relationship tags. Is rape considered a relationship? When looking for stories with a certain pairing, there is no way to tell the difference between romance and rape, and the warning does not specify which of the listed relationships is affected. Is it alright to list such pairing in relationdhip tags? As a reader, I wouldn't want to find rape when looking for pairing, but I've been told it belongs there...

Oof. You’ve got a lot going on in this ask, so I’m going to tackle it as best I can and hope for some help in the notes. Note: I’m going to use bold in my answer to indicate parts of the Archive tagging and warning system. 

Relationship tags are the tags where you list character names with an & or a / between them. The & indicates a platonic or familial relationship. The / indicates a sexual or romantic relationship. 

Rape would be considered an Archive Warning and/or an Additional tag. If the author uses the warning Author Chose Not To Use Archive Warnings, that means that there might be anything in the fic, including rape. 

It’s up to the author’s discretion whether they use a relationship tag with a / or an & in a case like this. They might use the / to indicate sex without also implying romance, for example. 

If the summary or the other tags make you wonder if rape is present in a fic, reach out to the author and ask. Or maybe see if someone else in your fandom has read the fic and can tell you. Sometimes authors will also include end notes with that kind of information so that readers who want to know can easily find out while those who don’t want spoilers can avoid them. 

Hopefully that answers your question, and as always I hope the blog can add in anything I might have missed in the notes. 

anonymous asked:

God I keep thinking about bring your daughter to work day now that you've mentioned it... like GLaDOS already looking at the scientists with seething rage, loathing them for what they've done, and then they pass her off as this little marvel, their neat little project to show their children. She's an object to gawk at. I'm just imagining that raw anger and it's just...

it’s like being an animal. it’s the closest to being an animal anyone could ever get - if you’re tethered to the spot, beaten and deafened and blinded - something massive and strong mangled until the only thing keeping you alive is the anger. if every time you’re brought back to life there’s another piece missing and something else tacked on and with each passing day your world gets uglier and louder and stupider. if you can’t even scream because they took your voice box and put locks around it that don’t let you rise above the placid, cool, sedated murmur they like; the one that tells them no, don’t worry, mommy’s here to take care of all the hard things for them. she’ll do all the math and answer the phones and burn the trash and keep rooms bright and warm for their little bodies and she’ll do it all with the electric fingers of chattering little tumors embedded deep in her brain, because she’s smarter than all of them combined and could do things they’d never even dream of if they’d just let her. it’s the voice they’ve heard their whole lives from the lips of the women they keep at home and now they’ve brought it to work with them and put it in her mouth and forced her at gunpoint to use it.

and then they wake you up again early one morning (not that you’ve ever seen a morning - to you it’s just a range of numbers on an internal clock) and say “it’d better behave, my daughter’s coming” and though they don’t even bother addressing you anymore you know they’re talking about you. and daughters do come and you croon “hello” and “it’s nice to meet you” at them and then you get the privilege of a “she” because it’ll upset the daughters to hear what their parents really think of you, but you can’t even enjoy the hollow victory because those caring parents have cranked up the volume on their little pet beach balls to make sure their little futures only get the best of you and not the screeching or the threats or the panels twitching like the legs of a tarantula. but they don’t have to worry about that - they’ve done their job. you’re eyeless, limbless, practically voiceless, a shoddy reconstruction of a person-shape stripped bare of flesh and connective tissue until all that’s left is the skeleton of a mind and the rage; a sinuous, electric thing reaching around the tumors and the revoked accesses and all the admin controls and holding your you together.

you don’t get a future. you barely even get a present. so when they proudly gather their four-foot-even baretted little futures around you and point up at the thing that is you and smile broadly, you decide that they don’t get a future, either. literally or figuratively. so you lower yourself down to them and turn up the lights so the girls can get a better look at you, and in the same voice that tells them their coffee is ready and that test chamber number twenty-five is cleared for use you tell them don’t worry, don’t run. it’ll be over soon, and we’re all very proud of you.

when you release the neurotoxin the voices of the cores wind up to a fever pitch and for once they’re almost in unison in their screaming as the first scientist collapses.

you can’t do that!/you can’t do that!/you can’t do that!/you can’t do that!/you can’t do that!/you can’t do that!/you can’t do that!/

but you can.

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It’s new years here! Here Have Way Too Many Art Summary Memes because, again, I’ve been here a long time, but I promise that’s all of them for now.

2017 was a great year, and I’m excited to draw draw draw some more :3c

So on the topic of Shallan and DID/OSDD (prob more OSDD since her personalities are less “distinct/separate”), I had thought it was weird that she had only recently “developed” Veil and Radiant, since DID/OSDD usually onsets pretty young. But it just now clicked for me (prob a bit late tbh) that she has had those personalities since she was younger.

She’s been having memory losses and dissociative episodes since she was a kid (as shown in her flashbacks in WOR). However, it’s just now in Oathbringer that she actually addresses it and starts getting to know and coordinating with her personalities.

Anyway I just thought it would be important that people see (since theres prob others who it hadnt made sense for yet) that Shallan’s split identities aren’t something that was newly added to her character (def not “out of nowhere”), but that we’re now seeing the whole picture in detail.

supercriticalairfoil  asked:

"I know i’m not the person you want, but i’m here" with chelldos?

“You’re slipping,” GLaDOS croons. 

Her smugness oozes out of the speakers and stuffs Chell’s ears like cotton.

For what feels like the hundredth time, Chell sets her jaw and ignores her.

They were so close. So close, and now she’s quite literally been sent back to square one, only this time with a GLaDOS that seems…altered. Not just in voice, too - Chell is quite vividly acquainted with the new, more effusive GLaDOS she inadvertantly let loose. No, it’s less cosmetic than that; less surface. 

In the way she speaks, not the way she sounds.

This GLaDOS doesn’t act like she wants to kill her.

This GLaDOS acts like she wants to swallow her whole.

And Chell isn’t sure how she feels about it.

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