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#catnip pathologic
meirimerens · 14 days
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same old piece, new puzzle / my kingdom and your kingdom and the 5 years wide distance between the ruins/between us.
melody so kindly transcribed for me months ago by. multiple followers of mine who I'm so sorry i forgot who you were. if you're reading this absolutely insane ear and almost miraculous talent to me.
very likely distorted beyond readability and playability in the process but nonetheless from this:
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cows1012 · 1 year
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soul-and-a-halves posting, here are “unique” designs for catnip and dandy! and they have halves as well.
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torse · 4 months
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apollo-cackling · 10 months
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playing pathologic's making me realise how much I love games that scratch the scavenger/hoarder itch. obviously it's not even close to the main draw of the game but it's still rather fun to me
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hayheadd · 10 months
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New pathologic warrior cat stuff compilation
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Simon Kain and Isidor Burakh. Wonder if that guy lived so long cause he had... nine lives...
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The Stamatins. Their names are really hard. I'm thinking like something to do with lizards and then it's -eye and -claw suffixes. Both of them being Lizard____ is kind of like unheard of. Like naming both your kids the same thing. Cats can't make an alcoholic beverage so I guess they'd just chew the herbs and get high which would be the substance Peter abuses. Peter of course has to keep his iconic greasy hair so I thought he would keep the psychodelic catnip in his fur always available for consumption. They have a shared leg scar from a certain shared experience of killing a certain guy
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Nara/Herb bride concept. Warrior cats don't have the word "bride" or "wife" they just say mate. So herb mates I guess. I thought worms would be completely bald small cats with snub noses. So herb brides only keep the nose and the partial baldness on their feet which is kind of like being shoeless. The more experienced they get the balder they become. Their names would end in -dancer and for Nara I think it would be Willowdancer cause her whole story resembles p1 Willow's
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Oyun concept. Has a chimera pattern because Artemy's looking for a minotaur. a half guy half bull. a chimera if you will. here it is. Extremely big cat so he gets to wear a whole ass bull skull. His name is Bullface
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truestoriesaboutme · 4 months
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Realizing that a lot of people who don't like "Hell Bent" is that it undercuts the badassery of "Heaven Sent" and reveals it to ultimately be the kind of pathetic, pathological behavior of a deeply traumatized, emotionally needy person. And certain people don't like that just like they don't like how Luke Skywalker in The Last Jedi is revealed to be a sad, broken person.
Which is wild because that shit is catnip to me. Make that old man as wet and sad as possible. That's the Good Shit.
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a-curious-studyblr · 8 months
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12/10/23 update
with my biochem master's thesis all submitted, I'm waiting for the corrections coming in several months (so I wont graduate for a year :0 )
I'm working full-time as a lab tech, I'm learning a lot and I like my job because every day is different. It feels good to have a paycheck again instead of feeling like a broke master's student 💀
I have more time, energy and less stress working full-time compared to during my master's degree
I'm starting to reintroduce hobbies again! Been sewing some catnip cat toys for my cats and a little french study. I want to slowly reintroduce language learning to my schedule and regularly practice piano and guitar again
I'm trying to read before bed again cos I miss it! I'm on 16/18 books on the GoodReads reading challenge for 2023 so I wanna finish at least two of my half-finished books lol
I really wanna do more biology, I'm thinking about doing a pathology or medical terminology online course (good for career prospects too if I wanna be a medical lab assistant one day)
I don't think I will do a PhD cos ugh going back to that constant postgrad stress and those toxic academia vibes feels bad
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voidbears-oc-stash · 1 year
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*Rush fell through the portal landing on the ground letting out (MEOUCH!) with a thud the grass softened it a lil!! and after hearing Expo's voice scrambled onto his hind paws! dusting off his suit!* Rush: why- uh N-non of the above! my feline friend! i'm a sales man! you seem like a smart fellow with an eye for good merch! *he's panicking! slightly but not letting it show! a cat's gotta eat and he has to get food for two! just gonna distract'em then find Hero! he HAS to be here! *
"What are you trying to sell me, toys I won't use? Catnip? If I want something, I have ways of getting it." Expo says. "Like lie detectors that I can strap onto the backs of pathological liars for amusement. Took one of them a lot of pleading for me to let them go."
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bloodtwyrine · 4 years
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big family
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marcheriest · 4 years
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day fifteen, in which the living enjoy a night of warmth
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power-chords · 2 years
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Some quick, off the cuff GWTDT thoughts before they leave my brain: I think Fincher’s adaptation is the definitive version, in the sense that it successfully elevates the source material, probably more than it deserves. I have a good enough memory of the books to sort them on the same shelf as like… Caleb Carr. They’re a fun series of pop self-insert novels that are guilty of the same occasionally groan-inducing Noble Writer Fanboyism. I’m almost surprised that Aaron Sorkin didn’t adapt the screenplay. But there’s some interesting stuff there, and the tone/aesthetic/character design is so razor-sharp that it sidesteps much of the intrinsic goofiness of Larsson’s concept, convinces me to overlook its flaws. (The Swedish movie botches this IMO, but it’s been ages since I’ve seen it, so maybe I should revisit it in the spirit of fairness.)
The story endears itself to me because it’s a classic MM-style character setup in which the two leads are positioned as both mirror and negative images, disparate in background and general disposition, but united in their professionalism, seeing in each other the same combination of drive and principle that alienates them from their peers. And what would be a strictly subtextual eroticism in a MM film is made textual by virtue of Lisbeth’s gender: she gets to perform the [masculine, coded-as] role of the State-Raised Violent Criminal that society has abused, sidelined, and habitually underestimated.* Mikael, meanwhile, remains tethered to the comforts and conventions of polite, middle-class society even as he goes flailing around with a blowtorch at its corporate support beams. This hypocrisy bears deadly consequences when he follows those same superficial notions and presumptions — of propriety, of safety — back into Martin’s lair. “They all come willingly,” or whatever the line is. He is saved by Lisbeth, who has been ostracized and pathologized for so long that she no longer buys into those delusions, recognizes them for their menace, and feels no allegiance to them. She is free to act outside the strictures which have damaged her, possibly irreparably, and also enabled her to smell bullshit.
As with The Curious Case of Benjamin Button there is an abundance of Buxbaum Catnip Ingredients that I am powerless to resist, so I’m not offering any kind of unbiased assessment of GWTDT’s merits. They took a formula I am basically guaranteed to like and included “characters defined by their intense curiosity & keen observational skills” as the paired set of variables. Lisbeth and Mikael literally solve the mystery by going through a shitload of paperwork with their backs hunched over a desk. Of course this was going to appeal to me.
*I mean in accordance with traditional Hollywood sexual politics. Nothing would please me more than an American theater-going public that is prepared (and hungry!) for the Al Pacinos and Bob De Niros of the world to go riding off into the sunset together, or for the Mikael Blomkvists to be 40- or 50-something women, maybe even the Lisbeth Salanders to be queer young men. In the interim, I’m happy for a thriller that explicitly toys with gendered stereotypes, in fact makes a point of doing so, even if it’s just to use a different selection of colors within the same set of lines.
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meirimerens · 5 months
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we don't talk about [the painful and almost immediate dissolution of our respective gangs as enemy entities following the end of the world-as-it-once-was, the harrowing re-conceptualization of ourselves as intricate to the town and not strangers within it, and the needed peace to be made with the place(s) we now have to inhabit as the world spins on regardless of our grief]. ride's a can of vegetable soup or a breadloaf pay up.
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torse · 1 year
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So, I have some very sad news to share, and I know it may be upsetting to some, so I'm tagging it and putting most of this under a Read More, hopefully. The short version is that we lost Kichi recently, and it's been rough. 😔
So, I have been thinking about what to say, and debating if I'd even post anything at all. I try to keep this blog lighthearted and fun, but at the end of the day, I also want to share my life with you all, too.
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On July 12th, I noticed she had a strange growth on her upper lip. She also had a small lump on her throat, about the size of a pencil eraser. I got her an appointment for the Tuesday after, and both masses were growing. The vet, a dear family friend who I love, recommended surgery and biopsy. The soonest she could do it was the 28th, but she gave Kichi anti inflammatories and pain meds to hold out.
By the time surgery day came, the mass on her throat was the size of a ping pong ball, and I knew I was probably dealing with a very aggressive cancer.
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She got through surgery and was recovering nicely, though she hated her pretty sunflower Cone of Shame. On August 4th, the pathology results confirmed my worst fears. Her cancer was a malignant melanoma, and it had spread to her lymphatic system. I steeled myself to say goodbye, knowing something like this would mean weeks, months if I was lucky.
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The next night, she collapsed. A metastatic tumor on her spinal cord that nobody could have seen sooner paralyzed her from the hips down. At that point, there was nothing else I could do. She was in pain, suffering, and after 14 years of being my best little buddy, I couldn't have that. I wasn't ready, but I let her go because it was the right thing to do. I held her and she purred for me until the end.
Gray and I have both been devastated, and our house feels so empty without her in it. If I've seemed more distant or cranky lately, please forgive me. Trying to process losing her, especially as abruptly as we did, has been hard. I already struggle with depression, so these last few weeks it's been a chore just to get up and shuffle to the office where I work from home.
She was a loud kitty, a talker. She never stopped talking, even mumbling in her sleep. She loved sunshine, birds, and her favorite catnip toy. It was a tie dyed bag of catnip affectionately dubbed "The Crack Sack". She was the only cat I ever had who hated fish, but she lived for chicken, turkey, the occasional vanilla ice cream, and a soft blanket to sleep on. I will miss her so much. 💔
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christiluv · 6 years
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#RIPtheFLASH-- You were always too good for The CW.
Dear CW Network: 
1. 1st you try to upstage #TheFlash & TV's 1st Mixed Race Superhero Family show with perverted propaganda.
2. Then you upstage Barry & Iris's historical 1st TV superhero interracial wedding event with both perverted propaganda, perverted images and a double wedding-- because literally EVERYONE ELSE'S NARCISSISM was apparently more important.
3. Now you're upstaging TV's 1st biracial superhero and interracial superhero family with more perversion like you #RacistsWhoDontKnowYoureRacist really do believe that mixed biracial kids and interracial marriage between Whites and Blacks are the same thing as a perverted sexual behavior and historically immoral / religiously blasphemous / scientifically abnormal sex disorders.
So the CW really believes that Black people are the same thing as perverts, sick behavior and sex disorders?
And The Flash is the best show on the CW but you still had to go and pervert it like all the rest-- as is par for the course in your proud-propaganda, dishonestly-sugar-coating, "lets-all-celebrate-this-crap-and-pretend-there’s-nothing-wrong-with-it" sort of BULL CRAP routine, when-- talk about a “NEWSFLASH”:
Only less than 1 out of every 100 people are even identified as that type of perversion-- less than 1%!
You can actually find more than 10 times more people actively engaged in same-blood-sex perversion (incest) than you can find people in same-gender-sex perversion (homosexuality)-- but we don't see all of our shows flooded with their same-blood-sex 13% demographic-- NOR DO WE F*ING WANT TO!!! CAUSE IT'S SOOOOO GROSS AND DISGUSTING AND DISTURBINGLY / CULTURALLY WRONG!!!
--Yet you flood us with this less than 1% same-gender-sex demographic like it's the cat's meow-- and you present this messed up behavior like it's cool to emulate, like it's a good thing for kids to copy and become-- and you know impressionable kids watch these superhero shows all the time-- it's like f*ing catnip to them.
And yet you betray them with this false immoral narrative that 1 out every handful of people is seriously perverted and that everybody in the whole wide universe either is or should be OK with it, including God, who-- in this crazy thing called REALITY-- actually calls it an abomination against His creation in every holy book, from the Jews to the Christians and even in the Islamic books and other belief systems.
Because it is a SEVERELY pathologically regressive, extinctionist ILLNESS that needs to be cured and deleted like a computer virus-- not celebrated or presented as "good, normal and OK"-- which it is not.
You don't pretend half the country is or wants to be f*ing their same-blood daughter, son, sister, brother, father, mother, etc-- or then go on to pretend like it's totally cool and nothing wrong with it and everybody supports it. And then compare it to interracial marriage, the Black civil rights movement and biracial kids-- do you??
So WTF???
Black people, from our color and experience to our heritage and marriages, to our kids and our legacy-- WE ARE NOT A "PROBLEM" OR A "BEHAVIOR" OR AN “ABNORMALITY” OR "ILLNESS" OR SOME PERVERTED SEXUAL SIN THAT THE WORD OF GOD IS AGAINST. 
But sex disorders, sick behavior, perverted attractions-- these are all problems that need a solution. These are all issues that need to be fixed. So you either take it to God in prayer, take it to science for a clinical cure, or do what I believe in-- which is BOTH.
But what you DO NOT DO is pretend a spiritually afflicted, sexologically diseased ONE PERCENT of our entire global population accounts for a quarter of our society-- while simultaneously talking about "fact-checking"-- and then present it to kids like it's OK and positive-- when it's deeply bad and profoundly unhealthy-- and then you constantly liken it to Black people via interracial marriage, our civil rights struggle, and now-- to biracial kids-- including our 1st biracial TV superhero and 1st interracial TV superhero family.
So why don't you fact check your own political propaganda BS and STOP IT? Because until you get YOUR facts straight-- I don't know if I can continue watching ANYTHING on The CW-- including The Flash. It makes me too angry the way you and ABC and Fox in the past, even as long ago as Dark Angel-- how all of you Democrats, for years now, just keep insulting Black people, as well as everyone who just simply respects both their biology and their Bibles.
Then you wonder why we voted for Trump after we voted for Obama. YOU ARE THE REASON WHY. So give yourselves a round of applause cause the GOP wouldn't be so successful if it wasn't for all you loony liberal perverted PC Police State Fascist New Normal Nazis cultishly shoving us all into their arms.
#Trump2020 is all I have to say. Cause he might have made wrongful, old-fashioned schoolyard cracks about Obama not being an American-- BUT AT LEAST HE NEVER LIKENED OBAMA'S RACIAL IDENTITY, RACIAL EXPERIENCE OR HIS PARENTS' INTERRACIAL MARRIAGE TO A F*ING PERVERTED-ASS "ABOMINABLE" AND EXTINCTIONIST SEX DISORDER.
As far as I'm concerned #ProgressivesAreRegressives and from racist Democrat slave-owners of the past to racist Democrat perversion propaganda pushers of the present-- nobody is more PROFOUNDLY racist than #RacistLiberals.
#RIPtheFLASH - You were always too good for The CW Network.
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“Black Panther,” as pop-culture pundits everywhere have been declaring, is more than just another comic-book blockbuster. It’s a movie that symbolizes a shift in possibility. It’s one more sign — like last year’s “Wonder Woman” — that Hollywood can change, that it can welcome new voices to the top level of its image-making machinery. Yet we’ve witnessed these kinds of shifts before, only to see things shift back.
This year, however, the perception of change is bolstered, to an unprecedented degree, by the cultural revolution of the #MeToo movement, which wasted no time in reaching beyond the entrenched pathology of sexual harassment to address one of the key issues at its core: equality in hiring — that is, power-sharing. A zero-tolerance policy toward harassment may be the new law of the land, but the entertainment industry, it was (rightly) said, couldn’t change the way it needed to until it ceased being a boys’ club.
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Back in the ’90s, when filmmakers like Spike Lee and John Singleton were making inroads into the mainstream movie industry, there was a line of argument that film executives used to trot out whenever they were confronted with charges of racism. They would defend their turf by saying, “The only color Hollywood cares about is green.” That’s a clever and insidious notion since it slyly offers up one of the worst realities of the entertainment industry (its obsession with breaking the bank) as a cover for an even worse reality. It’s saying, in essence, “How could I be racist when I’m this greedy?” That same logic could be applied to the issue of gender: “How could I be discriminating against female moviegoers when I’m this greedy?”
Yet there are, in truth, many priorities in Hollywood apart from greed. People have a bias toward making movies that reflect…themselves. Ever since the ’80s, when the film industry morphed into a franchise-driven business of sensation aimed, primarily and officially, at teenage boys, the boys’ club of Hollywood has defended its tastes — and its hiring practices — with an axiomatic logic that became accepted and embraced in the society at large.
The new New Hollywood, reborn as a pop fundamentalist dream factory after “Jaws” and “Stars Wars,” was built on an all-fantasy-all-the-time aesthetic that justified itself with every report of the weekend box-office grosses. The new Hollywood said, in essence, “Don’t talk to us about racism and sexism. This is what sells.” Franchise films, even though they weren’t yet called that, were treated as a religion: If you build this glittering big-budget special-effects sequel, they will come. And the key word in that formulation was “they.” They will come.
Who were they? They, of course, were the fanboys.
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For years — decades — fanboys dominated the film industry from the ground up. They represented the Force that must be served. And so it only made sense that the powers who were hired to serve them in Hollywood were, themselves, overgrown fanboys. They made the movies they wanted to see, serving an audience of teenage boys and slightly older young males who were, in essence, junior versions of themselves. And (so the logic went) you couldn’t argue with what they were doing, at least as a business plan, because this was simply the new version of “giving the people what they want.”
The word “fanboy,” which a lot of fanboys themselves loathe, is so embedded in our popular culture that it’s time we took a moment to acknowledge what a distorted reality it has come to represent. The idiomatic quality of the word makes its own statement; it says that fan and boy together because they’re really the same thing. But to put it bluntly, “fanboy” is an outdated and sexist word — and a racially reductive one, too, as anatomized by Lawrence Ware’s recent New York Times piece “‘Black Panther’ and the Revenge of the Black Nerds.” Yet it conjures up a vision that the film industry, to a large extent, still lives by.
Let’s acknowledge that back in the ’80s when Hollywood first discovered its born-again blockbuster self by relentlessly targeting teenage boys, the demographic studies all justified what the executives were doing. Slasher movies became a major industry, and those films were catnip to the young-male demo. The same was true for cheesy T&A comedies like “Porky’s” or Sly and Arnold action pulp. The young-male demo became a self-fulfilling prophecy, to the point that no one ever thought it would change.
But then it did begin to change. And the way you could tell was, simply, by going out to the movies and casting a glance around you. I’m not a professional statistician, but I am a film critic, so I’ve spent more time in movie theaters, in various parts of the country, than almost anyone I know. I will tell you — I’m sure the experience of others can bear this out — that when you go to the kind of movie that used to be made for “young males,” you will now see young males…and young females. And that’s due to an underlying change in the social temperament of gender.
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In the ’80s, boys grooved on ultra-violent horror, or galactic sci-fi, or action that blew up real good, because those genres shored up something in their psyches. Young men, as has been true ever since the ’50s, wanted to think of themselves as cool, and movies about masked psycho killers were a geek’s form of cool. (They were blood-drenched rock ‘n’ roll.) So were James Cameron movies and Schwarzenegger shoot-’em-ups. Girls, at the time, may have preferred John Hughes, but the concept of cool hadn’t yet invaded — or, at least, taken over — their pop sensibilities. It was there in, say, Madonna’s punk-ragamuffin vibe in “Desperately Seeking Susan,” but that was the exception rather than the rule. Cool was still the overwhelming province of dudes (or, as they were called then, guys).
But just look around you! Pop culture rooted in the imagination of women — Beyoncé, “The Hunger Games,” “Lady Bird” — is now as tough and hip and self-determining as dude culture. Judging from some of the reader comments on Sonia Saraiya’s excellent recent post about the over-extending of “Star Wars,” there are more than a few young men out there who still believe that “Star Wars,” after all these years, is a guy thing. Sorry: That’s a dusty perception rooted in ancient history. From “Star Wars” to the WWE, there’s hardly such thing anymore as a culture for young men that’s cut off from women.
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Go out, on a Saturday night, to any over-the-top horror movie, any edgy violent action fantasy, and the audience will be some version of 50–50. The MPAA’s carefully compiled stats bear this out: Women and girls comprise half (or a little more) of the moviegoing audience — and that’s in a world where movies are designed, in the minds of far too many of the executives who greenlight them, to appeal to young men. This message is reinforced, year after year, at Comic-Con, which began as a doctrinaire fanboy event but is now a place where fanboys and fangirls mingle and merge.
Yet there’s no denying that the image of the fanboy persists. Not just the fan, but the male nerd-geek obsessive who rules movie culture through the displaced passion of his pop addiction. He’s been calling the shots in Hollywood for too long now, justifying the tastes and decisions of the people who work there. He was once a reality. But now, he’s just an excuse.
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