Is it punk to play fortnite
My mommy says I need to buy the Triple T skin for 9 million v bucks or my worth as a human will be null and void
My mommy says I need to buy the Triple T skin for 9 million v bucks or my worth as a human will be null and void
For context, I smoked a cigarette at a party and quickly became addicted to them, going through a pack over a week and slowly beginning to rely on them during any time of stress. I decided this isn't good for me, it's not a good coping mechanism, it's self destructive; since then, I've been more irritable and I find myself lashing out easily at everyone I care about, constantly having my mind on getting my hands on more, on top of cravings. How do I cope with this? I've promised my partner and other people I'll stop, and I want to keep that promise, but god is it hard.
So let me preface by saying I have hundreds of hours logged in helldivers 2, and I started playing around a few weeks before calypso. I've seen this game create incredibly good narrative moments and I know the devs are capable of writing them. So what happened to that?
The A.S.S has been destroyed without us ever seeing it or any particularly difficult effort; a "superweapon" destroyed and used off screen, which had no effect on gameplay whatsoever and no bearing on the player experience, with our only engagement with it being major order dispatches.
The presentation of the story in this arc really saddened me as the campaign had an incredible amount of potential to be an interesting narrative, as we had to predict the route of a superweapon and work around it during missions, (even a condition from it's presence would have sufficed, it didn't have to directly affect the mission). I don't think these are unreasonable expectations.
On top of that, the major order texts which the story was told through are tiny compared to ones from even a few months ago; the emphasis on interesting writing, worldbuilding, and lore that a game aspiring to be "DND like" should have just seems to have been deprioritized.
I'd enjoy the thoughts of others on this; let me be clear that if someone else is enjoying the story right now, and how it's presented, there's nothing wrong from that, and I don't want to take that away from you. Still, I'd enjoy discussion about this!
Been getting really into doom recently (candlemass, electric wizard, pentagram are my favorites so far), and I'm looking for some recommendations; any subgenre is good with me ;3
As you can tell a lot is DIY due to me being kinda #broke
Any and all advice is welcome no matter how harsh
ALRIGHT SO WE'RE GETTING RIGHT INTO IT, WHAT THE FUCK IS THIS LITERAL WALKING PIECE OF SHIT? THIS FIGHT IS LAO SHAN LUNG BUT IF INSTEAD OF BEING MILDLY BORING IT WAS THE BIGGEST WASTE OF RESOURCES, TIME, AND ENERGY EVER CONSTRUCTED BY HUMAN HAND.
"MONSTER HUNTER? NAH WE GOT SLAP 3 FUCKING ROCKS UNTIL THEY COVER YOU IN EXPLOSIVE DIAREHA AND NEARLY ONE SHOT CART YOU, HAVE A MERRY TIME!"
THE MOST INTERESTING PART OF THIS DOGASS FIGHT IS NERGIGANTE SHOWING UP, THAT'S RIGHT EVERYONE, THE BEST PART OF THE FIGHT IS WHEN YOU'RE FIGHTING SOMETHING OTHER THAN THE BOSS! ALSO, YOU DON'T EVEN HAVE TO FUCK WITH NERGIGANTE, IT GOES AWAY ON ITS OWN AND DOES NOTHING IF YOU IGNORE IT! WOW! BOSS OF THE YEAR GUYS!
ZORAH, YOU'RE BUILT LIKE A LITERAL PILE OF SHIT WITH A BEAK, YOU'RE LIKE THE COMICON, DIET COKE VERSION OF GODZILLA, I THINK THE MOST DAMAGE I TOOK DURING YOUR FIGHT WAS THE DAMAGE THE HANDLER'S SQUEAKY ASS VOICE GAVE MY EARS. YOU'RE A FUCKING DISAPPOINTMENT, I FLIP OFF THAT LITTLE POP UP THAT TELLS ME WHEN YOU'RE IN MY QUEST LIST JUST BECAUSE I HATE YOU SO MUCH, I'M GOING TO PISS ON YOU AND YOUR WHORE TURTLE WIFE, AND-
Okay. Let's reset, hold up, hold on. Lemme take a sip of water. Okay.
ALRIGHT SO, YOU CHEAP FUCKING KNOCKOFF, SHADOW OF THE COLOSSUS TRYING TO BE ASS, YOU'RE BUILT LIKE SNORLAX, I GENUINELY THINK THAT LOADING MY DISHWASHER TAKES MORE SKILL AND THOUGHT THAN KILLING YOU, I TURNED YOU INTO A FUCKING STICK AND YOU CONTRIBUTED MORE TO THE GAME LIKE THAT THAN AS A 200 FOOT TALL KAIJU. YOU ARE A SHIT COLORED STAIN ON ONE OF IF NOT THE GREATEST GAME IN THE SERIES. I HOPE YOU DIE OF DIABETES YOU FAT, USELESS FUCK.
Alright so, lemme start off by saying that despite having most of Sunrise under my belt and a bit of some of the older games, along with most of Wilds, I'M NOT GOOD AT MONSTER HUNTER. While I was able to get through most of World without any major roadblocks, and was genuinely excited for this fight due to the design of the boss which I'd already seen...THIS SHIT IS SO ASS.
NEVER, IN MY LIFE, HAVE I FELT SUCH FUCKING RAGE AT THE DESIGN OF A BOSS. XENO JIIVA ISN'T EVEN HARD. OBVIOUS ASS WEAK SPOTS, SUPER TELEGRAPHED ATTACKS, EVERYTHING SHOULD BE EASY TO HANDLE. BUT ITS FUCKING NOT, AND ITS SO OBNOXIOUS AT THE SAME TIME. WHAT'S THAT? YOU WANNA HIT ME? TOO FUCKING BAD, I'M GONNA SIT IN THE AIR FOR FOUR MINUTES AT A TIME. THE HANDLER WON'T FUCKING SHUT UP AT ANY POINT DURING THIS FIGHT, LIKE I DON'T CARE THAT "We'rE an UNbrEAKabLE TeAM hUNTEr!" I'M TRYING TO DODGE ALIEN LASER BEAMS. ON MY LAST FUCKING RUN, I BROKE EVERY PART, I HAD IT DOWN SO LOW, AND THIS BITCH STARTS YAPPING ABOUT MY VITALITY MANTLE BEING USED UP, LEADING TO ME LOSING FOCUS AND GETTING ONE SHOT. FUCK YOU HANDLER, FUCK YOU XENO JIIVA, I HOPE YOU AND YOUR BONNIE BLUE LOOKING ASS GET SENT DIRECTLY TO THE DEEPEST DEPTHS OF DANTE'S INFERNO, WHERE YOU MAY BURN IN HELLFIRE AND CONTEMPLATE YOUR SINS AGAINST GAME DESIGN FOR ALL ETERNITY. GREAT GIRROS HAS MORE LOVE AND CARE PUT INTO ITS COMBOS AND DESIGN THAN YOU DO, YOU HAVE NOTHING ON NERGIGANTE AS AN ELDER DRAGON, HELL, I HAD MORE FUN FIGHTING FUCKING KUSHALA THAN I DID YOU. FUCKING. KUSHALA. I GENUINELY WOULD RATHER FARM FOR TEN RATHALOS PLATES IN MH1 THAN FIGHT YOU ONE MORE FUCKING TIME. YOUR ARMOR LOOKS LIKE A TOOTHPASTE BOTTLE, YOU SOUND LIKE A 2 YEAR OLD WHO HUFFED HELIUM, YOUR HEAD LOOKS LIKE YOU'RE TRYING TO LARP AS THE INK DEMON, YOUR LASERS HAVE THE POTENCY OF A FEBREEZE, AND
I need to stop holy shit LMAO
In George Moses Horton's poem "On Summer", Horton portrays a warm, idyllic summer evening in the small rural town of Esteville in a time long before America had been industrialized. Horton builds this calm and beautiful setting through his characterization of animals around the town, vivid and uplifting diction, and personification of the natural world itself.
Throughout the poem, Horton repeatedly characterizes animals of all kinds throughout the setting, who all work together to paint an idyllic picture of Esteville throughout the poem. The speaker comments first on insects that starts their "drum" and the "light" of fire-flies as the day transitions to evening. This detailing by the speaker of such small elements of the environment, literal insects, shows not just his comprehensive understanding of what a regular evening in Esteville is like, but also portrays an evening in Esteville as a place of rhythmic drumming and warm light, building that peaceful portrayal of the setting. Next, the speaker details the life of a bee with "sweet exertions", who stores honeycomb in her hive "with delight"; this word choice in describing the bee reflects Esteville's happy and tender nature in the mind of the speaker, and shows how even the smallest creatures in the town are at peace during this pristine summer evening. This warm and idealizing word choice can be seen again when the speaker calls the reader to the "fertile borders, near the stream," asking them to gaze with "delight", going as far to claim that the growing melons along the river are "paradise to human sight". This word choice makes the speaker's love for Esteville apparent, believing something as small as melons growing by a stream to be paradise; this again helps to build Horton's vision of this evening in Esteville as a warm and beautiful experience. But it is not just through the characterization of animals and Horton's diction that he seeks to idealize Esteville, but also through his personification of elements of Esteville's natural world.
Later in the poem, Horton personifies a number of elements of Esteville's natural world in pursuit of sharing his idyllic vision of the town with the reader. Horton states that Esteville's apple orchards have "plenty smiles on every tree"; this personification of the orchards idealizes another part of Esteville in the speaker's mind, portraying this section of the town as full of joy and happiness just waiting to be spread to the people of the town. He also calls the reader to view the "smiling fields" that yield "a large supply of golden grain"; this idealization of both the wheat fields and the grain they produce shows the speaker's ecstatic love and care for all of Esteville, including the fields that feed and bring comfort to its inhabitants, in his mind. The speaker, through these lines, shows respect for the fields of Esteville due to their large production and, in his view, happy and joyful nature; thus, his idealization of Esteville once more shines through, showing again his vision of the town as warm, welcoming, and full of happiness in every corner.
However, it could be argued that though the speaker is undeniably shown to have a deep love for Esteville, he does acknowledge that not all enjoy peace and happiness at all times, which could be interpreted as a clash between idealization and realism in the mind of the speaker. For example, he speaks on the "heat" and how it forces a humble farmer to hasten his work, or how a horse "droops his head"; cattle "retreat" to the protection of shade, while an angry ox drinks from a trough "devoid of gauge". All together, Horton's various examples of creatures within Esteville suffering from the heat could be used to argue that the speaker is divided on the town he holds so much love for, casting away his idealistic, romanticized view of the town for but a moment to see things there for how they truly are; hard, hot, and stressful. However, this momentary shift away from the otherwise romanticized view of Esteville does not necessarily mean that the speaker holds a disdain for this town; on the contrary, when viewed within the context of his praises of the town throughout the poem, it is far more likely that the speaker is nostalgic for these summer days, viewing the struggle of finding shade and water as a key part of experiencing life in Esteville for all that it was worth. Thus, despite the speaker's portrayal of the afternoon heat, he still holds his idealized, idyllic vision of life in Esteville throughout the poem.
Ultimately, "On Summer" represents the speaker's idealized and nostalgic view of his rural hometown during the summer, as the speaker characterizes the creatures of the summer nights, personifies various components of Esteville itself, and uses deliberately optimistic and soothing diction to contribute to an image of a beautiful rural town in early America during a peaceful summer's evening.