and talking about maps!!

4

Admiral Konstantine, deploy your fleet to these coordinates

We will join you shortly

I realized why the idea of constellations has always swayed me. constellations are so very human.

our wonder of the stars is bone-sunk; we’ve been thinking and dreaming and watching and watching and watching since the beginning of time, and we looked for so long that we started making connections. 

we played a celestial game of connect-the-dots; trying to find order in something so vast and trying to show that the stars are in everything and everything is in the stars.

we plucked pictures out of the infinite; there’s a dog, there’s a bear, there’s a lion, see? look, right there; the stars hold and mirror back everything. 

but then it went a step further. instead of everyday things, we stopped picking out the cups and the bears, and instead we saw stories. 

look, there’s Andromeda, chained to a rock and waiting to be devoured by Cetus. there’s Orion, and Hercules, and do you see Orpheus’ lyre? Zeus sent an eagle to retrieve it after Orpheus’ death and he placed it in the sky. 

we did the most human thing imaginable: we wrote our stories into the stars. we filled the night sky; previously so vast, so unknowable; with our history. we forged connections to the stars and made it so our children will always know where they come from. 

it gets easier to talk about but it also gets harder to talk about. i have to unfold things carefully, but the map shows better. here’s the first time i got hit by a parent, here’s the first time i got hit by a partner. they’re around the corner from each other, mirror images or hands holding or two sides of a blade. the look on people’s faces always is the same when they find out. like the words hurt them in the pit of their stomach. i feel bad when it does that; i know what it’s like to be suckerpunched. often i comfort people right after: oh, no, it’s okay, i’m okay now, it’s fine, i’m all in one piece, i got out, i’m a resilience child, i learned kindness, i found inner peace, i meditate twice a day, i do yoga and drink kale shakes and eat as if nobody ever made my teeth bleed. some of these are lies, but that is fine too, because it’s better that people don’t know an ugly truth.

sometimes i forget who in the room knows. i laugh about what happened like a punchline (get it) and people stare at me with mouths open like moons. oh my god, did that really happen to you? i don’t know. sometimes it feels like it happened to someone else, out on a distant planet. sometimes it feels like it never happened at all. sometimes it feels like it’s still happening. how can you laugh at that? and is that true? how do i say “because if i don’t laugh it’s serious” because of course it’s true. for proof: raise your hand a fraction too smooth. watch the shadow pass over my face. watch me curl away. watch me change. like a chameleon girl, i shift my shape. someone who doesn’t know laughs. you’re certainly jumpy. the girl at the table who helped me cover the bruise stares at me, watching my chest, trying to figure out if i’m panicking. he’s confused when quiet are you okay questions touch my skin - only those who know, only those who are watching.

and i smile, because it’s easier to talk about but it’s harder to admit it still effects me. memories should be left in the kingdom of dreams. sometimes i feel like i should be done with it already. i stare at a picture of cartoons that says if you don’t know these, you didn’t have a childhood. i know all but two of them. some of them i watched after it happened. i really liked scooby doo. in the end, the mask comes off and the bad guy is revealed and he goes to jail. in real life, i wait for someone to come take his mask off. it just makes him mean. the blue lights of the law never show up on the green of our lawn. i had a pretty good childhood, i think. it made me interesting, at least. i picked blueberries.

i laugh about it a lot. talk about how it’s funny that if you got abused there’s just, like, a second round of partner abuse, sitting out there, waiting for you. that you’re the most likely to pick an abuser from the crowd - or worse, like beauty and the beast, watch yourself become her. see your rotten hands and think of your father. isn’t that funny! that i can take a hit and i’d rather take a lifetime of them than be the one doing the giving just once. i talk about how you walk in the eclipse of it. that it confuses you when the sun comes out. that when you find someone who won’t hurt you, you still walk on eggshells, waiting for them to hurt you. i say it through a smile, because if you bend yourself the right way, your life looks more like comedy-drama than just plain tragedy. i watch fantastic beasts and where to find them and when the abused child turns out to be beyond saving, i hear myself laugh in a bark. or it was a sob. i can’t tell. it doesn’t matter. in my world, children like me learned about magic early, and how our own actions can turn a man from a gentle person into a savage beast. 

okay, i say, smiling, maybe if you put it that way, yeah, i was abused and it wasn’t funny. but come on. think of the puns! you could say my life was really a hit! now don’t be upset. it’s funny. it’s funny. it’s funny.

please ban game theory

game series with history of having a theme of corrupt cops has a game with corrupt cops more at 11

JAPANESE DEVELOPED VIDEO GAME HAS A MAP BASED ON A JAPANESE CITY, TALK ABOUT A CULTURE SHOCK

this one speaks for itself honestly

bogeyman = furry confirmed

now this is some discourse

mario is crazy, what an edgy ableist theory

“i think i’m smarter than the people who literally created zelda”

this one isnt even a theory did you fucking play earthbound you stupid asshole?

???????????

“i think i’m smarter than the game creator, part 2″

bookworm-addict  asked:

Hello there! Could you please compare the acotar and acomaf maps? In the acomaf one appear different names, mistly in the night court, because those are places we went to. But there also, on the right page, appears this vallahan land. And i don't remember reading about it. And just below it is a mysterious wood with a big-ass lake and a castle near it. A castle. This land is also just above the wall (where spring should be) but ist not spring. Please look at it and lets talk about this?

You, oh I like you!  I love these maps!

Fandom darling, three things. First, Feyre is not able to read the mural/map in ACOTAR. Second, these maps are Feyre’s perspective. Lastly, acotar is on the left, acomaf is on the right.

Not surprising we learn the most about the night court. What surprises me the most though, is the Spring Court mural has no idea about the Illyrian territory. We are not only missing the entire forest and much of the mountains, we are missing ISLANDS. Speaking of Islands, the night court sure has a lot of them.

South of Under the Mountain, I am sadden by the fact that we only learn of Adriata. Feyre spends at least 5 months in the Spring Court and she cannot even tell you where the manor is or the largest city.

We gain a castle in Hybern

In the Faerie Realms we are all still asking about that lovely castle. For some reason it reminds me of Rivendell (lotr). The only thing I can think of, is that Feyre noticed it on the mural.

We learn about Vallahan and it’s boarder, not because Feyre has been there, but because Ianthe spent the last 50 years there. Hiding from Amarantha or more likely assisting the king. 

The Mural in the Spring Court (p.114-115, acotar) a.k.a the Story of Prythian, had multiple panels. The first panel was of the cauldron creating the world and a map of their world. The second panel is of a battlefield, one that gives Feyre feelings. The third panel is the result of that battle. The forth panel is the map of the much-reduced faerie realm. 

The faeries conceded a lot of land to the humans. Think about that for a moment, refugee faeries that needed a new home north of the border. Refugee faeries that could side with Hybern just to have their homes returned to them. 

KSI killed me
  • I have ASCENDED it was PERFECT
  • Oh boy where do I even begin
  • THE CINEMATOGRAPHY??? The absolute BEAUTY and genius behind every shot? Holy crap I have no words
  • In addition, the music! The soundtrack! THIS is how you use music to enhance and add to a story. Wow
  • I can’t decide if Tom had a better entrance as Conrad, or singing Cold Cold Heart because good lord, I really cannot decide like both left me breathless
  • The story was practically seamless and just worked in so many ways. It was different, it was new, it was a super fresh take on Kong, but it was exciting and intense and flowed so well.
  • The character development of EVERYONE. There was not a weak character of the bunch and honestly everyone was amazing.
  • Conrad’s GUNS
  • Conrad’s OTHER GUNS
  • Also Conrad is Freddie Page’s son FIGHT ME ON THIS
  • Please, for the love of god, give an Oscar to whoever came up with the idea for the samurai scene
  • It was funny, but not overly so, in every way a movie should be. One liners, moments of laughter to break the tension, things you don’t expect.
  • No unnecessary romance between two heterosexual white leads can I get an AMEN
  • Brie Larson, marry me? Your smile could cure cancer?
  • Honestly, one of the best movies that I’ve seen in a very, very long time. Will 200% put Tom on the mainstream map, and will be talked about for a long time.
  • THERE’S AN AFTER CREDITS SCENE! STAY!!
  • K guys I feel like I’ve come down from a high holy moly

anonymous asked:

Ok I'm trying to keep hope, so what if Kara is really only getting with Mon-El so that she can deny and push down her feelings for Lena? Bc if not the idek what to think just I really hope that's all it is.

Oh honey, the Swan Queen fandom has been doing this for years, and it is a beautiful and clever and necessary coping mechanism. Here. Enjoy.

Alex calls for an emergency Sisters’ Night. In fact, she demands it.

And Kara is excited, because Rao, does she need to talk to Alex. And Rao, does she need to hear Alex talk, because so much is going on with Maggie, and with her lab work to find Jeremiah, and with J’onn missing M’gann, and with just… everything.

But even more than talking, Kara just wants to snuggle on the couch with her big sister.

So when Alex lets herself into her apartment and Maggie trails in apologetically behind her, Kara bristles.

She adjusts her glasses and she forces a smile. “Hey Maggie,” she strains, reminding herself sternly that Maggie has been through so much, that Maggie was just retraumatized, that Maggie is probably going to be her sister-in-law one day, so might as well start attending Sisters’ Nights now, right?

But Alex is throwing up her hands and taking Kara by the shoulders, because she knows her sister, and she knows the war that’s raging in her head, in her heart.

“So, Kara, I lied. I want to do Sisters’ Night, just you and me. Because Sisters’ Night will always just be for us. But, tomorrow. Not tonight. I lied, and I’m sorry about that, but I was afraid you’d tell us not to come over if I told you…”

Kara backs away from Alex and furrows her brow.

“If you told me what?”

“We’re worried about you, Kara,” Maggie chimes, and holds out a bag of potstickers that Kara hadn’t noticed before, and Kara snatches them with narrowed eyes and a suspicious glare.

She sits down with a grunt and begrudgingly nods her sister and her sister’s girlfriend to do the same. Alex and Maggie exchange a glance, and it’s like they can read each other’s minds, they work together so seamlessly.

Kara feels a stab of something like jealousy, but she knows it’s not about Alex. She’s purely happy for Alex. It’s about something else, something different. Something that she hopes against hope that Alex an Maggie aren’t going to try to make her talk about, because Rao, she doesn’t know how she can handle it if they do.

She tears into the potstickers and blinks. “So, what are you worried about?”

Maggie and Alex exchange that glance again, and Alex leans forward and puts her hand on Kara’s knee.

“Kara, you know I respect you. And I respect your judgment, and I respect your heart. I love what a big heart you have. It’s what makes you a hero. But Kara, I…”

“You’re getting with Mon-El, Little Danvers, even though you really kind of seem to hate him, and that’s… we’re worried about you, Kara. Not because we don’t think you can handle yourself, or because we don’t respect your decisions, but because I… we… we know what it’s like to be with someone because you feel like you have to, not because you really want to.”

Kara nearly chokes on a potsticker, and Alex thumps her back mechanically, her eyes fixed on her sister’s face.

“That’s ridiculous,” she splutters when she finally swallows. “I don’t feel like I have to do anything, I’m Supergirl, I – ”

“Well, Mon-El doesn’t seem to respect that, and you don’t seem to think he does, either.”

“I’ve never told you anything like – what are you talking about, I – ”

“Kara,” Maggie says, her voice soft and her voice full of understanding pain, mixed with the beginnings of ironic humor. “The entire DEO heard you yelling at him. And lemme tell you, for secret agents, your people are pretty terrible at, you know. Keeping secrets.”

Alex mock-glares at Maggie before leveling Kara with a look of significant concern.

“Oh please, Detective, it’s not like any of that was a secret. Kara was shouting what a misogynist, unsupportive, manipulative, disrespectful, gaslighting, mansplaining – ”

“Nice new vocab, Danvers.”

“Thanks babe, I’m trying.”

“Alex, I – ”

“Oh, I’m sorry Kara, did you want me to stop that list?” Alex’s tone, the way she’s caressing Kara’s face, is much softer than her words. “Because I don’t have to. I have more, and they all seem to have come from your mouth in one way or another – ”

“Alex – ”

“And I love you, Kara. I love you, more than anything, more than life itself, so here’s the thing I can’t understand: why are you throwing yourself at this guy when he spends every waking minute trying to stomp all over the powerful woman that you are? It would be like me actually going for Max Lord or something – ”

“You and Maxwell Lord were a thing?”

“Ew, god, no, which is exactly why I can’t understand what you’re thinking, Kara.”

“And she’s not blaming you, Little Danvers, no one’s angry at you – ”

“No, Maggie’s right, I’m not, I just – ”

“We’re just worried, Kara. Your sister loves you, and I’m growing to love you, a lot, and hell, even J’onn asked us – and believe you me, it was as awkward as it sounds – if we could talk to you to make sure you’re really okay, because this is… we’re worried about you, Kara. So are you? Okay?”

Maybe it’s something in Maggie’s soft eyes, or maybe it’s the way Alex is stroking her hair, or maybe it’s the way they’re both going through so much of their own struggles right now, but they’re making it a point to check in with her. Or maybe it’s all of it, everything, the way his hands were too fast and his tongue too eager, the way he’s an okay guy, she supposes, but as a wayward brother or something, not as a lover, but she was so worn down and she’s just so tired and maybe it’s everything, all of it, because Kara breaks.

She breaks into her sister’s arms and immediately she feels the walls of Alex’s love rise up around her, protecting her from all her enemies, protecting her from herself.

Immediately she hears Maggie kneel down in front of the sisters, in front of her Danvers girls, a hand on Alex’s knee and a hand hovering over the small of Kara’s back until Kara nods through her sobbing that Maggie can touch her, of course Maggie can touch her, because god it feels good to be held by two women who love her for exactly who she is, not for what they imagine her to be, what they wish she were.

“I’m so…” She gasps wildly for breath and Alex kisses her forehead, smoothes her hair, rocks her, rocks her, rocks her. “I’m so scared, Alex,” she chokes through her gasping, through her tears.

“Shhh, I know, it’s okay. I’ve got you, Kara. I love you, I love you, shhhhh. Cry it out, Kara, it’s okay, it’s okay. I’m here. I’m here, always. I’m here, I’m here, I’m here.”

Tears bite at Alex’s eyes, and she glances down across Kara’s body to meet Maggie’s, and she’s almost surprised to see tears gleaming in Maggie’s eyes, as well, and she knows it’s not the time, but she also knows, beyond doubt, that she’s in love with her.

Kara grabs at the back of Alex’s sweater and is forcibly reminded of when Cat grabbed at the back of Supergirl’s suit – her suit – and it’s suddenly all too much, suddenly all needs to come out, no matter how scared she is.

Suddenly, she knows she needs to dive.

“I didn’t want to, Alex, I didn’t want to because you were just coming out and I’ve taken so much from you, so much attention, for so many years, I didn’t want to do it again – ”

“Kara, it’s okay, everything’s okay. I’m not angry, I’m not going to be angry, but what… what are you talking about?”

Alex’s face is a map of compassionate confusion and Maggie’s face is a map of compassionate realization, and she glances at Alex because here we go again.

“I was in love with James, so… so in love with him,” Kara gasps, and Maggie nods slowly, and Alex just tries to keep up as she wipes Kara’s running nose with the tissue Maggie passes her.

“And kissing him was nice, it was… he was lovely, he is lovely, and I love him, I do, but it… it didn’t feel… ka-pow.”

Alex smiles uncomprehendingly but supportively, and Maggie smiles knowingly, and they both rub soothing circles onto Kara’s skin as she gathers the courage to continue.

“And I didn’t understand it, I didn’t have to words for it, but then… but then you came out and I was doing research, for you, and I found… I found out that you can be in love, straight love, but not want to have sex with men, be asexual towards men, even though you can be in love with them… and that you can… you can also… at the same time…”

She glances down at Maggie, and Maggie nods slowly at her, a small smile on her lips, because like sister like sister.

“You can also like girls. Women. Romantically. And even sexually.”

Comprehension starts to dawn on Alex’s face now, too, and she gets flashes of Kara spending so many nights crying when Cat left National City, of her terror when Livewire got loose again, because Livewire had tried, so hard, to kill Cat.

Of Kara adjusting her glasses a bit extra whenever Lena came up in conversation.

Of Kara steadfastly refusing to lose faith in Lena, even when everything looked, well, grim.

Of Kara’s desperation to find her. Of her more-than-just-everyday-heroics willingness to die for her. Of her beautifully, passionately written article vindicating her.

“Kara,” is all Alex says, all Alex can say, as she pulls her little sister in closer, closer, closer.

“I’m sorry, Alex,” Kara chokes, pushing back, pushing away, so she can look Alex in the face. “I don’t want to take attention away from your coming out, I don’t… I don’t even know what to label it all, I just know that I… I’m so scared that if I…”

“If you don’t throw yourself into the most easily available thing – if you don’t surrender to the guilt he’s putting you through – you’ll have to confront your feelings for Lena Luthor,” Maggie supplies softly, softly, because Kara is shaking so badly, and Maggie knows that look, knows when someone needs to hear the words before they can say them themselves, and sure enough, when Maggie says it, Kara stops trembling quite so much, and her tears become of the silent variety, and she nods, nods, nods.

“Please don’t be mad,” she whispers to Alex, and Alex does nothing but shake her head and kiss her face, tears and snot and all.

“Kara, listen to me. I need you to really listen, and I need…” She glances down at Maggie as she cups Kara’s cheeks in her hands, and Maggie gives her a small smile. “I need you to really hear me. I would never, ever, ever be mad at you for loving whoever you love. However you love them. Because whoever you love, and whatever kind of love it is, whatever kind of intimacy you want with them? That’s absolutely fine. It’s absolutely perfect. You’re absolutely fine. You’re absolutely perfect. And I would never be angry at you, or disappointed in you, or resentful toward you, for being who you are. I promise. Alright?”

Kara shudders and smiles and reaches for the last of the potstickers.

Alex chuckles and Maggie laughs and Kara chews with a bashful smile.

“Will you help me break up with him? I still care about him, as a person – ”

“We both will, Kara. Whatever you need.”

“You got it, Little Danvers.”

“And then… then maybe you can help me talk to Lena?”

Alex groans with a smile and Maggie laughs and puts both hands on Kara’s thighs as she stands up to slip onto her girlfriend’s mock-traumatized lap.

“Of course we will, Little Danvers. Of course we will.”

I just watched the Molly Sherlock scenes in the empty hearse again…. I just…. omg! The flirting! The way he looks at her! Ahhhhhh!!!!

Okay, collecting my thoughts. I’m going to break it down as I see it. Note* this is just my opinion/interpretation of those scenes… I do not pretend to have any clue as to the motivations of the writers or actors during these scenes.

1. Sherlocks welcome back: Sherlock goes to Molly right after he sees John. Why is this significant? Well, Molly knows that he is alive, so she shouldn’t be a high priority on his back from the dead tour, but he goes to her straight after John. (I’m even toying with the idea that he sees her first… see bottom of post for more on this.) we have all seen the gif (I don’t know how to make it or find it or I would add it lol) when they first see each other at Barts in the locker room. The focus is on Molly but you can still see him smile in the reflection of the mirror.

2. When he is waiting for her to come over to ask her to go crime fighting: he is nervous. You can see him mouthing words to himself. (Figuring out how to ask her?) note* at this point I think he already knows about her engagement, I think he knew that from their first meeting.

3. That whole scene when he asks her: like omg! When have you ever seen him be so diplomatic? It reads so much like him attempting to ask her out I’m not surprised she thought he was. And when she finishes his sentence for him, the look he gives her! His eyes! (Okay at this point my nose was literally an inch away from the screen as I watched on slow motion) he looks at her like: well, yes. Obviously.

4. The cheating husband case: “Your not being John your being yourself.” ….. do I really need to say more here? Come on! Okay fine: she is sitting next to him! John always sits opposite him, and the clients sit on the desk chair and get judged. This time the client sits in John’s chair with her husband standing next to her. Sherlock is deliberately creating changes to his routine so not to make Molly feel like she is a substitute.

5. The catfish case. Again, Sherlock seats the clients in another part of the room….. look at his history people! Every case, he always sits them in the same spot. Except for when he is with molly… not only that but look at his face as he holds the client’s hand… also he holds the client’s mother flipping hand!!!! Could you get more out of character??? This case is a 2 at best, but he looks so much like he cares. Why would he do that? Why would he waste time talking to the client, she is obviously upset and irrational.. traits that Sherlock detests, and yet there he is. “And you really thought he was the one didn’t you…. the love of your life.” *looks straight over to molly* Even as he explains the truth to Molly he does it quietly, with caring in his voice. Rather then his usual MO of just blurting it out… (also notice that all these cases are around lovers, cheating or not being what they say they are…. like maybe he wants her to think about her relationship…) and then he serves up the clients dad. Which again is out of character, he wouldn’t care.

6. The case with lestrade: he is totally showing off for her! Okay head cannon, John talking to him? That’s his own self doubt sneaking in. Eg. M: “Your on to something aren’t you?” S: “maybe.” John’s voice: show off… he is actually showing off then lestrade asks him about Molly and he says he is giving it a go. He says that because it’s not his choice if this continues, it’s hers. When lestrade asked him about John he answers diplomatically and walks over to stand near Molly. *Note: the ongoing proximity thing he continues to stay by her side the whole day. So then she goes over to the body and he heads straight over next to her again, she notices he proximity and steps back apologising. He reassures her and John tells him he is jealous. Jealous of what I ask you? How does that work any other way? He is jealous because she steps away, because she is with someone else. That’s why he’s jealous. When he picks up the manifesto he blows the dust off away from Molly, just another little thing I noticed that shows he cares. He also shows it to her first before lestrade. When she tells him it’s impossible, he leans in and says “welcome to my world” the intensity in his eyes is just fantastic! Then John calls him a smart arse. This is because Sherlock is trying to get Molly excited by the work, like he did with John. Because having her around solving case with him is the closest thing he can get to being with her. Then John tells him he forgot to put his collar up, he forgot to look cool so she would want him…. when he accidentally calls her John, well he’s done that before. Plus he has John in his head at the time. (I don’t really have anything for this if anyone else wants to add in their own head cannon I would love to hear it)

7. The train case: so much flirting, I’m just going to repeat that SO MUCH WITH THE FLIRTING! He spends the whole time paying more attention to Molly than he does the case, eg. The girlfriend joke. Someone posted on here once that they were surprised that Sherlock didn’t pick up on the missing car straight away. This is because he’s not looking at the footage, he’s looking at her…… I watched like 6 times. (I know I’m totally obsessed!) but he really does, you can actually see him looking at her not the tape.

8. When he comes out of his mind palace: he talks about maps, but as he goes past Molly he changes the subject and asks her out…. yes he was asking her out, it’s Sherlock…. he is the master of subtly….. this is the moment where he sees if he has managed to sway her…… this whole day, the cases he chose, the showing off. All of it was to show her that he was better than the man who gave her that ring. So he makes his final play and asks her out…. but it doesn’t go well does it. She calls him out on the day. Molly Hooper is not an idiot. She knows what he is doing and she asks him point blank about it. He knows he lost the game so he does one more very unsherlock type thing…. he tells the truth. “The one person he thought didn’t matter at all to me, was the one person who mattered the most.” He never breaks eye contact here. And then, he lets her go….. his face when she starts to talk about Tom, that wistful smile! Be still my beating heart! He tells her he is happy for her, that he wants her to be happy. He didn’t even do that for John with Mary! But lets just take a look at that for a second shall we…… it’s established that Sherlock hates change. He has always found fault with every relationship around him, John’s girlfriends, Molly’s boyfriends. Even mrs Hudson’s relationships are not off limits. When he met Mary he deduced her and found her acceptable. But he has never met Tom. He would never let his friend date someone without judging them first. But he lets her, because he doesn’t think he deserves her. And then oh my goodness the kiss, right up until his lips hit her cheek you cannot be sure he isn’t going to kiss her properly. His face is completely open and without manipulation, he never breaks eye contact. How could anyone see that moment and not realise he loves her? How?


Okay back to my head cannon that he goes to Molly before John. First of all, his nose is fine, if he went straight after John it would have at least been red… but it wasn’t, and then there’s the cut on his lip, the obvious cut on his lip…. also missing.and then there’s the lighting. We know that it was late at night when he saw John but it was bright at the hospital. You can see the light coming in from the windows hitting the lockers. But when he goes to see lestrade it’s dark again. Therefore he goes to see Molly first.


Ok so that is my head cannon break down of Molly and Sherlock in TEH let me know what you think! Do you agree, disagree? Have anything to add? Did I get anything wrong?

tonystarkism  asked:

YOUR GIFS ARE MAGIC AND RAINBOWS (literally)!!! A tutorial on how you use/choose gradients to create colour porn gifsets, pretty please? Love you, you know it <3

I LOVE YOU <3 thank you so much!

Gradients will trasform your gif from this:

to this:

Examples of colour porn gifsets using gradients: x, x and x.

Since this has been requested a few times, I’m gonna start by giving a few tips and then we’ll move to a tutorial.

Keep reading

smeared-writing  asked:

Do you have any spells to end a storm? Thank you so much.

Hi smeared-writing, and yes I do. There are multiple ways to end a storm which is already there. The two most common ways are through Dispersing or Binding the storm.

Dispersing

This method involves spreading the storm out over a large area thereby minimising its effects. You can disperse a storm by calling winds to blow it away (or in a certain direction) or if you favour using weather maps you can draw the low pressure system moving away and gradually dissipating.

Binding (Storm Catching)

This method is also called ‘storm catching’ and involves catching a storm and binding it within an object (usually a bottle or knots) so it can be released gradually at a later date by pulling out the cork or undoing the braid/knots. 

Storm catching or “reeling in a storm” is even more difficult than storm casting so it’s always wise to think before you cast. Too much energy put into a storm and it will go on for weeks (and cause some flooding - basement incident) or it will be extremely violent and knock down power lines and tree branches. Too little energy and all you will get is a 5 minute shower of rain. 

Preventing a Storm (Weather Maps)

However, if you wish to prevent a storm from forming, you’re going to have to pull out the weather maps. To make a weather map all you need to do is to print out a map of your local area or the area you’re trying to keep a storm away from.

Just use google maps and don’t make the area too big or you might seriously strain yourself magically. Then laminate the map - now you have your own ‘whiteboard’ to draw weather symbols on to generate certain types of localised weather.

To practice this kind of magic you really do need to know how weather systems work and how they’re likely to move; knowing a little bit about meteorology goes a long way.

Once you’re ready, find out what the weather is predicted to be and draw it on your map. Now draw the high/low pressure systems moving so that the area you’re trying to protect doesn’t get rain. This method can also be used to bring rain to a certain area.

I hope this answered your question,

- Marci

2D RPG Map Design

Quick guide on 2D Mapping & “Dead Space”

Mapping is an important part of the top down RPG style games. There are a ton of great design guides on asset creation and placement, but I want to talk about a topic that is not discussed as much.

A lot of maps tend to have a good amount of dead space. These are areas that serve no real purpose, only used to travel through. Now in dungeons with random encounters, this might be a design choice to have players navigate through. But in towns and areas where there are no random encounters, getting rid of the excess can go along way in making your maps more interesting.

Let’s take a look at three different games and look at what we can improve to get rid of some dead space. 

EDIT: Here is a link to the album if you want a closer look at the example images.

So here we have HAMLIN VILLAGE from DRAGON QUEST 2. It is an older RPG and map design was just becoming an important part of the genre. As you can see there is a ton of dead space that simply serves no purpose. In the center of the map you see a lot of wasted grass tiles and the long paths just waste your time walking. 

Looking at my improvements to the map, you can see that all of the main points of the map have been retained. The village seems more cozy and there is no wasted space. The building were simplified and the paths were cut down. Now, wasted time running from building to building is cut down and access to all of the NPCS is easier.

Here is AZALEA TOWN from POKEMON GOLD AND SILVER. About 10 years of RPGs come between Dragon Quest and Pokemon Gold and Silver, but some of the mapping problems still exist, but to much less extent. There was a lot of dead space around the well the team rocket member is standing in front of and there was some spots around the town that were unnecessary. 

Now here I made some design choices that you may or may not agree with but are definitely worth talking about. 

First let’s look at what I call ‘nooks’ or small areas that are somewhat isolated from the flow of the map. A big difference between the two maps is that I put the GYM inside of a nook. The before map might be slightly easier to navigate, but the nook puts emphasis on the importance of the GYM and makes it feel isolated. This can be a design choice as to where you want nooks. The berry tree at the top of the map is in an even greater nook, and the design choice in getting there is my next choice I made.

Choosing path size seems arbitrary, should a pathway be one, two, three, or four tiles long? My philosophy is to think about the situation. For the berry tree, it is secluded behind someone house and it feels right to have a one tile path between the house and the tree emphasizing the hidden-ness of it. Now, be careful with one tile paths and NPCs. The choices to make paths a certain size and having one tile only walk ways is important to the flow of the map and making areas feel smaller.

One of the biggest irks I had when playing UNDERTALE was SNOWDIN. Walking across the town seemed to take awhile and waste my time (I am aware of the teleporters). I felt the town would feel much more ‘cozy’ (a theme it was already rolling with) by bringing everything a little closer together. Seeing multiple NPCs and building together in the same screen adds to the feel of the map and makes the village seem a little more tight knit. 

So why am I bringing up dead space? I have awful problems with it. As you can see with my example from GLITCHED, I almost shrunk the map down by half from both the width and the length. Now there is much less space in town and moving around the map feels much better and natural. 

Now all of this comes down to design choice. If there is a reason that non-random encounter maps need to be spread out then go with it! Removing dead space though can help a lot of maps be smarter and more player friendly. Tiny villages seem much more cozy and quaint while NPCs are easier to find. Overall, be conscious of the space things are taking up and ask yourself the question, “What use is the part of the map?”

If you like these quick game design tutorials, let me know by liking or messaging me and I’ll try to get one out once a week!

sanji/nami | 1.3k words

seven days, seven prompts, seven drabbles. one day I’ll manage to make a full fic for these two, but for now, this is my meager offering for @sannamiweek

vii. unexpected

Sanji is rubbing small circles at the small of her back, and this is all messed up—he should be the one crying his heart out, screaming off the top of his lungs—anything. After everything with his dad and brothers, after—everything.

But instead she’s the one sobbing into his shoulder, because he’s gone through so much and still forces a bloodied smile, a calming, “Nami-san, please don’t cry.”

She tightens her grip around his shoulders; pulling him close, grounding him. “You were so young,” she chokes, lips pressed onto his neck, against his beating pulse.

Sanji smiles sadly, and touches her arm, jet black ink on raised skin of a scar. “So were you.”

Keep reading

Anonymous asked:

Hey, buddy!! I’ve been world-building for a novel for two years now, but I’ve got a problem: this magical universe is so vast and fantastic that I’ll never be able to introduce it all without a huge lore dump. I really don’t want to leave anything out of the story, but I’ve also accepted that it just won’t fit. So I’m trying new tactics to document everything without forcing it down consumers’ throats. What would you do in this situstion? Pottermore-esque extras? History text books for students?


Here are some possibilities:

1) Web Site Bonus - additional world details can be a great way to encourage readers to visit your web site after they’ve finished reading your book. You could include things like maps, short stories, folklore, songs and poetry, imagery, interactive games–anything that gets the information across.

2) Promotional Material - this is really a subset of the above, but if you have a new book coming out in the same series, releasing additional world details on your site can be a great way to get readers to your site and pumped up for the new book ahead of its release.

3) Novellas - novellas are a really popular way of exploring other parts of the world building. Ultimately, you would be creating new characters to explore different parts of this world and its back story. A great example would be George R.R. Martin’s Dunk and Egg novellas, which are a companion series to A Song of Ice and Fire, taking place roughly a century earlier.

4) Interactive Site - if you have the ability to create an interactive site dedicated to your world, that can certainly be a great way of getting this information to your readers.

5) Companion Books - while novellas are actual stories that take place in your novel’s world, companion books are more like reference guides. This could be like, “A Guide to Creatures in A Song of Ice and Fire” or “The Castles and Manors of Westeros.” 

6) Graphic Novels - this would be in the same vein as a novella, but a different medium. They can certainly make for an interesting way to explore your story’s world. And, you can even do an online graphic novel if you want.

7) YouTube Video - don’t discount the value of a video. This would basically be you talking about your story’s world, telling the reader additional details you want them to know. You could even pair this with an “Ask Me Anything” type event where readers send you questions about the universe, back story, or anything else they want to know.

8) Online Gallery - tumblr makes it super easy to curate a gallery of inspiration photos. You can create a gallery for your story’s world, re-blogging pictures that could represent things in your story. You can intersperse posts that talk about your story’s world, along with things like maps, short stories, folklore, songs, etc.

9) Mood Boards - this is kind of a miniature version of what I said above. Ultimately, you create a digital collage of pictures that represent your story’s world. (Making sure to use photos in the public domain or that you are licensed to use.) Then, you could post these on your blog, social media, or web site along with any pertinent information.

10) Mini-Movie - with a video camera, a basic editing program, and a little creativity, you can make a little movie about your story’s world. You can use real life imagery and stock photos to represent settings in your story, and you can provide information using text or narration.

I hope one of these ideas will work for you! :)

———————————————————————
Have a writing question? I’d love to hear from you! Please be sure to read my ask rules and master list first or your question will not be answered. :)

My ESFJ grandma – by INTJ

[So I’m on a trip with her and these have been some of her shiniest pearls].

~-~-~
ESFJ and INTJ are walking through the boarding gate to the plane. A man passes by walking very fast.

ESFJ: Go, go.

ESFJ (to the man behind us): What a rush. Anyone would say he is about to receive an inheritance, am I right.

Man: *laughs.*

~-~-~
On the plane, ESFJ is very obviously pointing at the air hostess.

ESFJ (to INTJ): Hehe, what a German face he has, look at that!

INTJ: Grandma, please.

ESFJ: What? It’s true.

ESFJ (pointing at the other air hostess): Look at this one, he is so tall, lol.

INTJ (whispering): Grandma stop. They understand other languages, you know, not only German.

ESFJ: *laughs innocently.*

~-~-~
INTJ & ESFJ had breakfast in the airport because ESFJ grandma was “starving”.
20 minutes later, on the plane: breakfast is being served.

INTJ: We don’t want anything, right?

ESFJ (offended): Of course we do.

Air hostess: Sandwich or muffin?

ESFJ asks for a sandwich. Doesn’t like it and eats half of INTJ’s muffin as well.

ESFJ, later: Why do you let me eat so much bread?

INTJ: But grandma, I told you-

ESFJ: Why, INTJ, why.

*Later*.

ESFJ: I hate these sits, why are they so narrow.

INTJ: blame the muffin.

ESFJ (laughing a lot): You little bastard.

~-~-~
*Having breakfast in the hotel.*

ESFJ: How do you say orange juice in German?

INTJ: Orangensaft.

ESFJ: Got it.

Waitress: Anything to drink?

ESFJ: Orangensandwich, bitte.

~-~
In the public transport. INTJ detects a new very unpleasant scent and discreetly tries to identify its source.

ESFJ (shouting): Why are you sniffing your clothes?

INTJ (quietly): There’s something I highly dislike. Oh, I think it’s the deodorant you lent me.

ESFJ (who doesn’t lower her voice that much): Well then, if you prefer your armpits smelling like onions, that’s up to you.

The woman from the front sit stares at a very embarrassed INTJ.

~-~-~
ESFJ shows me her list of all the people she wants to talk to and visit while she is here.

INTJ: Ugh.

ESFJ: You need more friends, dear.

INTJ: You need less. You know too many people, grandma.

ESFJ: There’s no such thing as knowing ‘too many’ people, what are you even talking about.

~-~-~
All the freaking time:

INTJ: *wants to read maps.*
ESFJ: *wants to ask the whole city for directions. Twice.*

anonymous asked:

I hope it's okay to ask this here; I was wondering if you could tell me if the word 地図 (chizu, map) isn't used anymore or something? In Genki 1 that's the word I learned, but when I was in Japan, there were a couple of times I would ask something like 「すみません、地図がありますか」 and people were always confused at first.

地図 is still very commonly used. I’m guessing the reason for their confusion had something to do with the pronunciation (intonation) or the context.

「すみません、地図がありますか」is not grammatically incorrect, but to be clearer with your intent try this instead:

「すみません、この辺(へん)の地図はありますか」

Basically, if you ask, “Excuse me, do you have a map?” out of the blue, people might wonder what map you’re talking about. So adding supporting information like 「この辺の」for “this area” or 「渋谷の」 “of Shibuya” will help the listener understand what you mean.

Also, you should try changing the が to は next time. In most, “Do you have ~?” or “Is there~?” situations, は sounds more natural.

I hope this helps!

♡Kanae

anonymous asked:

4) Fates takes place across the Desert of Death of Tellius whoawhoawhoawhoaWHOA whATRE YOU TALKING ABOUT

Here’s a Map of Tellius

Here’s a Map of Fateslandia

The Top Right portion of Tellius is known as the Desert of Death and as is believed by people from both sides that there is no life across it. The bottom left portion of Fateslandia looks like a desert. 

It’s just for fun and I don’t really believe it, but if Fates exists on any existing world it would be Tellius since the powers at be themselves didn’t know about life across the desert until Nailah and Volug proved otherwise.

Why you shouldn't attack non-offending pedophiles

In order to protect children everywhere, you should be civil with non-offending pedophiles. Now I know that might sound really weird, but let me explain how I arrived at this conclusion years ago.

I’m sure most of you remember the glory days of Omegle. If you don’t know what that is, it’s a website where you can chat with random people completely anonymously, either one-on-one, or in response to a question posed by a third person. I, like many other shithead 13 year olds at the time, fucking loved that website. I especially loved the “answer a question” option, and would spend a lot of time on it. These questions were usually stupid, but every once in a while you’d run into a legitimately interesting question. One day, I came across just that— a question that read as follows:

“What is your deepest, darkest secret that you’ve never told anybody before? Tell that to the other stranger.”

Before I myself could answer, “stranger 2” sent his first message in response. (WARNING: If you are triggered by discussion of incest/molestation, please stop reading here. This could be very disturbing for some people.)

The stranger’s answer to the question was essentially this:

“I am 19. I still live at home. A few months ago I kissed my little sister while she was in the bathtub.”

Again, if you’ve ever been on Omegle, you know that it is riddled with trolls. Initially I assumed he was joking, but I soon realized that he was no troll, and that he was completely serious.

From here on, I’ll summarize the conversation I had with Stranger. I think we must have talked for over an hour.

I asked him how old his sister was, and he told me she was seven. I of course reacted in shock and disgust. He then expressed that he knew he probably shouldn’t have done it, and that the memory of the event had been gnawing at his conscience for weeks. I asked him if he was a pedophile and he says that he supposed he was. I firstly launched into a very long rant about why incest is risky and wrong, a point in which we disagreed, but that’s a detail for another time.

As I talked with him I learned more about his history and feelings. He said he was in love with his sister. He also told me that he was repeatedly molested when he was a child by a man who was a friend of the family. But he stressed that he wouldn’t be like that towards his sister, that he wouldn’t be cruel like his abuser was, that he wanted her to feel happy and safe and that he didn’t want to hurt her. I told him that if he ever interacted sexually with her, he would automatically be hurting her. He tried to argue with me on that point but it was obvious that subconsciously he knew it was true, but didn’t want to accept it. He told me he didn’t believe that all adult-child sexual interaction was wrong, and that he thought that kids COULD consent in certain circumstances, which was another point I argued with him about. He eventually said that his sister was already sexually curious and had engaged him in the past.

“She once asked to see my penis.” He told me. I forget if he said he showed her or not, but he emphasized that he never touched her or had her touch him in any way even then.

“It would have been so easy.” I remember him telling me. “I could’ve done it right then. I really could’ve. But I didn’t. I wanted to do it so bad but I didn’t.”

He said he thought he was “a terrible older brother.”

Throughout the conversation it became obvious that this was a person seriously teetering on the edge of “Do I do it? Or do I keep showing restraint?” And "Would it be fine? Or would it hurt her?” He was completely conflicted and at odds with himself. He didn’t know which path to take, he didn’t know what he should do.

It was at this point that I realized that I was responsible for, and would have a considerable influence on the safety of this child. The situation I faced then was not hypothetical, not one in which there was a lot of wiggle room. I knew that whatever I said to him would directly affect the safety and wellbeing of a real, living, breathing, little girl. It was stressful to say the least.

It would have been easy for me to follow my emotions and tell him he was disgusting and irredeemable, to spew the narrative at him that I see so often here in “anti” blogs and the inboxes of MAPs. The narrative I’m talking about is this one:

"All pedophiles are disgusting, inhuman, ticking time bombs who lack the ability to control themselves and are all ultimately doomed to offend.”

Now, please think with me for a second. Imagine this was what I said to him at that moment. He had never told anyone about this, so it was plausible that my input would be the only words he would hear on the subject, the only viewpoint he heard. Imagine I told him that he was “disgusting, inhuman, a ticking time bomb who is a danger no matter what.” Please, please think about the gravity and reality of this situation.

If I had said that to him, and left it at that, I believe I would have directly put that little girl in immense danger. He could have heard me say that, and decided I was right, he was inhuman, and that in the end he wouldn’t be able to restrain himself, and that eventually he was going to wind up molesting his sister no matter what.

So, his logic would follow, why try?

Why even attempt to control myself?

Why don’t I just go and act like the monster the world believes me to be?

If I’m doomed to offend, restraining myself is pointless. I’m disgusting and since I am disgusting, I might as well act on it. I’m fucked either way. Might as well get it over with.

It’s terrifying to think about.


But luckily this is not what I said to him. I, realizing that the safety of a child was on the line, responded carefully, and calculatedly. I said something like this:

“You are not a terrible older brother. You have shown you are responsible, and that you are able to restrain yourself from hurting her even when you are most tempted. I know that you love your sister very much. And if you love her that much, you need to do what is best for her no matter how painful it may be to put yourself at a safer distance. I am proud that you have been able to rise above your desires and emotions so far, even though it is so difficult for you. Because of this, I think that you’re being the best older brother you can possibly be. Please keep fighting, do it for her.”

He thanked me, we said goodbye, and then the battery to my iPod touch died. I think I must have stared into space for minutes afterwards, processing what I just experienced. I never told anybody about the conversation.

To this day, I often think about the Stranger, and his little sister, and wonder what ever happened to them after all these years. I hope from the bottom of my heart that what I said that day helped, even just a little bit. I hope that he was able to become determined not to offend, that my words gave him some sort of energy to try even just a little harder. Most of all I worry about that little girl. I hope that she wasn’t hurt. I really really hope so. I think I did what I could that day, and that I preserved the safety of a child.


Now for my conclusion. You don’t have to like pedophiles, you don’t have to sympathize with them. It is a hard thing to do, and not everybody wants to. But what you do have to be aware of is that your words can affect the real world, and the safety of real children, no matter how indirectly. Push aside your disgust and nasty gut responses and be civil with non-offending and even recovering pedophiles. NOT for THEIR sake, but for the sake of the children around them.

Pedophiles exist and will continue to exist. It is a unpleasant fact that we share the world with them. No amount of hate mail or death threats will change that, nothing you can do can make them disappear, no matter how much you may wish it to happen. That’s reality. But what you can do is influence them, whether you choose to do so negatively or positively. I hope people who read this understand the point I’m making, and understand the weight their hostile anonymous messages and harassment have. You may very well be responsible for a child’s safety, like it or not.


Please be responsible, please be mindful, and please be civil— for the sake of children everywhere.