and there are actual real world effects


Spouses are not claimed, but chosen. Couples forged in the fire of service to each other; those whose actions lift them above life that came before.

Marriage is an ideal, a symbol, the embodiment of love, determination, and reliance upon another. You are each other’s right hands, instrumental to each others well being and happiness.

Spouses bear a great responsibility. Both your first and last companion each day, the well being of each other is yours to uphold.

Because of Mass Effect, I discovered characters and worlds I fell in love with. Because of Mass Effect, I met friends that I traveled the galaxy with. Because of Mass Effect, I found my Real Life Romance option.  

Because of Mass Effect, last month I got to bring the characters and friends that I love together in order to marry that romance option. 

They even revived me when that stupid marauder took me out on the beach. 

Thanks, Mass Effect. For everything. Happy N7 Day!

Yu-Gi-Oh! Theory: How Bad Continuity Made Ryou Bakura the Most Powerful Character in the Series

(I should probably mention that I’m going entirely off of the mangaverse for this)

Okay so one thing about Ryou has been fucking me up for a while. When the Shadow RPG happened in season zero, Ryou Bakura summoned the NPC, White Mage Bakura. This character was obviously made as a stand-in for him, right? And if there is one thing that the season zero arc established, it was that shadow games are used to test the power of people’s souls. They are literally used to quantify the strength of a person’s heart. That being said, however…

Ryou Bakura is only two levels below Zorc.

16 year old Ryou Bakura is almost as strong as Yami Bakura, an actual literal demon. That being said, though, this is only the power of Ryou’s soul when he’s half-conscious, as he was being possessed at the time. He managed to almost rival the spirit of the Millennium Ring in sheer power, and that wasn’t even the full extent of his abilities.

No, this is all just the tip of the iceberg

Keep reading

call the midwife couples rated by me

Jenny/Gerald: this dude never even shows up and yet we have to deal with the heterosexual angst he caused for a whole goddamn season. might have been tolerable if we had ever gotten the details of wtf happened between them -11/10

Jenny/Jimmy: never technically dated and yet just kept coming back. Jimmy was an ok guy though so that’s something 2/10

Jenny/Alec: honestly completely un-compelling Alec had no personality at all and Jenny’s previous love interest Jimmy literally introducing her to her new love interest his friend Alec is just too much. the death would have been way sadder if Alec was actually a character at all but the effect it had on Jenny was Real so points for that also it was nice to see Jenny actually date someone after all the angst that came before 4/10

Jenny/Philip: the real ones were happily married for like 50 years or something so good for them 10/10

Peter/Chummy: adorable. precious. absolute dorks. Sister Evangelina asking Chummy out for Peter because the two of them were two awkward to do it themselves was #iconique. makes Chummy “beautiful cinnamon roll too good for this world too pure” Browne happy. “sorry mater, no longer entitled” also #iconique 9/10

Turnadette (Patrick/Shelagh): ruins basically all the other heterosexual couples on this show by being perfection personified. supportive and respectful and equal and finally get to be happy after the heartache that was s2. everyone they know seems to ship them because they belong together and it’s obvious 11/10

Trixie/Tom: never really got this one tbh it was just “hey Trixie a guy you should date him” they never seemed to have much in common or anything. still a decent supportive mutually respectful relationship that eventually turned into a nice friendship 5/10

Pupcake (Patsy/Delia): vintage lesbians in love literal perfection. use “card games” as a euphemism for the sex they were definitely having in the convent in which they live. deserve happiness more than anyone ever and better finally fucking have it 1000/10

Barbara/Tom: much better match than Trixie and Tom kinda cute but also Tom is involved so I just can’t really care that carousel was a nice touch though 7/10

Phyllis/Tommy from Spanish class: what ever happened to this storyline? idk and idc about Tommy from Spanish class but I want Phyllis to do whatever akes her happy she is an actual angel on earth 5/10

Trixie/Christopher: should be nice but I just don’t trust him. I love Trixie with his daughter though and I kind of want them to get married just so Trixie can adopt her 6/10

Jane/Rev. Appleby-Thornton: anything that makes Jane happy is good 6/10

Fred/Violet: cute mature couple who both lost their first much-beloved spouse. wonderful surrogate parents for Reggie. it’s nice to see them happy 9/10


Sister Monica Joan/Cake: the truest love ever known ∞/10

pepperapb  asked:

Maybe you already answered or have a post based on this, but a thought process ran through my head just a bit ago: The gun developed in a world of magic. I bring this up cause I often see folks think about magic and guns separately, or how magic itself could use guns (enchanted ammo), but I'm thinking practically across the board: How would the rise of the gun effect things like magical armor? maybe even how it would effect spell crafting and research. Just thinking beyond the gun itself...

In order to properly answer that question, we’re going to have to step back and look at why the gun rose to dominance in the real world.

The popular narrative is that guns came to dominate the battlefield because even a primitive firearm can tear through heavy armour like tissue paper, rendering armour militarily irrelevant and signalling the end of the era of heavy cavalry, but that’s not actually true. In the period when plate armour was popular, it was totally possible to make a suit of armour that could stop a bullet from the firearms of the day. Indeed, it became common practice to “prove” a breastplate by discharging a pistol at it at point-blank range, with the resulting dent serving as evidence that it had passed the test.

(This is where we get the term “bulletproof”, incidentally.)

So if that’s the case, then why did guns ultimately result in the disappearance of heavy armour from the battlefield?

Believe it or not, the answer is “economics”.

Straight up, heavy armour is expensive as hell, and fighting effectively while wearing it requires long and arduous training. Conversely, you can train someone up to be a halfway-competent musketeer in just a few weeks, and guns could be had comparatively cheaply. Yes, cheap firearms were extremely dangerous early on, but with the composition of armies trending away from small groups of elite warriors and toward massive regiments of minimally trained conscripts, if some poor musketeer’s gun blows up in his hands, you just replace him with the next guy down the line.

When you can field twenty expendable riflemen for the same cost as one armoured knight, and the armoured knight certainly isn’t twenty times more effective than the rifleman, well, it’s easy to see where the smart money lies - but in a fantasy setting, any or all of the assumptions that get us to this point could change.

In short, in order to answer the question of how firearms would integrate into a D&D-like fantasy setting, you first have to step back and answer the much broader question of how the existence of D&D-like magic would influence the economics of war. Good luck!

(It also pays to bear in mind that the answer to that question might be different for player characters than it is for society at large. Costs that are unbearable when equipping massive armies could be pocket change to a successful adventurer, and dungeon crawls typically don’t take place in the sorts of environments in which early firearms can best bring their strengths to bear, so it may well make sense for your paladin to be running around in bulletproof plate even if it doesn’t make sense for the Queen’s army.)


Possibly my most favorite thing about What If… is that Jemma is so wholly, constantly aware that the Framework isn’t real. It’s not just that she keeps telling people, it’s in how she acts. Daisy kind of gets lost in her attempts to maintain her unexpected cover, but she’s still typical Daisy—to the point of moving to intervene when those three guys are beating up that Inhuman when they first enter the Triskelion.

Jemma, on the other hand? Jemma has no time for playing along with this fake world.

Exhibit A: her lack of social graces with Julia. To us, her “fascinating” and “you have dreams” are just typical Jemma, taking in details and being impressed with the Framework’s coding. Some random NPC has dreams and makes art? Amazing! But from an outside perspective, her words and tone are so freaking creepy. Like. Jemma, babe. Could you sound any more like a serial killer surprised to hear that her next victim is an actual human being?

But what really stands out is Exhibit B: her conversation with Burnell. Sure, the line “Hydra? They’re all Nazis” is great as a quote, but as an actual thing to say to an impressionable teenager living in what is, effectively, a police state? She encourages a defenseless kid to not only proclaim a very unpopular fact, but to spread it far and wide. It may be the truth, but Hydra does not like it and Burnell is gonna get himself seriously hurt—if not dead—by spreading it.

In the real world, you’d expect Jemma to take that into account. If things went nightmarishly wrong and Hydra won and SHIELD was just some kind of Resistance, she might say something along the lines of, “Yep, Hydra are 100% Nazis, but they’re also basically in charge right now, so maybe keep that fact to yourself and like-minded people you trust absolutely? Just….throwing it out there. Save fighting the propaganda machine for a time when you’re in a position to protect yourself from retaliation.”

But nope. This kid isn’t real. What does Jemma care if Burnell—who’s already shown himself to be pretty senselessly brave by actually tagging Jemma’s car with “Hydra lies” even though we’re shown like two seconds later that surveillance is EVERYWHERE, including this high school parking lot—gets himself killed shouting from the rooftops that Hydra are Nazis? He’s just a collection of code. It’s not an issue.

And the best part? It’s exactly what we should’ve expected. It’s just an extension of how she approached Aida—calling her “it” and always keeping in mind that she was an android, not a person. She, maybe more than anyone else, is super conscious of the difference between real and programmed, and she takes a very practical approach to all of this as a result.

It is SO JEMMA and I love it.

tl;dr: Jemma has no time for manners or for saving/protecting/acting as a good influence on the lives of these Framework NPCs…and it is GLORIOUS.

(I was gonna include her calling Ward a “psycho stalker” to his face, but lbr, she’d do that in the real world without a qualm.)

mountainchiliart  asked:

As i’ve seen this happen more than once, what goes through your mind when a big plot twist or piece of the puzzle gets unintentionally spoiled by the fans theorizing the future of the book? Does the rest of the story gets put on temporary hold to try to figure out how to write something new or is the story set in stone no matter what may happen? If someone were to spoil the ending of the entire book completely unintentionally and you were able to experience the reaction, will it change a thing?

Oh, god, no. Never change anything if someone’s guessed something. Nothing good lies in that direction.


Okay, let’s talk - with no specifics - Game of Thrones. If you go into the depths of fandom, Game of Thrones is - to some degree, in some areas - a solved problem. There’s a good selection of fan theories (some of which have come to fruition) which have so much meat on them it was clear they have to happen, or the book would break its structure and become unsatisfying.

These twists are available to anyone who wishes to google for them.

The vast majority of people don’t. So… why change the direction of the story? What’s the point of fucking over the enjoyment of the vast majority of people (i.e. making your story make less sense, as you’re abandoning the already existent thread) for playing gotcha on a tiny fraction of your audience?

(As a quick aside - compare and contrast theorising in a fanbase with actual events in the text that’s being adapted. Clearly, anyone who is watching GoT could have googled the synopsis of the book. Equally, anyone who’s read the books knows the big beats. Does the adaptation change the big beats? If surprise to everyone in your audience is all that mattered, you would. We don’t.)

It’s also worth noting that, while obviously some complain on the nature of the adaptation, most fans of a book generally complain that they wish it was more like the book. In other words, things that surprised them (i.e. differed from their knowledge of the text) were less satisfying. They wanted to see the big dramatic beats, even if they’re stripped of their surprise.

Surprise only matters the first time you read something. For me, any worthwhile piece of literature exists to be re-read, and will open up more upon re-reading. In other words, knowing the twist should add to the re-reading of the book. If it doesn’t, and renders the story less than it was, it’s probably a bad twist - which is one reason why I don’t tend to call them “Plot twists” to myself. I call them reveals. The plot doesn’t contort. It’s merely revealing something in the nature of the world the reader was unaware of. 

(As an aside, this means that someone who has guessed successful the direction of the plot is actually effectively skipping to their second read of the book earlier.)

There’s the other side of this as well - not just whether a plot beat has been guessed, but the almost inevitability of a plot beat being guessed. GoT fans have had twenty years to puzzle this out. In that period, a mass communication device emerged which allowed fans to talk to one another and share ideas. This machine would have torn apart any plot. 

No one individual needs to guess anything. People can make one step in a chain, and then that step is exposed to thousands of minds. If even one of them can make the intuitive leap to the next step, then it continues. No one person needs to be clever enough to see the whole thing. The internet hivemind is Miss Marple, seeing through the most contorted of machinations. 

(In passing, this is one reason why Alternate Reality Games are hard to do, because the mass hive mind will figure almost anything out, almost instantly. Equally in passing, the failure to understand this is another reason why Ready Player One is bad, but that’s irrelevant.)

In other words, the reason why twists are guessable is the same reason they are satisfying. A twist that isn’t foreshadowed sufficiently to give the possibility of being guessed by someone is not a satisfying twist, as it - by definition - came out of nowhere. 

To make this specific to my own work. In the case of the biggest and most intricate of my current books, WicDiv, we sell about 18k in monthlies and sell 18k in trades (in the first month of release). That’s our hardcore devoted readership. How many people of them actually read the essays in the WicDiv tags? I’d say 500 at the absolute maximum, and likely a lot less. So for a maximum of 1.3% of our readership, we’d derail a still effective twist for everyone else? No, that would be a bad call.

Especially - and this is key - the people who have chosen to engage with a fandom are aware that they may figure something out. They are trying to figure something out. Why take that pleasure away from them?

In a real way, I think, in long form narrative, pure plot twists which no-one in the world guesses are dead in the Internet age, at least when dealing with any even vaguely popular work of art. You can do them in short form narratives (like a single novel, a single movie and perhaps a streaming TV show they drop in one go) but for anything where you give a fanbase the chance to think, it’s just not going to happen. A creator should be glad their work is popular enough to have enough fans to figure it out.

Yes, I may have overthought this.

But that’s only half the question. 

How do I actually feel when someone guesses something that’s going to happen? Well, this is long enough already. Let’s put the personal stuff beneath a cut…

Keep reading

I have just finished binge watching “13 Reasons Why” and if you have no idea what I am talking about, this post might not make much sense to you. So, if you have not, I highly recommend you stop everything that you are doing and go watch the series for yourself. 

If you have, then here we are. We have both witnessed what was waiting at the end of tape number thirteen. Some of you may not agree with or like the outcome that the show brought, and some of you will. I am not here to dispute any of your feelings.

I am here to say this: Hannah Baker is so important. Not because she is the main character of the show. No, it’s something much deeper than that. Unless you have been placed in the same pair of treacherous shoes that you are forced to walk day in and day out, you might not understand where I am coming from.

I am not here to talk about the tapes, and I am not here to discuss whether her actions were right or wrong. I am here to talk about Hannah Baker’s last day on earth. 

As I watched “Tape 7, Side A” I could feel my stomach churn with every flashback of her final moments in Crestmont. I could feel my heart break with her vocalized hope of “giving life one more chance,” even though it was still causing her pain on the inside.

When she sought out the one person who was supposed to be able to provide answers, pushing through the torture of speaking the honest truth and praying for that person to take the reins and bring everything to a pause only for them to make her feel worse than she did going into the conversation. How she stood outside the door, hoping that someone would come after her and take control of the situation but they never did.

How she straightens up her room so she is no longer an inconvenience to her family whom she does not want to upset anymore. When looking in the mirror for the last time and not being about to cry because her body is exhausted from fighting against the storm, having no reaction or attachment to the image staring back. Holding the razor blade in between her fingertips and knowing what she is doing is wrong, but having it be the only option left because every other cry for help has been silenced or overlooked.

And last but not least, the silence that she has been desperately longing for but hating at the same time, filling the room once she has made the deep cuts to her veins.

This episode isn’t fiction. You should consider it a biography. While the people go about their lives living just another day, I have experienced this side of Hannah’s tape far too many times to keep count. Feeling completely numb inside because you already prepared yourself for no one to do a goddamn thing to truly help you, all while mentally scolding yourself for even entertaining the idea of a “chance” in the first place.

Hannah Baker is important because she is just like me. She’s the girl who’s place I’ve stood several times in my life. She’s the girl that I identify with way too much still to this day. When I first watched this scene, I couldn’t breathe. I was nauseous and wanted to skip ahead, but something in my head told me no. That I couldn’t because this was what the twelve episodes before had led up to.

For someone who has previously attempted suicide, I think the show did an incredible job of capturing the final moments of someone’s life and bringing awareness. It’s almost refreshing because, for a very long time, there has been nothing that deals with suicide, rape, etc. blow up in such a “trending” way. The show does not make the situation more light-hearted by having the person be rescued five seconds after making their final decision.  

It was raw.  It was real.

I once publicly posted about my decision to check myself into a mental hospital to seek help for my high-depression after almost driving myself off the interstate and nearly slitting my wrist open all in one night. And I desperately wish I could say it was a success story and I’ve never thought about harming myself again. The truth is, the people who worked at the facility never followed up, and when I personally called seeking more information and help, they never returned my phone calls. The truth is there is not a day that goes by that I do not think about it once. I don’t think it’s something that ever really goes away. 

But I think the worst part about the situation was that many people in my close circle knew from gossiping lips and had the “bless her heart” effect. No one wanted to talk about it. No one asked questions. They just accepted the fact that I wanted to end my life and went on about their business. It seemed like these people in my circle truly believed that talking about suicide would make it happen. And that they were here for me, but only at arms’ length.

This post is not meant to scare you away from viewing the show. It’s not meant for you to have negative thoughts about it either. The show has many layers, Hannah’s suicide just being one of them. There are backstories and evolving characters that guide you through an eye-opening journey through discovering the truth. A real life look into some of the issues throughout schools across the world, and how little things can still have a tremendous effect on someone.

The show is meant to educate. To call for action before something like this happens again. To stop the only efforts for change being posters that say “don’t kill yourself” and start an actual and purposeful conversation. Suicide is such a taboo subject, yet it is the 10th leading cause of death in the United States. Every day, approximately 105 people take their own life. Every thirteen minutes, someone chooses Hannah Baker’s ending.

Over the past few days since the release of the series, there have been many posts in the media claiming that “13 Reasons Why” romanticized suicide and that Hannah Baker is a selfish, self-centered teenager. And sure, people have every right to think that. But through my countless hours scrolling through the tags on social media platforms, it’s comforting knowing that I am not the only mentally-ill person who gives this show a thumbs up.

I guess my plea here is simple. Do not go into the show with preconceived notions that this show is “messed up” and unrealistic. Be aware of trigger warnings at the beginning of episodes and make a judgment call on whether or not you personally can handle a scene. Please keep in mind this scene is how it sometimes goes for some people and is important to some. 

And the last thing on my soapbox, there are so many Hannah Baker’s in the world who need your compassion more than your urgency to get finished with the conversation so that you are able to move on. Don’t be afraid to talk about suicide. You never know who is needing you to speak up the most. 

So I like to think a lot about how the five paladins all have their associated elements but Coran and Allura don’t seem to, and, as a result, I’ve been kind of ascribing elements to them on my own time.

Allura’s is pretty straightforwards, considering the incredible shows of fluorescence related to her power, and while she wears deep blue and pink, both colors that have been “hers” in the past, VLD Allura’s character color, as indicated heavily in her clothes, her hair, and the Castle that is pretty much her Lion, is white.

I think that Allura’s element is light, and it really fits- with the implicit divinity, the ethereal aesthetics. She’s the team’s guiding light (as a leader) and also their beacon of hope (the entire team cannot go on without her, and times where it seems like she’s taken out of the picture have been the grimmest moments the team has faced)

Allura also explores concepts of enlightenment, empowerment, and a sense of a higher cause. However, she’s also explored sensitively as just one person trying to carry that higher force. At her strongest moments, she is radiant, in tune with higher forces, able to evoke outright miraculous reversals of a situation- at her lower moments, she’s scared, isolated, a tiny match in an incredibly bleak situation. Just one person, young, vulnerable, and not completely sure of what she’s doing at all.

Allura’s the one who, talking to the paladins, suggests that it was the hand of destiny that brought them to her. Fate and such things are often believed to be foretold by the stars, and the main system Allura uses to control the castle manifests as a starfield that she’s able to control.

Again using ATLA allusions, I think Allura is a bit of an avatar figure, not linked to any of the Lion elements specifically but kind of… uniting them, in a fashion. And Shiro, her co-leader, is coincidentally someone who’s sky motif specifically features the night sky, or the depths of space: surrounded by stars.

But then I got onto the subject of Coran, and, stumbled across a surprising, but, fitting, element for him:

I think Coran’s element is darkness.

Compared to the other members of the team, Coran wears rather dark clothes despite the white and blue highlights- his ‘unique’ color seems to be a deep blue-black distinct from Shiro’s gray-black.

And the easiest way to sum up Coran is, he’s kind of the consummate support figure. Unlike all the other members, he never has his own vehicle- but he’s there as support to Allura, trying to make everything run smoothly behind the scenes almost singlehandedly. And “behind the scenes” is pretty much where Coran lives- if Allura and the paladins are all actors, Coran is a terrifyingly effective one-man stage crew.

Light and darkness are seen as archetypal enemies, but, in Voltron’s rhetoric, just because elements are traditionally “opposed” means nothing for their actual relationship, Keith and Lance, fire and ice, squabble occasionally but at their best slot together into an incredibly effective team. Coran, as the oldest and most experienced member of the team, would be the most secured in his element.

If Allura’s symbol is light- anything placed close to a bright light will cast a very long, deep shadow. Light and darkness are very close to each other and interact closely in the real, practical world, even though fiction tends to turn them into polar opposites that war with one another.

Coran disappears. He moves in the background. The rare times we see him out on missions so far he’s employed obfuscation and disguise tactics, as well as sudden ambushes. Factoring in the comic stories, he also successfully faked being held hostage convincingly enough to fool all the paladins. 

“A villain is a hero of the other side.”

This quote is so telling from GRRM. 

Many people have different interpretations of it, but I believe this is directly referring to Dany’s meteoric rise to power, and what will subsequently be her fall from grace. We, as the audience, have watched her struggle against oppressors and we have seen her strength and justice mocked and ridiculed. By all accounts, Dany is the underdog we should all want to win. We’ve watched her grow as a character; we’ve watched her embrace her strength as a woman and a leader; and hell, we’ve got to watch her dragons quite literally and physically grow into the badass killing machines we see now. This is what we’ve always wanted for Dany, and now, she’s finally going to sail off to Westeros to take back what is ‘rightfully’ hers. 

Yes, Dany is the hero we’ve wanted since Day 1, but is she really a hero at all for the people of Westeros? 

The Targaryens may have once ruled the Seven Kingdoms, but that was a long time ago, and those who were alive during their rein don’t necessarily have fond memories of that particular family. For everyone else, Dany is a foreigner, come to their land to conquer them and take what little left there is to give. The Targaryens may have once ruled, but they don’t anymore. It’s no longer their kingdom and Dany hasn’t lived there. She doesn’t know the first thing about Westerosi culture. What she is now is essentially a colonialist who believes she can free the people, but from what exactly? The people want peace and prosperity. They are tired of war and death. Would bringing three grown dragons and an army of Dothrakis, who are known to pillage and rape, really be bringing about peace? 

To them, Dany is the villain, an oppressor and one they won’t want, and she’s so used to being praised by the little people that if the little people and the ‘bigger’ people are both in opposition of her, what will she do? Considering past behaviour, Dany tends to go straight for inciting fear and violence rather than diplomacy. She believes in justice but only her brand of justice, and Gods forbid you disagree with her. Just ask Hizdahr zo Loraq. 

This kind of turn around will make many of Dany’s most loyal fans uncomfortable. Those who believed her to be a hero will be disappointed to find that she is in fact not a hero in this kingdom and that she is actually the colonist, the oppressor, the villain of their stories.  

If this is truly Dany’s destiny, then it is such an important message that resonates so profoundly right now in our world. Western society is given such a good vs bad narrative about war, and why they must invade this country and that country and how it’s for that country’s own good, but for those people feeling the effects of war living in those countries, who is the real villain? Who is really saving who? Everyone’s a hero in their story, but the villain in another’s. It’s all about perspective and that’s really so important for people to understand in this day and age. Perspective breeds empathy and we need more of that. 

Just a disclaimer though, I know you can’t empathise with terrorist organisations. That’s not what I meant. I’m talking more in the sense of bigots and racists, who completely criminalise an entire country of people, and believe wholeheartedly that theirs have done no wrong. 

Just food for thought anyway. 

timelordfandango  asked:

I know that the future is unpredictable, especially when it comes to entertainment & culture, but reading your Dead Fandom editorials make me wonder if it's possible to predict which of todays big fandoms will stand the test of time & which will fade & obscure. Just a neat idea I had & felt like sharing.

Thank you for reading. As for what fandoms will be around in the future, I hate to say this because I love the show and I think it’s very high quality, but based on what I know about how fandoms rise and fall, I have a hard time imagining a scenario that Babylon 5 fandom will be alive in 5-10 years. It’s not a dead fandom yet, but one that has a terminal illness. 

Mostly, it’s due to the fact that it isn’t available for streaming on normal platforms people actually use, and due to the nature of the special effects (which you can read about here), there are challenges in converting it to High Definition (a non-negotiable part of rebroadcasting something or streaming it in today’s world), so as a consequence, an entire generation went by that’s never heard of it. Most fandoms don’t recover from a lost generation. Hell, Babylon 5 isn’t even available on Blu-Ray, which is a low bar to clear (I don’t actually know anyone in real life who owns a dedicated blu-ray player that isn’t a playstation or something). 

Combine that with the fact that, tragically and due to unfortunate happenstance, at least half of the Babylon 5 cast is no longer with us, you have a scenario where B5 can’t be legitimately continued, denying the fandom the oxygen of a revival or continuation.

Heck, Babylon 5 is already starting to fade from consciousness, which is amazing for something that was, at one point, like the second or third biggest active scifi fandom. Ask yourself: do you have a co-worker with a Starfury model on their desk? If you were to quote it, would anyone catch the reference? When was the last time you saw a Babylon 5 shirt? That’s kind of amazing when it comes to a show that does the Lilo and Stitch thing of repeating a phrase a dozen times until you get it (”Ohana means family”). 

Also, the most notable thing about Babylon 5 is that it was an arc show with one continuing story. That’s a problem because there’s nothing special about being an arc show now, with a single story through line; in the post-Sopranos TV era, every single show is like that now. Even procedural crime shows have arcs and season-long story through lines these days. 

Also, B5 is out of step with modern aesthetics about what TV shows are like (and I am not referring to the special effects). If you think of creativity as biological evolution, most modern genre shows are descendants of B5’s contemporary, Whedon’s Buffy the Vampire Slayer: centered around quippy dialogue, Scream-type genre self-awareness, reversals of expectations. Babylon 5 is out of step with that, old fashioned, a bit overwritten; characters like to monologue about Winston Churchill. 

Again, I am not saying this is “bad” (I like B5 and it is what it is) but I can see how it can be offputting to someone looking at it with fresh eyes. TV fans are more oriented toward the new than movie fans are, so TV viewers are more likely to be pulled out by things like black and white, stylistic acting, and so on. 

Hey, remember how at the time, Babylon 5 was seen as a daring new breakthrough that would make television history, on the level of Twin Peaks or something, and Star Trek: Deep Space 9 was seen as an awkward middle child cash in for an increasingly tired and oppressively omnipresent scifi franchise? It’s amazing how the consensus view on both shows is now totally reversed; B5 is now seen as a good show but very, very much of its time and not a television breakthrough, and DS9 is now seen as, if not the best Trek show, as maybe one of the high points of the entire Trek franchise? Rediscovery on streaming made the difference for DS9’s reputation, something B5 unfortunately didn’t get. 

Reading material about the dangers of superintelligent AI & whatnot, and honesty, for all it goes on about how these AI would take their objectives super literally, they give really fucking vague objectives that you’re not going to give an AI because the AI would have no idea what you meant and ask for clarification.

The example used in the essay I’m reading for example, is an AI deciding to cure cancer by murdering everybody with nuclear weapons. But you see, your technicians aren’t just going to tell the AI “go cure cancer,” they are going to say “[explanation of human biology], we would like you to develop proposals for stopping the phenomenon of cancer (as previously discussed in our comprehensive explanation of human biology) and restoring the body to a normal state of function,” and then the AI will a) not nuke the world, because it has only been asked to develop proposals, not to actually do anything, and b) will not propose nuking the world, because “dead in a nuclear holocaust” does not count as a normal state of function. Is it really that hard to program in a “do not do anything that effects the real world except as clearly and explicitly ordered” rule? You can’t turn the world into paperclips if you’re hard-coded to have to ask for permission first, and to accept changes to your programming as warranted to bring your goals in line with the programmers. This whole line of concern seems to be predicated on programmers being morons and artificial intelligencese being all-powerful.

Velma (and this movie’s creators) have no clue how photography works.

Now, I’m sure 99% of the world wouldn’t even notice, but being a professional photographer and all, this has been bugging me like crazy.

Does it actually matter at all?


Am I still going to pick on the movie for it?

Oh, yes indeedy.

So, Velma’s sniping off shots of wildlife for Daphne’s clothes-designing gig, and found this weird bird.

Then, there’s a bright light, and we realize she’s using flash… 

…on a camera with a terrible little built-in flash that would barely work… 

…while in great light that such a flash would harm

…while at a distance too far for said flash to have any real effect…

…while trying to photograph a wild animal surreptitiously to remain undetected.

Look, improper flash usage is basically the cardinal sin of photography. Wipe that grin off your face, Velma – this is not ok, young lady.

The bird isn’t mad… just disappointed in you.

“C’mon, now… I expected more. I really did.”

And then, we learn she’s climbing up a tree, and is below the bird… but somehow is taking perfect horizontal views of it?

And when taken, those photos have no background, and the bird has a different wing coloration? 

Besides, what with having only one control button, I feel like Velma’s photographical options might be just a little limited. 

It’ll be a bit hard to shoot with, too, seeing as the viewfinder we saw on the front of the camera doesn’t connect to anything on the back.

So, uh… psst, Daphne? 

Just between us, when you got hired for this gig… I don’t think Velma was the best person to entrust with your professional media needs.

But then again, according to the movie – despite you never having done fashion design before – the company immediately gave you the job and an all-expenses-paid trip to Hawaii with your friends.

…what am I saying. At this point, you can clearly get away with just about anything. Go nuts!

I don’t understand people’s beef with CGI Tarkin.

Some of y’all seem to have a problem with CGI Tarkin in the new Star Wars movie Rogue One but let’s get some things straight:

The man has been dead for at least 22 years, so there’s no way to bring him on screen, right? “Why not recast him? They did the same with Mon Mothma.”

They sure did and they sure did recast Tarkin before in Episode III, but nobody talks about this abomination for good reason.

The good news was it was only a cameo from a distance in the film.

It’s unfortunate though because Wayne Pygram is actually a really good actor. I just wish they did a better make-up job.

So that was an example of recast. 

People argue that the CGI looks fake and looks better in movies like James Cameron’s Avatar but here’s the thing: it only looks good because the entire world was CGI and contact with actual reality was kept to a minimum. The scene where Sigourney Weaver’s human character is carried by the Navi through the forest actually looks pretty fake. 

The entire time, “Tarkin” had to be in contact with real cast members beside him so of course there’s an uncanny valley effect. Have you looked at the job they did though?

Original for comparison:

Certainly better than what happened in Episode III. Besides, the uncanny valley would probably work in his favor since he IS a villain. They’re supposed to be unsettling.

Guy Henry and the people at ILM (Industrial Light and Magic) worked hard and did a damn good job AND they brought Peter Cushing back from the dead. Appreciate the skill, enjoy the damn popcorn, and enjoy the damn movie because Rogue One is a damn good movie.

Originally posted by utiligif

anonymous asked:

Okay 1. I love your blog. 2. I have a character who's very strong and she is constantly fighting for her life. I planned on giving her a katana as a weapon but after I read your post about how katanas suck I was like "Okay, so I won't give her a katana." But what sword would someone be able to use in the modern world pretty effectively while actually using it to defend themselves?

There’s a real reason why we don’t use swords anymore.

Beyond the problems posed by guns (and knives for that matter), the sword is simply inconvenient in a modern environment. You could still carry one (depending on country/state restrictions on weapons… maybe not, especially not without a permit), but people will look at you funny. And, maybe, be a little worried about your mental health if you walked into the local MiniMart with a real, sharpened, honest to god longsword belted to your hip.

It’s basically the equivalent of walking into a store or getting into a taxicab with an AR15 strapped to your chest. Except, weirder.

Also, you can’t conceal it. You’re going to get arrested. You’re gonna get tased. No, I’m not kidding that really happened to a man carrying a katana on his back in SoCal. This is not the only example. There are a lot of people who carry swords… and a lot people who get tased for their trouble.

The other human beings around you will see that sword as an active potential threat to their safety, and swords don’t have a gun lobby lobbying for the right to carry them wherever. The cops will arrest you. It is no longer culturally acceptable to openly carry these weapons as a matter of practice.

Society has moved on.

Now, in a fictional context we can fudge the rules a bit. Still, you should be aware of the realities especially if you’re writing toward modern fiction. The modern world is one you’re readers will be intimately familiar with, so if you’re working outside the set norms it’d behoove you to explain yourself.

Swords make sense in Urban Fantasy settings or cultures where guns have (inexplicably in many cases) ceased to work. (And if you’ve got any technology with a combustion engine, you’re going to have guns. Or explosives. The theory behind the gun is simply you use an explosion to propel an object at high velocities in the direction you want. What we have now is just a refinement of that thought process. If you have fireworks, someone will inevitably hit on the idea that you can shoot fireworks at your enemies then work to improve the process. We call this science.)

What a character does on their own property is their business, but it’s a different story when they’re out in public.

If you’re serious about your character carrying a sword, then these are issues that should be addressed or, at least, considered.


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Koch Snowflake: Finite area, Infinite perimeter.

The Koch Snowflake has finite area but infinite perimeter… yeah that happens with fractals. This abstract curve requires an infinite process (depicted in the gif) to construct and is an example of a fractal–a mathematical set (usually a curve or geometric figure) which exhibits a repeating pattern that displays at every scale. (More about fractals here

But How? It seems clear that the area would be finite since the figure encloses a finite amount of space. To grasp why the Koch Snowflake has infinite perimeter, notice how as the iterations progress, the edges become more and more intricate. Now imagine trying to draw the edges with a pen. Since the construction of the snowflake continues indefinitely, the edges become infinitely intricate and you could never finish detailing these intricacies with your pen (that is the intuitive argument at least. I’ll leave the precise calculations up to you).

Fractals may seem so abstract and impractical but they actually have many useful real-world applications. For example, Benoit Mandelbrot (considered the “father of fractals”) found that stock market prices could be modeled with a factual curve. Check the wiki page for a long and diverse list of applications.

Fractal geometry may seem more abstract than traditional geometry but Mandelbrot argues that fractals are “the geometry of nature”. Objects in nature have random irregularities and are seemingly infinite in their intricacies. Attempting to incorporate this in drawings or animations is extremely difficult. Movie special effects and CGI often use fractals to make objects appear more natural looking. Since fractals can be made with mathematical formulae they are easy to generate with a computer. The first Star Wars movies were renowned for their special effects and were some of the first to use fractals to generate life-like explosions and landscapes of other worlds.

person: hey how are u

me: Dunkirk is an upcoming English-language war film written, co-produced and directed by Christopher Nolan. The film stars Fionn Whitehead, Tom Glynn-Carney, Jack Lowden, Harry Styles, Aneurin Barnard, James D'Arcy, Barry Keoghan, Kenneth Branagh, Cillian Murphy, Mark Rylance, and Tom Hardy. Set during World War II, it concerns the Dunkirk evacuation. Nolan wrote the script, told from three perspectives–the land, sea and air–to contain little dialogue and to create suspense solely through details. Filming began in May 2016 in Dunkirk, France, and ended in Los Angeles, United States, where it would also commence post-production. Cinematographer Hoyte van Hoytema shot the film on IMAX65 mm and 65 mm large format film stock. The film made extensive use of practical effects such as employing 6,000 extras, assembling ships that had actually participated in the real Dunkirk evacuation, and flying genuine era-appropriate planes into the air. Dunkirk is scheduled to be released on 21 July 2017 in IMAX. The film is a co-production between the Netherlands, the United Kingdom, France, and the United States.

person: wha-

me: Dunkirk is an upcoming English-language war film written, co-produced and directed by Christopher Nolan. The film stars Fionn Whitehead, Tom Glynn-Carney, Jack Lowden, Harry Styles, Aneurin Barnard, James D'Arcy, Barry Keoghan, Kenneth Branagh, Cillian Murphy, Mark Rylance, and Tom Hardy. Set during World War II, it concerns the Dunkirk evacuation. Nolan wrote the script, told from three perspectives–the land, sea and air–to contain little dialogue and to create suspense solely through details. Filming began in May 2016 in Dunkirk, France, and ended in Los Angeles, United States, where it would also commence post-production. Cinematographer Hoyte van Hoytema shot the film on IMAX65 mm and 65 mm large format film stock. The film made extensive use of practical effects such as employing 6,000 extras, assembling ships that had actually participated in the real Dunkirk evacuation, and flying genuine era-appropriate planes into the air. Dunkirk is scheduled to be released on 21 July 2017 in IMAX. The film is a co-production between the Netherlands, the United Kingdom, France, and the United States.

This is not an unsubstantiated insult, every radical feminist i’ve blocked in the last couple days has been under the age of twenty. I’m not saying that being young makes you any less valid but it does often limit your resources. None of these girls have ever been in college. None of these girls have lived in the real world. None of these girls had the chance to take a class about how social policies and beliefs effect the public or about feminism to understand it and understand why the type of feminism they’re projecting is widely hated by actual feminists because of it’s exclusive and abusive public. They haven’t had the experiences to back up their discrimination and you’re absolutely right I’m going to point it out.

anonymous asked:

sanvers + lost. (sorry these all somehow turned into the one word prompt things that some people ask for. i personally like seeing how the writer interprets the word and what they decide to make)

She’s pretty sure she’s dreaming, but dreaming has never felt quite this vivid.

And she’s had some pretty vivid nightmares since she joined the DEO.

The DEO! Why would… why would she be at home in Midvale? She’s on assignment, she…

“Morning babe!” Maggie greets her from the kitchen, six mugs set out for coffee as Kara bustles around behind her stirring up a mean pancake batter.

“Maggie, what – ”

“Good morning, honey.” A scruffy kiss lands on her cheek and Alex jumps, and then Alex sobs, and then Alex backs away quickly, quickly, quickly.

“Dad, you – no, Cadmus has you, you’re not – and Maggie’s not – no, no, Cadmus has you, I’m dreaming, or – is that my board?”

Her eyes land on the surfboard – propped up near the back door – she rode in her last competition before leaving for Stanford. The one she completely wiped out on. The one she’d tossed in a fit of rage, a fit of despair, a fit of not being worthy, of not being deserving, of not being good enough.

It’s clean and it’s sleek and it’s new-looking, and Eliza steps in from the backyard with a wide smile.

“Oh Alex, I’m so proud of you. My beautiful girl.”

Eliza steps forward and hugs her and kisses both her cheeks and Jeremiah beams and Maggie giggles with Kara as they try to smear each other’s noses with pancake batter.

“Mom, what – what’d I do?”

Eliza shrugs as she steps back from Alex’s befuddled arms. “You don’t have to do anything for me to be proud of you, Alexandra.”

Alex squints and Alex steps back again.

“No. No, this isn’t right, this isn’t… The DEO – J’onn needs me, I – ”

“The DEO? Alex, we haven’t been bothered by those damn soldiers since you created that serum to keep Kara safe from kryptonite, remember?”

Alex blinks and Maggie sidles up and kisses her slow, kisses her soft, kisses her passionate. “Mmm, my brilliant fiancée, being brilliant. And beautiful. As always.”

“Your… fiancée?” Alex blinks and Kara laughs.

“How early were you up to surf this morning, Alex? You even awake yet?”

“I… no… I…”

But Maggie’s lips are soft and Kara’s smile is warm and Jeremiah’s cologne is strong and Eliza’s pride is… genuine. Deep. Unconditional.

And the ringing in the back of her mind diminishes, the alarm bells in the pit of her stomach settle, the tension in her ready-to-fight muscles dispels.

Because in a half hour, J’onn and James and Winn and M’gann are streaming through the door, with champagne and with orange juice and with pie, because Sunday is for brunch and brunch is for family and family is whole and here and now.

Alex leans into Jeremiah as she laughs and Eliza strokes her hair and asks everyone if they’d ever seen such a perfect couple and Kara is popping champagne bottles with her powers and she’s kissing Alex’s cheek as she crosses past where she’s sitting with Maggie, who’s joking with James and M’gann, who’s sitting next to a skeptical-looking J’onn listening to an overenthusiastic pitch for some new computer whosawhatsit from Winn.

And by the end of the day, she forgets that there is something to worry about. Because this is her life. And her life is perfect.

She waves energetically from way out on the surf when she sees Maggie and Kara, weeks and weeks and lifetimes later, standing on the shore waiting for her, waving her in. She tosses up a hand and knows Kara will be able to see that she’s gesturing one, one more, one more wave.

And she catches it, and it’s perfect, and it’s beautiful, and she doesn’t risk swiveling her eyes toward Maggie, but she knows she’s impressed and she knows she’s turned on and she knows she’s in love, in love, in love.

She rides through the funnel of a wave until it crashes down, and she carries the board the rest of the way out to Maggie and Kara.

“Alex. You look happy,” Kara says, but she doesn’t sound like herself. Alex furrows her brow.

“Of course I’m happy, Kara, why wouldn’t I be happy?”

Kara and Maggie exchange a glance, and Alex’s frown deepens.

“What’s wrong with you two? Didn’t you see me ride that wave?”

“Yeah, it was great, babe, you were great – you’re always great – but Ally, baby, you – ”

“Alex, remember when I was under the effects of the Black Mercy?”

Alex stares between Kara and Maggie and Alex laughs.

“The what now?”

“Babe, I know this is going to be so hard. And I’m so sorry, but honey, it – Al, this world  you’re living in? It’s not the only world out there. It’s not the world you’re… you’re actually from.”

“What the hell, Maggie? What’re you talking about?”

“Alex, it’s me. It’s your sister, you have to trust me, trust us, it – this isn’t real. None of this, I’m sorry, none of it is real. What’s real is that right now, you’re hallucinating, you’re… you’re creating the perfect world, your perfect world, around yourself, but your real body… Alex, you’re dying, the Black Mercy will keep you here forever if you don’t come with us, and I  – ”

“Kara, what the hell? You’ve been here with me, you’ve been staying here with me, while Maggie and my apartment gets renovated in National City, you – ”

Kara pales and Maggie gulps, and Alex notices why the moment after they do.

Because suddenly Kara and Maggie aren’t the only Kara and Maggie on the beach.

Suddenly, the two women she’s been living with – the women in soft clothes and sunburnt skin – make the two women she’s been talking to, with their pale expressions and their wide eyes and the sidearm and badge on Maggie’s hip, stand out as imposters, as invaders, as fakes. As threats.

“What the hell – ”

“Ally, I’m so sorry, babe, but Kara’s right, you have to listen to her – ”

“Listen to her? Alex, who are these people? Why do they look like us? Should we call Clark? He can help us get rid of them, Alex.”

“Alex, babe, this isn’t you, this isn’t your life. This isn’t the life we’re building together – ”

“The life you’re building together? You might look like me, but I’m the one with the finger Danvers put a ring on – ”

“What the – Al, you wanna – ”

“Maggie, don’t let yourself get distracted, we need to – ”

“Right. Right right right. Al, I – no – ”

No, because the Black Mercy versions of Kara and Maggie are restraining them, now, are fighting them punch for punch, mirroring their moves and holding them down, Eliza and Jeremiah suddenly on the shore to oversee the brawl.

“Babe, this isn’t your dad. But I promise you, we’re gonna find him, Alex, I promise you but this – this isn’t how – ” She takes a punch to the gut from herself as Kara slams herself into the sand.

“Alex, you need to listen to Maggie – the real Maggie – and me, Alex, it’s me, I’m me, I’m your sister, I – I broke your hand the first time I tried a human handshake, and you crawled under the kitchen table with me the first time I got scared of the popcorn maker, and you needed stitches that time I pulled that girl out of that van, and you know why I’m telling you this?”

Kara is yelling, now, is pleading, because the other version of herself is holding her down, is holding her back, just as the other version of Maggie is holding Maggie down, is holding Maggie back.

“Because this world, Alex? This world doesn’t allow for that kind of pain, for any pain. And when I was trapped in my own world, you told me, Alex, you saved me – you told me that the world can’t always be about pain, but Alex, Maggie needs you, J’onn needs you.”

“Don’t listen to this imposter, Alexandra, she’s trying to corrupt your beautiful mind – ”

“Alex please, I need you. I have always needed you, more than I’ve ever needed anyone, anything. And the world needs you, Alex, Jeremiah needs you! He needs you to rescue him from Cadmus, and the world needs you to keep it safe, and I need my sister!”

Alex stares at the tears streaming down Kara’s face, at the blood streaming down Maggie’s. Her Kara’s. Her Maggie’s.

Hers. Because Jeremiah. Jeremiah needs her. J’onn. The world. Maggie.

And Kara. Kara, Kara, Kara.

Calloused hands take her by the arms, now, and it’s the last bit of convincing she needs, because Jeremiah would never hurt her, never, and this? This grip hurts.

“Alex, you don’t need to rescue me. You don’t need to rescue anyone. I’m here, Kara’s safe. All thanks to you, Alex. You can live your life here, with all of us, with the people who love you, not these… not these imposters.”

His grip on her arms hurts, and his words are soft, but his eyes are hard.

And Alex kisses his forehead anyway, because she knows. She knows it’s the last chance she’ll get in a long time.

But he lets her go, because he doesn’t understand. He doesn’t understand that she’s saying goodbye

“I will rescue you, Dad. I will. That’s a promise. And I’ll find a way to make you proud, Mom. Somehow.”

Jeremiah’s eyes glow and he leaps on her, then, to prevent her from reaching Kara, to prevent her from reaching Maggie. She hits the sand and her surfboard snaps against her ribs, and she screams, and Maggie struggles to free herself enough to reach for her hand, and Kara struggles to reach for her other, and Eliza yells and Jeremiah’s fist raises and the world goes black.

The world goes black until she opens her eyes, and she gasps, and she sits bolt upright.

And she sobs.

Kara and Maggie’s hands find her as J’onn grasps her thigh, and she lets her sister and her once-fiancée-now-girlfriend hold her, hold her, their tears mixing with hers on her face.

“I’m sorry, Ally,” Maggie whispers into her hair, and Alex moves back and shakes her head.

“No. Mags, babe, I… no, I – I was lost. I was lost, and you two found me. That’s… never apologize for that.”

She leans up and kisses Maggie’s lips and she leans back and pulls Kara into a bone-crushing hug.

“You’re my sister, Alex. I will never let you stay lost. Never.”

anonymous asked:

stuff like refusing to vote even when we're talking about weakening someone like trump who is a fucking proto-fascist is why people make fun of revolutionary leftists. live in the real world come on dude

i just thought the post was extremely corny and violently liberal, not that i’m simply opposed in all instances to electoral strategies (i’m actually not). we can talk about this stuff in more productive ways than simply jumping in with dems uncritically and pretending that it will somehow do much to help. trump is not some lone figure that is totally detached from the political scene of the world around him and he didn’t get elected by accident. to boil all of this down to a single Naughty Figure which could be effectively opposed by #theresistance of corporate democrats who generally follow suit in many ways is to just make a bigger mess of the whole thing. that’s what being realistic looks like, not just voting democrat forever to oppose The Bad Guys until some magical switch is hit and then we suddenly have socialism.

anonymous asked:

How realistic is rolling out of the way in fight scenes like you see in video games such as dark soul or witcher?

It’s not, for the same reason you don’t use it against human foes in The Witcher 3; the recovery time is too long, leaving the person doing the dodge vulnerable to follow up strikes. Something that is very easy for an attacker who is pressing their opponent.

It will also prove quickly exhausting. Ironically, one thing Dark Souls does very well is hammer home how tiring combat is. A character who goes in with a frenzied assault will tire themselves out quickly. Similarly, bouncing around like an acrobat will leave them exhausted and vulnerable.

I was going to say something about how stamina regenerates at an unreasonable rate in Dark Souls until I realized I was thinking of Dark Souls II′s stamina regeneration, which scaled with the character’s equip burden (a stat that tracked how heavy their gear was). (Incidentally, Bloodborne uses this same system even though equip burden is a hidden stat. I don’t think Dark Souls uses that, and I can’t remember if it was the case in Dark Souls III.) This isn’t a bad abstraction for the effect heavy gear can have on a fighter. In real combat, a heavily armored fighter will tire out, and potentially overheat, much faster than one in lighter gear.

It’s also worth remembering that with The Witcher 3, there’s actually two different dodges. The dodge roll which sends Geralt leaping out of the way, and a short range dodge with a fast recovery. It won’t get out of the way of a monster’s charge, but can be useful against human foes. These kinds of quick step evasions do have application in the real world. Being able to bounce out of reach of an opponent’s strike, and then come back in is a useful tactic, and usually worth the energy. Unfortunately, it also has some of the same issues as the dodge roll, an opponent who is pressing can continue to do so, forcing the defending combatant to continue falling back, but it can still prove useful in the right circumstances.

It’s probably worth mentioning, with The Witcher 3, CD Projekt Red was basing Geralt’s sword combat on a specific HEMA variant, and recording actual practitioners for the motion capture. It’s not one I’m familiar with, so I don’t know how authentic what you see in game is to the actual style. If, what you’ve seen there appeals to what you want for a character, I would strongly recommend taking a closer look at what the developers were pulling from, and looking around for any making of documentaries they produced.


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