awesomeness at the same time!

~The Loud Green haired Irish Man and The Very Chill American dude~

i didn’t forget about jack’s tattoo this time. nailed it. 

anyways, the idea to draw this fanart just popped out of my head, ‘cuz i just wanna know what would it feels like when this guys play and recorded a game together (just the two of em btw)… i think it would be a disaster and awesome at the same time..

jack can barely hear cry’s voice, and RIP Cry’s ear lol

anyways enjoy!

my other blog >>FloatingMegane-san

honestly tho Tsukishima is so fucking #extra when it comes to Hinata???

Tsukki: *does something Good*

Tsukki: *immediately side-eyes Hinata as if saying “I did awesome too”*

this reminded me of That One Panel:

“I’m really good at these Muggle games,” Draco says as he (cheats) sorts through the black deck to find a new card. “Here we go: ‘Blank. That’s how I want to die.’ — Harry Potter. Well, maybe not want, more like how I’m likely to die.”

Harry’s face heats up with anger. He has a few choice options (because really, there are loads of awesome ways to die) but he decides on ‘Three dicks at the same time.’

anonymous asked:

First of all, awesome blog. Anyway my character was attacked by two men at the same time. she doesnt have any weapon with her while the men use a machine gun. there are few hiding spots for her to take cover, but i dont know the best way to disarm them

I don’t say this often, but she’s fucked. If you’re wanting to take the aggressive way out, and she will die in the attempt. There are ways to get a character out of a situation like this, but with the scenario you’re presenting, violence is not one of them.

Training is not the power to overcome all fights through superlative skill; it’s the ability to know there are some fights you cannot win, and assess the best way to avoid those in the first place, or escape, if it comes to that. 2v1 is already horrifically difficult. Giving them guns makes this (basically) unwinnable.

You’re not specifying what kind of weapons they’re using, and this is probably kind of important to know for your own purposes.

Machine gun can refer to (nearly) any automatic firearm. You pull the trigger, and it will continue firing until you release it, the ammunition is spent, or the weapon malfunctions (which is fairly rare in most cases).

This can range from fully automatic pistols, up through heavy weapons you’d mount on a vehicle. You’re probably thinking of assault rifles or submachine guns, since they’re easily portable. SMGs are chambered to fire pistol rounds, while assault rifles are simply, fully automatic rifles (using lighter rifle rounds).

Usually the term is used to refer to heavier automatic weapons, designed to suppress enemy movement and make returning fire more difficult. The entire idea is you put a lot of flying lead, and the threat of more following it, in the general vicinity of your foes, and they cannot move or return fire without being reduced to goulash.

Thing is, that basic strategy does apply to nearly all fully automatic weapons. The only difference is how much ammunition they can draw on, how far it can fire, and how gleefully it can tear apart concealment (we’ll come back to this in a second).

Put another way, the entire point of this weapon is to force enemies to stay in cover and not move, while the rest of your forces to better positions, so they can take them out.

If they stick anything out of cover, your machine gunner is waiting to blow it off. To a lesser extent, this is how all gunfights work. If you’re not shooting someone directly, you’re trying to keep their head down, so you, or your allies, can get into a better position to kill them.

Getting caught outside of cover against a competent gunner is a death sentence. They’re in position, they’re waiting, out you come, down you go.

For an unarmed character, there is no counter. Keep to cover, keep moving and get away, are the only real options, but with almost nowhere to take cover, that option’s gone.

It gets worse. Concealment is not cover. Cover is something that will protect you from incoming fire. Concealment is something that will hide you from the enemy. What this means is, TV, movies, and video games have lied to you. Bullets will easily punch through many objects. Including furniture, walls, ceilings, floors, cars, self-sacrificial idiots leaping into the path of the bullet. Taking cover behind a wooden shipping crate will only protect you if the stuff inside that crate is solid enough to stop a bullet. Ducking behind a wall, unless that wall is made out of concrete, won’t do much.

And, that’s not even an answer to your question. Gun disarms will get you shot. I’m going to keep saying this. Under the best circumstances, with excellent training, gun disarms are incredibly dangerous to the practitioner. You use them because they were going to kill you anyway, and you didn’t have another option.

Even when you’re dealing with handgun disarms, it’s incredibly easy to take a bullet mid-disarm, particularly if the shooter is using a stance the martial artist isn’t prepared for. Rifle disarms are a nightmare to pull off.

Stuntmen can make them look really cool, and when you’ve got two people cooperating disarms can be very fun to watch. But, that’s entertainment, actually trying to execute disarms in the field is for the supremely foolish and those who were already two seconds away from death.

So, back to the beginning, how does your character get out of a situation like this? Not getting into it in the first place is a good option. Making sure they have an escape plan is a second.

If your character gets a phone call to take them out to some abandoned warehouse, or construction site, or farm in upstate New York… maybe they shouldn’t go. Or at least not alone. There are rare situations where a character would have a legitimate reason to walk into a trap like that, but under normal circumstances, situations like that demand your characters come up with ways that mitigate the risk.

There’s a real habit of having characters doing stupid things because the power of plot compels them. At some point, the justifications like, “if you bring anyone with you; the kid dies,” got lost, and we’re left with characters walking into very bad situations.

Even if, “the kid dies,” that doesn’t mean your character should be following instructions, or plunging into dangerous situations without setting up contingencies.

At this point it’s worth considering, with hostages, if the villain is planning to kill your character, then that’s all they need the hostage for, and once you’re character’s down they’re going to be next. On reflection, that’s not a really great reason to be following the rules, is it?

Having a contingency plan doesn’t mean bringing buddies or gearing up. Sometimes it means finding ways to exploit the restrictions placed on your character. Armed attackers planning to murder you? Find a crowd. A couple mooks might be willing to take their chances gunning you down in an alley, but are they really going to risk opening up in a crowded bar?

Even if your character does need to go into someplace they really shouldn’t. They need to have an escape plan, if things go wrong. That could be as simple as making sure they have a way out of the building they’re in, or it could be more complex, such as having allies who will come in if the situation goes wrong. In a situation like this, it might be as simple as remaining undetected until she can escape.

Regardless, saving a character from a situation like this, usually means not getting into it in the first place. I understand it, you have characters that need to go someplace for the story to progress. That’s fine. But, your characters do need to plan ahead, and assess their situation to the best of their ability.

Someone or something told those guys to drop by. Maybe there were there ahead of time, in which case she needed to know where they were, and keep track of them before going in. Maybe she tripped an alarm, and they got called in behind her, so now she needs to find a way out, without them actually spotting and killing her. Maybe someone called them in to kill her, in which case, again, she needs to avoid detection and get away.

Ideally you need a way for them to overcome their foes. Note, “overcome,” not, “defeat.” In a situation like this, the best solution to overcome a hit squad sent after your character is going to be to escape, not to fight them head on and die. Find an opening, make an escape. Don’t get tied up in hand to hand with someone using an automatic rifle, only for his buddy to drill your hero.


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a Papyrus expression photoset for all your Papyrus needs (?)

nothing of this is mine, this photoset was made from the awesome webcomic Insomnia, by the hand of the incredibly talented @wilyart

seriously tho, go read it


You're right behind me as before

Going off from this awesome meta by @isaksbestpillow that Even wore the exact same outfit from the first time they hung out in ep 2 when they reunited in ep 7, redoing that first Friday with one thing changed drastically for a different result (the sudden introduction of Sonja clipping what was starting and ending their night vs Even showing up in response to Isak’s ultimatum about Sonja and the night being their new start): 

I just wanted to point out that this is the same scene where Isak is very notably repeating an outfit too:

He’s wearing the same flannel as when he was sitting around with the boys two weeks ago, completely down because Even had texted him that they’d moved too fast and he needed time. That day, he couldn’t say anything to his friends about why he felt like crap, he couldn’t explain what had happened with Emma so wound up being cajoled into going to the party. Which was where he was completely devastated, the rift with Even suddenly widened, and he got into a fight with his friends. 

So, this day is a revenge for Isak too but what he’s cast off is the distance from his friends: once again, they’re sitting around talking shit but he isn’t paying attention. They see he’s down, Jonas asks what’s up and he gets to be completely honest that it’s because Even didn’t text him back but left him this drawing and he still doesn’t know what’s been going on between them since he has a girlfriend. And this time, they’re there to help him with his problems and like magic, Even appears on his doorstep a minute and a half later.

To add an extra touch to the idea that this night is a chance coming back around for them, a chance for them to redo things and get them right this time, there’s something quite cyclical about the lyrics in the background:

Watch my back so I make sure
You’re right behind me as before
Yesterday, the night before, tomorrow

Dry my eyes so you won’t know
Dry my eyes so I won’t show
I know you’re right behind me

And don’t you let me go, let me go, tonight
Don’t you let me go, let me go, tonight
Don’t you let me go, let me go, tonight

Creating Cool Villains - Fey

Hey there!

Now that our 3rd community made book of villains, the lexicon of spellcasters, is finally done, it’s time to take a look at some more famous icons in the lands and many worlds and planes of the D&D universe…

And this time, we’re going to travel across the planes to the Feywild!

The land of elves and more…!

And we all know that, at some point, your party will travel to this forest-filled world of animals, to search for their next bad guy or girl to take down…

So this post is filled with ideas on creating awesome fey and archfey as villains for you!

So without further interruption, here are a few tips and examples of using the Feywild and using fey and archfey in your campaign.

Keep reading

This guy is beyond his boiling point.

Also, boring life update: I got a new job and it’s awesome but at the same time I’m wasting a shit ton of time traveling to the office and back. Which means I will draw even less during the week, if at all, or the quality will be even lower when not downright unfinished. I can’t stand working on a piece for too many days.

I just got home from my last night of classes

I go back and forth about whether I would want to try it [flatline] or not. I’m curious about what the experience would be like. What I would see and how it would affect me and how it would change me. But at the same time, I have a pretty awesome life and I’m pretty grateful for everything that I have and I don’t know if I would want to risk it. It’s a risk and a gamble and to be honest I’m not a big gambler. I don’t know why I would gamble with my life when I won’t even do it with money.