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caretaker’s got a sweet new theme!

yes, it is in fact just a reskinned version of the nochocolate theme. now the blog should be much easier to navigate – and it looks much cooler, too!  

check out this cute little favicon:

the mobile version of the blog is still a work in progress, but once we make mobile-friendly versions of all the pages, computer users and mobile users should both be able to see everything just fine! 

if any links are broken or you find any strange issues with the theme, please feel free to send us an ask off anon explaining the problem so that we can reply privately. we’ll fix it as soon as we can! (we are currently aware that the logo is cut off for people with smaller resolutions and we will fix it in the near future.)



How Divine - Day 9

You can consider this to be a master post for divination.

While there is more nuance to many of these forms of divination, these nuances are things one must learn in practice. For now, these pages from my working grimoire will be a good foundation for you to build upon.

Please note, the hand and lines illustrating Chiromancy are my own. This means no Simian line is present, and a fourth Bracelet Line appears. This will not always be the case.

Irregular conjugation

Irregular conjugation occurs when words are not conjugated the usual way. 

*Examples are conjugated into present tense 아요/어요/해요

ㅂ irregular

If the last letter of the word stem is ㅂ, then the ㅂ is dropped and 우 or 오 is added if the conjugation/addition starts with a vowel, if it starts with a consonant then the ㅂ is left:

If the vowel before ㅂ is 오, you add 오
If it’s any other vowel before ㅂ you add 우

  • 아름답다 - To be beautiful 
    The the ㅂ is dropped and 우 is added making it 아름다우 then once conjugated to present tense it becomes 아름다워요
    (It becomes 아름다워요 instead of 아름다우어요 because of vowel contraction)
  •  귀엽다 - To be cute 
    ↳ 귀여워요 
  • 춥다 - To be cold (weather) 
    ↳ 추워요 
  • 돕다 - To help (final vowel is 오) 

This rule is mainly applied to adjectives, there are very few verbs ending in ㅂ that the rule is applied to.

ㅅ Irregular

If the last letter of the word stem is ㅅ, then the ㅅ is dropped when adding a vowel, if adding a consonant the ㅅ is left:

  • 붓다 - To pour, to swell
    The ㅅ is dropped making it 부, then once conjugated to present tense it becomes 부어요 
  • 낫다 - To heal/recover
    ↳ 나아요 
  • 짓다 - To build
    ↳ 지어요 

Note that if the word stem has ㅅ as the fourth consonant (e.g. 없다 - to not exist), the irregular does not apply 

Here are some common words this rule does not apply to:

  • 웃다 - to laugh
  • 벗다 - to take off clothes 
  • 씻다 - to wash

ㄷ irregular

If the last letter of the verb stem is ㄷ, the ㄷ is dropped and replaced with ㄹ when adding a conjugation/addition that begins with a vowel:

  • 듣다 - To listen 
    The ㄷ is replaced with ㄹ as the verb is being conjugated with 어요 which starts with a vowel, therefore becoming 들어요
  • 걷다 - To walk
    ↳ 걸어요

Note there is no ㄷ irregular adjectives 

ㅡ Irregular

If a word stem ends in ㅡ, when adding ~아/어 you can’t tell which one should be used (because which one you use if based on the final vowel) therefore when deciding which should be used you have to look at the vowel used in the second to last syllable:

  • 예쁘다 - To be pretty 
     Because it ends in ㅡ, you look at the syllable before to determine if you use 아 or 어. 예 is the second to last syllable so you use 어, therefore becoming 예뻐요
  • 바쁘다 - To be busy
    ↳ 바빠요

르 Irregular

If a word stem ends in 르 and ~아/어 is being added, ㄹ is added as the final consonant to the syllable that came before 르, and 르 changes to either 러 or 라  depending on if you are adding 어 or 아:

  • 다르다 - Different 
    ㄹ is added to the syllable coming before 르, so 다 becomes 달, then 라요 is added making it 달라요
  • 자르다 - To cut 
    ↳ 잘라요


Originally posted by zechs


Hi guys!! Sorry I haven’t posted in a while, school has been killing me this semester. I have a bunch of doodles that I want to clean up and post so idk hopefully those will be up soon!! Anyway, here are some sketches of my d&d character!


Originally posted by simondismydaddy

“Nurse!” “Nurse!” “Nurse!”

That’s how it was for you all day. No one cared to learn your name. You were simply a nurse to them and you had an obligation to tend to their needs. You liked your job but some days it was just so draining. Your shift seemed like it would never finish.

Keep reading



More examples of my work can be found here: X X X


Please send me an ask and I will give you my email
Send me an email titled “Commission” and fill out the following form 

Reference material: (Photos, sketches, drawings, screenshots, ect…)
Character description: (Personality, hair/eye color, age, gender, size, build, ect…)
Notes: (Poses, emotions, facial expressions, ect…) 

Please be as specific as possible! The more details provided, the easier and faster it will be for me! 

  • Additional charges may apply due to complexity (background, excessive detail work), some charges may be negotiable (just ask!)
  • I reserve the right to reject uncomfortable subject matter 
  • Half of the payment will be asked upfront before the sketch phase begins as a safety for the both of us. Afterwards, I will send you progress pics allowing for edits. Once the final image is complete, I will ask for the second half of the payment and send you the completed file 
  • Approximate delivery time: 1 week (longer or shorter depending on subject)
  • Paypal only 

If you have any further questions, please feel free to send me a message! 


Killing Strangers  - John Wick | Assassin Kylux AU

Eamon Hux is determined to prove that he is worthy of his father’s legacy. He takes on every high-profile and risky job he can, but Snoke’s protégé, Kylo Ren, is always one step ahead of him. Ren is sloppy, brutal, and apparently suicidal, and Hux is eager to put Ren in his place.  

by @huxplicit | Read now on AO3 

ALBUM REVIEW: Frank Ocean - Blond

As his visual album, Endless, dropped in dissonance to Channel Orange, fans scratched their heads, asking themselves, “Is this our Frank?” The angelic voice seemed to be directing his art away from the groovy, hip-hop timbre of the first album, toward a more cathartic R&B tonality. Three days later, what seemed to be a sonic transformation proved to be only an addition to Ocean’s skill set, when a second album broke through the surface. Blond was released on an independent label and is anything but a carbon copy of Endless. Stylistically, it’s more similar to Frank’s flair on Channel Orange, which brought him into the spotlight.

Blond’s first song, “Nikes,” begins with an organ-like synth and Ocean’s voice comes in a few octaves higher than normal. For me, the “little” voice appears as Ocean’s conscience and it wanders from heavier content, like police brutality and materialism, to more whimsical lines about little mermaids by the pool and b***** wanting Nike. The stream of consciousness is a more fluid approach that almost says, “These are my thoughts, but it’s just me.” Ocean does this to recognize himself as part of the movement, but reinforces his role as a storyteller who starts conversation. In times like today, being queer, Afro-American, and in the spotlight is difficult because people look to you to be the leader. Instead, Ocean chooses to provide his thoughts, but doesn’t lay them down as the law. The song tells the story of glittery fame, juxtaposing the realities behind that fame with an obvious distaste for materialism in our modern world. Three minutes into the song, the register drops and Ocean begins addressing the audience. The message remains similar, preaching to live in the moment (“living so that last night feels like a past life”) but tends toward personal experience as opposed to a comment on our world. Lyrics in the bridge lament having something special with someone that isn’t love, or what they have with someone else, but still is something meaningful, setting the tone for the next song and the content of the album as a whole.

“Ivy” chronicles “the start of nothing new” with an old lover and the problems that arise due to confusion of emotions and changes that happen with time spent away from that person. The manifestation of confusing emotions, as the feeling deep down is “still good,” but “it’s not the same,” is a motif carried throughout the album. There are a lot of songs out there about breakups and new love, but on this album, Frank does a marvelous job of telling the stories behind those imperfect, undefined relationships: the ones that aren’t right out of a fairytale. When I started this review, I asked many of my friends what their favorite songs on the album were, and I was confused when each person came at me with a different song. Usually, there is some sort of consensus, or a song that comes up a few times (probably the banger off of the album), but pretty much every song on the album got a shout out from my pals. This is most likely because each song talks about a very specific sort of relationship or situation, rather than finding a unique way to talk about the same cliché set of love stories. Channel Orange had a similar approach to discussing love, which is partially why I thought it was such innovative songwriting. This quality also contributes to the album’s ability to grow on you, because the complexity of the lyrics and the situations discussed takes a few listens to fully capture. There also may be a situation described that is too specific for someone to relate to currently, but they can come back to it in a year with greater sympathy. The reverb on the guitars is reminiscent of a slow-moving, California beach rock love song. By the end of the track, Ocean’s voice has been transformed via production to an aggressive, pseudo-robotic cry, as the anger and frustration in the lyrics grows. Then, cut music and just the echo of the last word, “dreaming,” resonates in the space left by the instruments. This is killer, as it generates the feeling of trying to grasp something that can really only be a dream, being left emptyhanded instead and the frustration that comes along with that.

“Pink + White” follows this song, setting the pace for the ebb and flow of the album. The triplet feel in the base line with the minimalistic piano counterpart creates a groove similar to that set by older songs like “Sweet Life,” which makes sense because both songs were produced by Pharrell. I am mentally taken to lazy walks that I like to take when the sun is setting in summertime because everything is brilliantly-colored and sits still for a moment before the craziness of the evening picks up. Frank paints a picture of the rosy haze surrounding experiencing a new kind of love, wherein instead of walking grounded, you waltz (¾ time) through the clouds. This is definitely one of those songs you should play for your s.o. when you’re lounging around in bed, with the shimmers of light coming through the shades of your window. The cloudscape is completed with the glittering voice of Beyoncé, the sunshine, who is also included on backing vocals.

Following, “Pink + White” is a female voice sample whose monologue sharply contrasts the lazy summer vibe of the previous track, warning whomever she is addressing to not use drugs and alcohol. Repetitively, the voice tells her audience to be themselves and continues preaching regarding typical temptations of a young adult. By the end of it, I was definitely thinking about my mom, and my feelings were validated when the voice signs off, “This is mom, Call me.” Ryan Ocean, Frank’s brother, later confirmed on Twitter that the sample was Auntie Rosie, who was also featured on the song “Not Just Money” from Channel Orange. A good family friend, the recording is an actual voicemail that one of Ocean’s friends received. The sample balances the copious drug references used in other songs and seamlessly introduces “Solo,” the next song. The primary instrument in “Solo” is an organ synth, thus the succession of tracks mimics a sermon followed by the church music, but of course, the lyrical content is far from the typical church experience. The track talks about being alone, getting high, and essentially coping with loneliness. Instead of the strong psalm of solitude one might expect from the title, Ocean’s melancholy melodies soar over the organ in a ballad, discussing the little things that are okay when you are alone; the heaven that exists within the hell that is separation.

“Skyline To” follows the night of ridin’ “Solo” with a story of summer love. Homoerotic musings brush the audience in Biblical references like, “Makin’ sweet love, takin’ time, ‘til god strikes us,” which I love. I love that he slips in his sexuality in such a normalized fashion, with pride, but just going on with his day-to-day life. This is how it should be. The song rolls through a druggy haze with a psychedelic synth accompaniment. Kendrick Lamar lends his vocals and none other than Tyler the Creator is the producer – guess it’s OFWGKTA for the win. The end result, tonally, is of a similar leaf to “Pink + White” with images of sun slipping through the window, turning into beams of moonlight. Finally, the mention of what no one wants to think about: the end of summer. Somehow, I don’t care that he made me think about starting school, though, because the melody and lyricism in this song slay me.

The whimsical voice of Frank’s conscience returns for the hook of “Self-Control” as he recalls a pool-side conversation, questioning whether he and the person he’s with and he can “make it shine.” The hook lets way to an acoustic guitar and Ocean croons, spilling his heart out over a past lover. This song digs into the stereotypical situation that starts over lust, but the flame within one of the people dies, causing disproportionate interest and eventually an end. Swedish rapper Yung Lean is featured on the chorus with Austin Feinstein of Slow Hollows, saying, “Keep a place for me, for me I’ll sleep between y'all, it’s nothing, It’s nothing, it’s nothing.” The repetition of “It’s nothing” mimics the repression of the other thoughts in one’s head; trying to play it cool. This lyric also pays a small amount of homage to Prince’s lyric “…I didn’t care…when he was there, sleeping in between the two of us” from “When U Were Mine,” which Frank covered on his last tour. The perspective is different because Prince talks about the person coming between he and his lover, whereas Frank wishes to be the one coming between his significant other and the person with whom they’re sleeping.

After pouring his heart out, Frank recounts a blind date he had in New York city, set up by one of his mutual friends, on the track “Good Guy.” This mini-track is cut from the same emotional cloth as “Self-Control;” Ocean ripples from emotionless hookup to emotionless hookup. It’s nice to know that even superstars have problems with finding someone who wants something real. Then, at the end of the song, there is a clip of two men in a car, talking about girls wrecking their hearts, but it cuts midline to my new cruisin’ anthem, “Nights.” It’s as if the Frank, whose feelings weren’t returned, hits that “snap out of it” wall, vibin’ onto a more up-tempo track.

Although “Nights” dissertates the hustle, it also references other parts of Ocean’s “everyday shit,” including the people he’s seeing on the side of his work. He reminisces on days where he had less money and worked night shifts. Manifested is the feeling of wanting to have someone there to come home to, but also being married to the grind and not being able to keep up something more serious. The cyclical thoughts build to waterfalls of notes echoing into a phone ringing, then silence. This felt like when I lie in bed at night and thoughts bounce around until finally I go to sleep, but in a tempo change that screams Frank Ocean. The change signals the entry into dreamland: deep bass kicks in and the mix feels like bubbles of rolling piano chords, slowly finding their way to the surface – perfect for a final verse about memories deeper in Ocean’s past. The hook returns over the same production, cessation echoing into a “Solo Reprise” by André 3000.

The halfway point in the album coincides with the tempo change so it makes sense that the reprise comes after, returning to themes from the beginning of the album. André’s rapid flow blew my mind the first time I heard the track, accompanied by just piano for most of the song. He bemoans police brutality and materialism, touching on his unhappiness with the music industry, asking at the end, “Was I working just way too hard?” Cut immediately to “Pretty Sweet,” which has an intro that’s anything but sweet. More of an auricular experiment, what starts as complete chaos and dissonance within the synth chords turns into less dissonant guitar, but there remains a lack of structure. Ocean’s flow is at times melodic, but the phrasing of the verse is syncopated and some lines remain unfinished. A chorus of children at the end turn the sonic trip into a shimmer of major chords, sunshine, and happiness: disharmony resolved.

The next voice on the album has much too thick of a French accent to be Frank Ocean, and that’s because it’s French DJ and producer SebastiAn. He actually “programmed” several of the tracks on Endless, including one of my favorites, “Rushes.” He spoke about Frank recording the story when they were just hanging out in an interview with Pitchfork, confirming the skit to be a true story. “Facebook Story” echoes previous mentions of technology bending what people consider to be reality, making them “crazy.” After all, the relationship ended when the DJ wouldn’t immediately accept an official request on Facebook when he was with the friend. A similar message rests in the lyrics of Wolfgang Tillman’s track, “Device Control,” that premiered at the beginning and end of the visual album: people are unable to live their reality without their technology intertwined.

Next is a cover of what originally was “(They Long To Be) Close to You” by The Carpenters. It truly sounds more similar to a live Talkbox cover of the Carpenters song done by Stevie Wonder due to the production of Ocean’s voice. A talkbox is one of the original tools used by musicians for vocal modification, so covering a cover, adding even more technology and production, is playing even further into the picture of virtual reality that Ocean continues to paint. It is a nice compliment to the last skit, as Ocean sings of longing to be close to an anonymous lover in this lyric collage cover.

Remember a year ago when A-Trak hinted that in a few weeks we would hear a song called “White Ferrari” that would be the best thing we would hear that year? Then how it really stunk when it didn’t come? Well, ladies and gents, here it is, THE “White Ferrari,” track 14 on the album. Lennon/McCartney are credited on this track for a similarity in lyrics to the song “Here, There, and Everywhere.” The tone is nostalgic, the content being an old relationship and the purity of the love he found. The melody stands strong in front of major synth chords that eventually change to guitar while still remaining predominantly low texture. The last lines of the outro are sung by James Blake until breaking through to the clarity of “Siegfried.”

“Seigfried” is obviously a break-up song, but it dives into the world of Ocean’s other life experiences and musings on the nature of his mind. He pays homage to Elliott Smith’s haunting song regarding substance abuse, “A Fond Farewell,” in saying a “fond farewell to a friend,” and through the lo-fi quality of the guitars. The repeated references to bravery make me think that the title refers to the warrior Siegfried (slightly different spelling) of Norse mythology who often symbolizes bravery, and his story ends in the perfect fairytale with a princess. Ocean believes that the suburban, settled life is not for him and that he’s not brave. Additionally, the warrior could be representative of Ocean’s ex-boyfriend, Willy Cartier, who looks similar to depictions of Siegfried with long, flowing locks and a “speckled face” that Ocean mentions in the first verse. There is also the possibility of the title instead referencing Siegfried Sassoon, a British poet and soldier, who is actually more similar to Ocean in his bisexual experiences. Sassoon also had a romance with Wilfred Owen, who fell madly in love with him, but the love was not returned. The conclusion of thought is that Frank Ocean would do anything for whomever he’s talking to, in a desperate final cry for the lost relationship.

“Godspeed” has a fitting ecclesiastic organ accompaniment and Kim Burrell, who many consider to be one of the greatest gospel singers of all time, sings the outro. The song matches titles with a story that Frank wrote in the Boys Don’t Cry magazine, and I think that the following quote he shared with fans speaks for itself:

It’s basically a reimagined part of my boyhood. Boys do cry, but I don’t think I shed a tear for a good chunk of my teenage years. It’s surprisingly my favorite part of life so far. Surprising, to me, because the current phase is what I was asking the cosmos for when I was a kid. Maybe that part had its rough stretches too, but in my rearview mirror it’s getting small enough to convince myself it was all good. And really though… It’s still all good.”

He shared this as a note, reminiscing about the making of the album in two Tumblr posts that you can read here. The note containing the quote is shared in the form of a collage with an image of a gold BMW. “Futuara Free,” the final song on the album, has a title reference to Stanely Kubrick’s favorite typeface and is divided into two parts by a silent interlude. If you thought there was a problem with the audio, you better go back and listen again. The beautiful melody recounts all of Ocean’s accomplishments and from where he came. The verse moves in a stream of consciousness, free-falling through pop culture references and lamenting the stress that comes with being famous. The second part, post silence, is a clip of an interview with Illegal Civilization, a skater gang that hangs with Odd Future in LA. The interview was conducted by Ryan Breaux, Ocean’s brother, years ago and includes silly interview questions, lots of background noise and interview clips with Mikey Alfred, Sage Elsesser and Na-kel Smith. The video ends the album, fading into a lighthearted rosy haze, in the hands of the youth. It also works well with the large amounts of sampling and collaboration that Ocean uses on the album, truly showcasing that an artist pulls influence from everywhere.

Overall, it was worth the wait. Each track stands as artwork and they are sewn together with the motion of the Ocean, into a masterpiece.

-Erin Jones

The VRAINS parallel universe?

Okay, this image right here-

-just screams to me as important. Her words, the strings that come from her fingers…I know the art is different because of a new art director but the words she says in that image seem like MAJOR foreshadowing.

Like, Ema doesn’t really seem to be an outside person who knows a lot more than anyone else does but that sentence right there - “The circuit that connects to the unknown parallel universe” - is that not at all just the tiniest bit shady?

I’d like to point out something Shoichi mentioned back in episode one (in reference to the Data Storms):

…Okay, already, that sounds suspicious. Ema mentions a parallel universe in passing as she summons the Link circuit. Shoichi mentions a “brand new world” in the very beginning in the reference to the Data Storms that appear with monsters in the winds.

Is it possible that there’s something we’re missing here? Is this world the Cyverse? If so, what is the Cyverse? Is it a world parallel both to Earth and the VRAINS? Is it a part of the VRAINS world or is it some place new?

Like, the fact that this point has been brought up two times in near repetition (and if it’s brought up a third time in passing that might mean it’s an actual thing for almost certainty considering this show’s obsession with the number 3) does this mean this world of sorts has high amounts of relevance to the plot? Is this where, maybe, Yusaku and the rest came from? Is this part of what SOL is hiding?

What’s more - why do two of the main adults in this show seem to mention it in passing and yet not seem to have any relation to it? Ema and Shoichi have both mentioned something akin to an alternate world…is it possible Akira and Dr. Kogami and Go’s butler might hint to something like that too? What’s more, episode 14 seems to cement that Ghost Girl/Ema doesn’t know of Shoichi and vice versa and…yet…they seem to be aware of each other and willing to help the other out (like how Ema gave Shoichi access to the camera and waved at him? But, now that I think about it…was she waving at Akira or Shoichi…? She doesn’t seem to ever recognize being watched by anyone other than Akira through her own cameras’ lenses…)

I brought it up in my People of the Data Storm theory before but I really do think the adults (or, at the very least, Akira, Ema and Shoichi) are connected in some way. How or why, I’m not sure I can say anymore but…it’s interesting to note how two of them already share a similar ‘hidden message’ of sorts in common…

Figure Skating and the Media

I’d like to build on @chibura​​‘s notes after Cup of Russia, which I shared the other day, and which I’d highly recommend you to go through if you have the time. My favorite part is her take on the media, which is as scathing as it is fair, and makes for an enlightening read. 

I am not trying to justify the media’s questionable practices, far from it. However, I want to point out that in this day and age, when the impact of an article is measured less by its ability to inform and more by the number of clicks it attracts, it should be to nobody’s surprise that sensationalism dictates a large part of the media’s modus operandi. The same is true for all kinds of sport journalism (if you can still call that journalism), but is even more prevalent in coverage of figure skating, a sport whose judging system is frequently viewed as esoteric, whose chance to be in the spotlight of public interest comes only once every 4 years, both of which factors serve to render it, at best, exotic, and at worst, incomprehensible and therefore uninteresting. 

It is no secret that skating, for all the rise in popularity it enjoys in the East, has gradually lost its traction in the Western world. There are many different ways one could take to revitalize interest in skating among the North American and European audience. It just so happens that among those, sensationalism is the fastest and overtly most effective, at least in the short term. It’s too much work to educate the public on the technical requirements and too highbrow to discuss the artistry. Perception of esoteric, remember? We don’t want to perpetuate that. Now the drama, the rivalry, the glory of the title Olympians, the honor that comes only once in a lifetime, the nationalistic pride, in short, the narratives, those are much easier to, yes, narrated, and, if need be, conjured up on demand.    

Moreover, from the media’s perspective, we are, as of today, already in the short term. The Winter Olympics is barely half a year away and that sets a definite deadline for them to rack up points for figure skating in the mass’ popularity index, that which would eventually transform into the oh-so-precious increase in viewership of TV broadcasts. The media might even manage to trick itself into thinking that it is doing good for skating. After all, what harm can come from attracting more viewers to the sport? The end justifies the means, right? Sure, once the Olympics is over, the adrenaline spent and the temporary curiosity satisfied, figure skating will recede once again to its obscure spot, but that would be somebody else’s problem. It is also easy, in between Olympic cycles, to pen heartfelt pieces lamenting the decline of a once beloved sport and berating the ISU for its inefficiency. It is even easier to find another non-mainstream sport to push into the spotlight. Look, isn’t that Tokyo 2020 rounding the corner? 

So, for this entire skating season, do please brace yourself for a barrage of historical trends being misinterpreted, statistics being misrepresented, rivalry being forged from the most tenuous of contexts, controversy being made up and then dramatized and then blown out of proportion, kings and queens and rising stars and has-beens being crowned and then denounced and then crowned again just as quickly after each competition. I have lived through Torino, Vancouver, Sochi, and I can tell you the exact same cards have been laid down in the past, are being picked up this year, and will be played again 4 years later. The only significant difference between now and Torino is in the speed at which (mis)information is being created and disseminated, and together with it, an ever-increasing pressure on journalists to strive for the latest updates, the hottest news, the most scandalous stories, and a corresponding deterioration in their sense of responsibility and their ability to care. Not all journalists are like that, but their reaches are being overshadowed by those who are.

So, for this entire skating season, as fellow skating fans, may I be so bold as to invite you to, together with me, look at everything the media reports with a grain of salt, to be more cautious with what we are being led to believe, and to try our best in discerning fact from alternative facts? 

I should also point out, however, that the media cannot be blamed for everything. They are for profit organizations, and their promotional strategy for figure skating, from a business point of view, is legitimized by the fact that there are not a small number of people out there who watch this sport for the stories and who are thrilled not by the jumps and spins and steps themselves but by the associative heroics and the dramatic undercurrents. I was pointed by @the50-person, the other day, to a post where the blogger essentially say that they don’t want to see Yuzuru Hanyu winning, through no fault of his own, but rather because him winning is boring and does not fit their preferred narrative (the original post has since been deleted, but as we all know, The ‘Net Remembers). 

If you happen to be one of those people, well, listen, may I politely suggest the possibility that watching real life sports is not the most suitable form of entertainment for you? I’d think what you are searching for is no sporting action, but a story with a sport background. Think about it and let me know if I am not wrong, and then message me, if you want, I’d be most happy to recommend you works of fiction in any form you prefer (books, TV shows, movies, manga, anime) which cater exactly to your entertainment appetite. If you are partial to a certain type of plot, say for example one where the underdog miraculously prevails against a challenging opponent, I can also point you to specific titles containing such story line. In return, I ask only that you say this out loud and then keep it in mind: real athletes are NOT fictional characters. See, it’s not that difficult, isn’t it, to stay sane, rational, and disentangle fantasy from reality?  

I’d like to make one final point, and I should warn you that this will appear entirely counter-intuitive: please, if you have the means, contribute financially to your sporting news outlet of choice, preferably a primary source. To echo John Oliver from one of my favorite Last Week Tonight episodes, the less we are willing to pay for the work of journalists, the more their business has to rely on ads revenue to survive, the more callous they have to be in generating contents whose sole aim is to attract the most number of views, which lowers the quality and in turn makes us even less willing to pay. It’s a vicious, toxic cycle which would not stop unless we consciously make the choice to break away.    

*please visualize an adequate apology for ranting and long post here because I have run out of them*

P.S. This week my updates will be sporadic and I’m not going to be very responsive to asks and messages *visualize another apology here please* because I’m rather tied up with selling my soul to capitalism (an activity more commonly known as working).

Teeny Titans v1.0.3 Update

Thank you to all our wonderful players for your support, as well as your patience as we’ve worked through resolving various bugs and issues.  Also thanks to our wonderful QA team at CN for all their hard work in helping us get these updates out!

If you continue to experience any problems with this update, please contact us at and we will be happy to assist.  Build notes follow:



- Opponents are now smarter about using the “Nuh Uh!” ability and also use it less often

- Robotic Brother Blood has been somewhat reworked, because he just wasn’t playing fair

- Figures that have an attack as the first ability on their bar have had these abilities scooted over slightly, to reduce how frequently/quickly they can be spammed.  We will be continuing to look into balancing and adjusting these figures

- Some gold box figures have received damage output increases, including figure #56 and #68.  Three-part attacks (like “Mighty Punch” and “Soopah Laser”) and several third-slot attacks have also been buffed

- Made slight stat and ability value tweaks across the board to many figs

- The final three tournaments have received small increases to overall difficulty

- The Flash Sale Game has been re-balanced (now a little easier to get 10 tickets)

- Lady Legasus now uses several new leg-related VO lines during battle

- Dad Nightwing repainted his son’s beatbox.  What a great dad!


- Fixed an issue where players could get their movement stuck at the Giant Mysterious Clam if using Tap-to-Move (swipes were still working)

- Fixed various issues that would prevent some players from completing or accessing certain side missions, including missions for the following characters: Starfire, Beast Boy, Cyborg, Raven, Gizmo, Guy In Line.  All side quests in the game should now be working properly.

- Fixed an issue that was preventing the city NPC “Stephen” from giving out his “Totally Tech” side quest.  This quest is available after completing the Shady Tournament.  (btw: nice hoodie!)

- Fixed various crash issues, and also implemented additional save state protection to prevent possibility of corrupted save data

- Fixed a bug that was preventing some players from visiting the Secret Island

- The same NPC can no longer appear in two different spots in the city at the same time

- Fixed localization bugs that were causing some labels to show incorrectly, including the wrong mission text sometimes being displayed (especially after you completed the last story mission), or some upgrade values incorrectly showing as {0}

- The “new figure discovered” text should no longer show when opening Riddler Boxes for figs that you had already previously discovered

- Fixed various other bugs and reported issues