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anonymous asked:

Today I heard Adele revealed she has a secret Twitter account because her management has complete control of her official account and I still can't believe people hear stories like hers and reduce us "jealous tinhats" for believing the boys don't have access to their accounts. It also brought back memories of niazkilam Zayn's secret insta and how he didn't follow his "fiancé" or post about her unlike his official twitter. And Now I'm wondering if the boys have secret accounts as well 🤔

LOL - She sure does, nonnie! +

(See that, salty anons? Her management TOOK AWAY her access to HER OWN official account! And it’s fucking ADELE!!! One of the biggest stars on the planet!)

It’s good old-fashioned naiveté to think that huge celebs like the 1d boys are completely in charge of their social media. It’s a well known fact that social media managers exist and that celebrities’ official accounts are used by their management as a tool to craft their image, for fan service, for promo and to push whatever narrative helps in those efforts. This is why anything that comes from their SM should be taken with a grain of salt. 

I’m absolutely convinced all the boys have secret accounts across several social media platforms. Why wouldn’t they, right? They can engage and monitor the fandom unfiltered and without fear of reprisals while their teams manage (or mismanage) their official accounts for them. 

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I never had to do anything specific to craft my “image.” I wanted people to know that I was a goofball, that I didn’t take myself too seriously, and that I love what I do. On my Twitter and Instagram, whenever I can, I try and show myself. I’m not trying to be an Instagram model.

Dungeon Crafting: Puzzle Dungeons

image source: Legend of Zelda: Oracle of Ages

Now, I don’t know if you people have seen Mark Brown’s miniseries on YouTube known as Boss Keys, but it’s pretty great. It picks apart and analyzes some of my favorite dungeons from the Legend of Zelda games and finds out what makes a dungeon a Zelda dungeon. I have always loved these dungeons because they have a lot of density and force you to explore the space slowly and think your way through its puzzles. Definitely check out Boss Keys. From what I learned from those videos plus my own experiences as a DM, I’m going to try and detail how to create a Zelda-like puzzle dungeon. There are a few hallmarks that you should hit on:

Dungeon Density

Each area in the dungeon should be complex. It should have several things to interact with in each room other than the monsters or guardians. Everything doesn’t have to be immediately useful or usable, but it should provide context for the dungeon. For ideas, think what the dungeon was used for and research what sorts of things might be in an ancient tomb, lost temple, or forgotten keep. Have certain puzzle elements stand out. A good example from the Legend of Zelda is the eyeball above a closed door. I would stray away from that type of “puzzle” as it’s very well-known, I assume, that you have to hit the eye to open the door. On the other hand, a well-known puzzle like that could signal to the players that this is going to be one of “those” dungeons.

Making a dungeon complex and dense will mean that you have less rooms to populate, and will make it feel robust and well-used. It will also give a feeling of slight confusion for the players as they try to organize all of the information you’re giving them, but as the dungeon progresses, they can pick and choose which parts of the dense dungeon are integral to solving the dungeon!

Hub Areas

With all of that dungeon density I’ve been talking about, it’s good to have some sort of hub area. It could be a large room, a safe sanctuary, or have some overbearing landmark for players to imprint on. This will be the main part of the dungeon that they remember and can rely on. They will pay the most attention to this hub. So if this hub is a main part of solving your dungeon puzzle, they will notice changes made to the room very easily. For instance, a hub room could be a gaping chasm with bridges that seem to be mechanical. When certain levers in other parts of the dungeon are pulled, some pathways in the hub open up and some close off as the bridges ascend, descend, or turn. Back in my post about dungeon tempo, this creates a nice rhythm for players to always come back to a room that they’ve cleared and notice progress.

Branching Paths

Branching paths are a key part of puzzle dungeons. Don’t have a dungeon that is all one path that railroads players to the end of the dungeon with a puzzle for each room. Players need to be able to explore and discover the available paths in the dungeon and find the path for themselves. In the Boss Keys miniseries I mentioned, Mark constantly differs Legend of Zelda dungeons by whether they make you find a path versus making you follow a path. I personally enjoy finding the path and I think most players do too. It is key in creating what are known as…

A-Ha Moments

An a-ha moment is not that feeling you get when listening to Take On Me, but it’s pretty close. It’s that feeling a player gets when they figure out a puzzle by suddenly putting two and two together. There are a few aspects to create this in dungeon and level design:

  • Foreshadowing: implying that one part of the dungeon must be revisited later or implying something further in the dungeon exists. Laying this groundwork puts thoughts in players’ heads to help them markedly acknowledge that it’s okay to leave this area, because something lies ahead.
  • State Changes: the environment of the dungeon or its parts changes based on the actions of the players. This is the “puzzle” part of the a-ha moment. Pressing a button to change gravity, move a pylon, or change water levels can would count as a state change. Even acquiring a key item that can affect the dungeon or the players’ movement would count (see Link’s Pegasus Boots, Hover Boots, Silver Gauntlets, etc.)
  • Backtracking: After the state change, the dungeon has shifted. Some areas that were once inaccessible can now be accessed, and areas that were once open have closed off. This forces the players to backtrack. Where do they backtrack to? The place that foreshadowed the backtracking.

How does this look in practice? Let’s make an example:

The players enter a dungeon and quickly make it to a hub area with four doors. three of the doors have a bridge extending from it to a central platform. The platform and bridges are 100 ft. above a pit of spikes, which are very satisfying to kick the kobolds in this room onto. Once players tire themselves of punting kobolds, they notice that the central platform has a large plinth with a stationary mirror set into it. The mirror is facing one of the directions of the bridges. The mirror can’t be easily moved without tools, and it has no apparent use yet. The players move on to one of the doors connected by the bridge.

The players go through several chambers, fighting monsters and avoiding traps, when they find a room with a lever in it. When pulled, they hear a low rumbling and grinding of stone elsewhere in the dungeon. When they return to the hub room, the central platform and bridges have rotated, allowing passage to the door that didn’t have a bridge leading to it before.

Down this new route, the players find a stone button with an angel relief on it. After pushing a huge rock onto it, they hear another rumbling. On returning to the hub room, an angel relief is now visible on the wall as a stone slab has moved away to reveal it.

The yet unexplored room is still accessible by the bridge, and after exploring down that path, the players find a crank near a gilded relief of a sun. The crank opens up a sunroof in the hub area. The sun (if daytime) shines light onto the central mirror in that room, which then reflects it out in one direction. The only problem is, the beam of light from the mirror isn’t facing the way the PCs want (towards the revealed angel relief in the hub area).

Realizing that they need to point the mirror so the light shines on the angel relief, they must backtrack to the room with the lever that rotates the bridges and mirror until the mirror is oriented the way they want.


This example has density. It’s essentially four rooms with all the things they need to solve a puzzle in the hub area (the central room with the bridges). It could use more density though with more puzzle intertwined throughout some filler rooms or with more things to do in each room; I was light on description for the purpose of the example. It has three branching paths (four if you include where they entered from). The mirror foreshadows a light puzzle, and the sun icon foreshadows the opening of the sunroof. The bridges, angel relief, and sunroof all exist in the hub area and change states based on the players’ actions in the rest of the dungeon. Players have to backtrack to the room that changes the bridge orientation so they can rotate the mirror to face the right direction. This is a fairly simple puzzle, but in the context of a session of D&D where the story less shown and more told, it can prove more difficult. Keep all of these factors in mind when making a puzzle dungeon, and don’t forget to watch Boss Keys!

Its always all about the dollars. This is show business. Nothing is real, every story serves a purpose. Every thing is to craft an image. You can try and be as honest as you like, but it is what it is. And I don’t think it’ll change. Pre-album promo was for the pre-existing fans. We already bought out the tour and bought literally 4-5 copies each of the album.

Now the promo is for another audience. And it serves a purpose. He’s the rock and roll star. The next legend and icon with an ambiguous sexuality. They’re crafting him on legends, right down to the fact that you can identify legendary songs on each of his album tracks.

anonymous asked:

the selection of photos steve's team chose to put up is a mix of professionalism, genuine friendship, and teamwork. they are all carefully selected. and then you have all the other pictures of louis portraying louis as lazy and a mess. both crafted images and only one is what a PR team should be doing.

I know, it’s so sickening and frustrating for us, imagine for Louis and people who actually care about his career and image. That’s why I am glad at least Steve’s team is around.

This isn’t the first time that the scientist has made such claims, but he warns that the situation now is “critical” with living alien and spaceships in our solar system “proliferating” faster than ever.

Dr. Norman Bergrun, a distinguished scientists at NASA’s Ames Research Center is once again making headlines for his argument that extraterrestrial life exists within the earth’s solar system arguing that UFOs that were first spotted in Saturn’s rings (see above) are now also being found at other planets that have rings including Uranus and Jupiter.

“What I found out is, these things inhabit Saturn, that’s where I first discovered them. You can also find them around Uranus and Jupiter. Wherever you see some rings, that’s where I see the aircrafts, I call them a ring maker,” explained Dr, Bergrun.

The scientists argues that the some of the footage near the rings shows “exhaust” emanating from alien aircraft and he warned that things are getting “critical” in deep space as these space ships continue to proliferate throughout the solar system. He explained that it is his opinion that the aliens are “nursing from the rings” garnering energy that is being used to allow them to proliferate and to power their craft. Above are nasa images of saturn

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Ekamukhaliñga – One-faced Liñga

Chloritic schist, Eastern India, Bihar

Pala Era late 7th or early 8th Century CE

The sanctum sanctorum or garbha-gṛha of a Hindu temple dedicated to Lord Śiva Mahādeva would have installed the Śiva-Liñga. The Śiva-Liñga is sometimes encased in a metallic mask that is crafted in the image of Lord Śiva’s face, in early medieval India, the Liñga itself sometimes had a stone face (mukha) sculpted on to it thereby becoming a mukhaliñga. The Liñga could have a single or at times four faces sculpted on to it.

Cleveland Museum of Art

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From @nicoleaquillano - Applying the underglaze and wiping away…same custom home platter from last night!

#potterymaking #pottery #ceramics #wip #handmade #art #craft #platter #underglaze #glaze #decorating #decoration #line #drawing #image #cerámica #cerâmica #poterie #céramique #ceramica #керамика #кераміка #seramikler #keraamika #kulolchilik #seramik

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anonymous asked:

are the words in your grimoire drawn or edited on?

If you mean the grimoire-styled infographics I post, then they’re digital collages made in Photoshop! I have a physical grimoire (images below) but as you can see, it’s much messier! 

I have what’s called dyskinesia (a movement disorder), and my hands shake, so it’s difficult for me to draw or write in a neat/pretty fashion. My handwriting’s tolerable, but beyond that, I really struggle to draw or illustrate physically.

Below are some images from one of my physical grimoires. This one is just my taking notes on Christopher Penczak’s writings, but I also have a similar one for spellcraft, and a completely different-looking binder for daily use/normal stuff like Tarot readings and schedule notes.

The reason I started making the grimoire infographics was because I longed to create something pretty and Craft-related. The notebook images themselves are photographs with Photoshop layers designed to fit on the pages. 

This will sound extremely weird, but I find using Photoshop very relaxing and I’ve often used it as a sort of coping mechanism when I’ve had anxiety issues in the past.

A friend took my handwriting and turned it into a font, and I sometimes use that font for the images. I think that’s really cool and probably more people would take advantage of it if they knew how easy it is to get a personalized font!

Of course, that was a few years back, and since then, I’ve been trying to practice with physical drawing/art. I doubt I’ll ever be good, but I’m hoping some day to have a really nice physical grimoire. 

You’ll notice that the physical grimoire I keep is basically just my writing covered with a layer of broad soft pastels, which is easy for me to do - I slide the pastels over the image, then smudge with a sponge. It’s hardly nice or perfect, but it’s soothing to add color to it, and I enjoy it!

I am thinking of doing some sort of tutorial about how to make images using these methods, because I think it’s a cool thing if you are interested in Photoshop. From my perspective it was really good for me since I really have trouble with fine movements, and maybe other people in the same situation would like it.

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Some images I took of the Johns Hopkins library’s copy of the Kelmscott Chaucer (1896). For more on William Morris, the creator of the Kelmscott Press, and the other elements of the Arts & Crafts movement, click here.