d structure


She was like the spring -always flourishing and blissful. She was exceptionally bright and her presence was heavenly. With a buzzing, forever lively mind, she could make the rainiest days seem cloudless. After a lingering sleep, she would awake like a blossoming rose ready to spread joy across the land.

Science in Space!

What science is headed to the International Space Station with Orbital ATK’s cargo resupply launch? From investigations that study magnetic cell culturing to crystal growth, let’s take a look…

Orbital ATK is targeted to launch its Cygnus spacecraft into orbit on April 18, delivering tons of cargo, supplies and experiments to the crew onboard.

Efficacy and Metabolism of Azonafide Antibody-Drug Conjugates in Microgravity Investigation

In microgravity, cancer cells grow in 3-D. Structures that closely resemble their form in the human body, which allows us to better test the efficacy of a drug. This experiment tests new antibody drug conjugates.

These conjugates combine an immune-activating drug with antibodies and target only cancer cells, which could potentially increase the effectiveness of chemotherapy and potentially reduce the associated side-effects. Results from this investigation could help inform drug design for cancer patients, as well as more insight into how microgravity effects a drug’s performance.

Genes in Space

The Genes in Space-2 experiment aims to understand how the regulation of telomeres (protective caps on the tips of chromosomes) can change during spaceflight. Julian Rubinfien, 16-year-old DNA scientist and now space researcher, is sending his experiment to space as part of this investigation. 

3-D Cell Culturing in Space

Cells cultured in space spontaneously grow in 3-D, as opposed to cells cultured on Earth which grow in 2-D, resulting in characteristics more representative of how cells grow and function in living organisms. The Magnetic 3-D Cell Culture for Biological Research in Microgravity investigation will test magnetized cells and tools that may make it easier to handle cells and cell cultures.

This could help investigators improve the ability to reproduce similar investigations on Earth.


The Solidification Using a Baffle in Sealed Ampoules (SUBSA) investigation was originally operated successfully aboard the space station in 2002. 

Although it has been updated with modernized software, data acquisition, high definition video and communications interfaces, its objective remains the same: advance our understanding of the processes involved in semiconductor crystal growth. 

Space Debris

Out-of-function satellites, spent rocket stages and other debris frequently reenter Earth’s atmosphere, where most of it breaks up and disintegrates before hitting the ground. However, some larger objects can survive. The Thermal Protection Material Flight Test and Reentry Data Collection (RED-Data2) investigation will study a new type of recording device that rides alongside of a spacecraft reentering the Earth’s atmosphere. Along the way, it will record data about the extreme conditions it encounters, something scientists have been unable to test on a large scale thus afar.

Understanding what happens to a spacecraft as it reenters the atmosphere could lead to increased accuracy of spacecraft breakup predictions, an improved design of future spacecraft and the development of materials that can resist the extreme heat and pressure of returning to Earth. 

IceCube CubeSat

IceCube, a small satellite known as a CubeSat, will measure cloud ice using an 883-Gigahertz radiometer. Used to predict weather and climate models, IceCube will collect the first global map of cloud-induced radiances. 

The key objective for this investigation is to raise the technology readiness level, a NASA assessment that measures a technology’s maturity level.

Advanced Plant Habitat

Joining the space station’s growing list of facilities is the Advanced Plant Habitat, a fully enclosed, environmentally controlled plant habitat used to conduct plant bioscience research. This habitat integrates proven microgravity plant growth processes with newly-developed technologies to increase overall efficiency and reliability. 

The ability to cultivate plants for food and oxygen generation aboard the space station is a key step in the planning of longer-duration, deep space missions where frequent resupply missions may not be a possibility.

Watch Launch!

Orbital ATK and United Launch Alliance (ULA) are targeting Tuesday, April 18 for launch of the Cygnus cargo spacecraft to the International Space Station. Liftoff is currently slated for 11 a.m. EST.

Watch live HERE.

You can also watch the launch live in 360! This will be the world’s first live 360-degree stream of a rocket launch. Watch the 360 stream HERE.

Make sure to follow us on Tumblr for your regular dose of space: http://nasa.tumblr.com

demonicmiracles  asked:

Do you have any tips for keeping tension in a scene? I'm stuck in this one part where a village has been set on fire and the hero is trying to help put it out.

Hi there! 

There are many things you can do to keep the tension, and I’m sure I won’t be able to list them all, but here are a few good ones I found.

Time: If your character has a time limit to complete a task, then that can hold the reader’s attention. It’s like that music in the Sonic games when you were underwater and the music went faster the less time you had. The less time you have, the more of a panic you feel, and the more tension you create.

Panic: Not just general panic of everybody around, but the panic of the protagonist creates some great tension. If the protagonist has no idea what’s going on, then neither do the readers. If there are people screaming, monsters running around, and buildings crumbling, then it’s only natural to panic.

Something to lose: It’s one thing for a single building to be on fire and the protagonist is using a fire hose to put it out with everybody safely behind them. It’s another thing if the entire village is on fire, people are scattered, and your character is rushing into the building because they heard a scream from inside. Personally, I’ve always found the later more tense. Maybe your protagonist’s best friend or parent or love interest was in the village and nobody’s seen them. Maybe they hear their scream from inside the building. Maybe it’s their elderly family member who can’t walk fast or their sick sibling who can’t get out of bed. If the protagonist has something important to lose by failing, then the situation instantly becomes more stressful. 

High chance of failure: Nobody’s going to be worried if saving the world revolves around Hercules lifting a cart off of a person. But if it’s your average person trying to life a 200 pound cart off of somebody, then it’s a bit more suspenseful. Because the chances of success are smaller, the victory is that much greater for the character. If the reader doesn’t know whether or not the protagonist can do it, then they’re more likely to find themselves on the edge of their seats as they read. 

And there are many other ways of course! Finding which one suits your story is something you’ll have to figure out for yourself, although we are happy to help if you find yourself with more questions! Hope this helps!


Me: *draws a male character*
Me: he looks like i girl i C AN T DRAW G UYS
My brain: thats!! Because!! You gave him!! Female body language!! And keys!!
Me: well how do i fix th-
My brain: S P R E A D T H E L E G S

                     “Pyaasa” (1957)   /   Waheeda Rehman   /   My Gif

anonymous asked:

I remember someone saying that it's not usually recommended to start a story with a flashback and I understand why. But how come there are stories like Harry Potter that start off with a sort of flashback, an explanation of something that happened a while ago before the beginning of the story? Or is that different because it's not being narrated in the shape of a memory but more of an actual event happening at that moment and then flash forwarding to the present day? I hope that made sense...

Hey there! 

I’m with you on this. Personally, I’ve always seen the intro to Harry Potter as more of a prequel than an actual flashback. There are no set rules for flashbacks, so it’s understandable that there are a lot of different kinds that all fall under the umbrella term “flashback”. It simply means a brief trip to a past event that ties into the current story. How it’s used and for what purpose is up to the writer.

As to why writers are told to steer away from them, my understanding is that flashbacks are pretty overused. Of course, this doesn’t mean that you cannot use them, it just means that it’s something that people might read and go “oh they’re opening with this”. There are very creative ways to start a novel, and there are more predictable ways. 

Personally, I love a good flashback. The trick is to make sure that the information you’re giving cannot be given to the reader in any better way (why show the scene where they read a page when the character can simply tell it). And it’s easy for writers to fall into that trap. There are plenty of ways to shake up the flashback idea if that’s really what you want to use. You can make it stand out and make your story more memorable. 

My favorite example of a good flashback is in Harry Potter and the Chamber of Secrets. Rowling uses Tom Riddle’s diary to give us good flashbacks that reveal crucial information. But she also delivers it in such a way that the characters are stumbling through the flashback as much as the readers. 

I don’t have a complete list, and it’s up to you what suits your story, but a couple of options are (and everyone else is free to add their ideas to the list): 

- One of the main characters looking back on their life or when everything started (which could easily make the entire story a flashback)

- Ending your flashback by the character jolting back to the present (such as snapping out of it in the middle of a test).

- The Flynn Rider “This is the story of how I died” narrative. 

- The Pensieve concept. The character finds a way of going back and witnessing the flashback as a memory. 

Some movies/shows/books that make great use of flashbacks: 

- Shutter Island

- Phantom of the Opera (movie)

- The Life of PI

- Forrest Gump

- Titanic

- The Grand Budapest Hotel

- Lemony Snicket’s A Series of Unfortunate Events

- Moulin Rouge 

- Fight Club

- Disney Pixar’s “Up”

and of course, my personal favorite:

Hope this helps answer your question! Let us know if you need any more help!



After a suggestion from scotaire, here’s my version of an URBAN STRUCTURE GENERATOR! In this table, i leave the occupants’ races and other details up to you guys and i think this table is great for when your players are looking at/for a building and you need to come up with something on the fly :D

Hope you guys are able to enjoy this generator and get some use out of it! Let me know what you make from it :)

As always, if you have any feedback, suggestions or ideas about this random generator or future work, feel free to send me a message

Here’s the download: https://drive.google.com/file/d/0BzFqRLlZdgtjRWxlYUV2cDZYMk0/view?usp=sharing


So the black was a bust…. there were so many cracks and crevasses that the gray ended up covering literally all of it. I should have just painted the whole thing black to start with and then gone over it with gray. Oh well, it’s a learning process. so i’m going over all the cracks with black with a little brush, and then carefully going back over it with the gray. the brush i’m using is unfortunately soft and big, so it stll is able to fill those cracks in. But when it does work, it’ looks pretty good!  And with the errors comes a less uniform gray, so it looks a little more natural.

When i return to my dorm on Monday I’ll be able to actually give it some color. It’s goign to be a little moss covered, and I might even add real moss! maybe, not sure yet. I am debating going back to the hobby shop to get static grass, tha would look pretty neat on here. 

I’ve never actually painted a structure before, save the one on the botom of the tarasque that I failed to give detail (too late now because I ut all the snow stuff on it_. so this is s challange. I can do the usual minis and figures because the all have lines. I can fill in lines. But this is a little more creative when it comes to painting it since there aren’t really lines to fill. It’s just a delapatated building.

Just saying, AOS should do a time travel season

The three-act pod format would work really well for a theme like this.

This is how I’d structure it (assume the team was sent through time at the end of the previous season. Also assume Yo-Yo and Robbie were upgraded to series regulars):

Pod 1, Old West: The gang lands somewhere in the 1800s and team up with Marvel’s Wild West characters, like Rawhide Kid, the Phantom Rider, and the Two-Gun Kid. Imagine Robbie Reyes teaming up with the Phantom Rider and the two of them racing across the desert, Robbie in his Hell Charger and Carter Slade with his Hell Horse.

Anyways, Fitz and Simmons attempt to fix the time machine while the rest of the group protects them from a gang of cowboys, who believe that they are devil worshipers…which is not too far off from the truth because of Ghost Rider.

Pod 2, mix between 2099 and present day: Fitz and Simmons manage to repair the time machine but half of the group gets sent too far in the future. Let’s say Fitz, Daisy, Mack, and May are stuck in present day while Simmons, Robbie, Coulson, and Yo-Yo are sent to the far future. Also, the Two-Gun Kid decides to follow SHIELD and ends up with the present day group.

2099 is a dystopian world, ruled by the rogue time traveler who is responsible for the disturbances in time. The rogue time traveler is also the main antagonist of the season. While trying to find a way back in time, the group teams up with Miguel O’Hara (Spider-Man 2099), a very old but still alive Daisy Johnson, and a SHIELD agent who is later revealed to be Fitz’s grand-daughter. 

Since the writers love fucking with Fitzsimmons, it’s revealed that Fitz moved on at some point in the 2030s and got married to someone else. Imagine the angst potential here, with Simmons having to talk to Fitz’s granddaughter. 

Pod 3, 1955: Both groups reconnect in 1955, the year where the rogue time traveler came from. The Two-Gun Kid and Miguel O’Hara follows SHIELD into the past. 

While in the past, SHIELD teams up with Agent Carter and her team. This is a way to provide a solid ending to Agent Carter. 

Anyways, the season ends with the rogue time traveler’s defeat. The Two-Gun Kid and Miguel O’Hara stay in the present day since the time machine was destroyed in the final battle with the time traveler. Also, Coulson finds an old, never-before-seen picture from Agent Carter’s collection, which is of her and Coulson’s team together. 

As one final cliffhanger to end the season, SHIELD recruits a new agent, who is revealed to be a Black Widow agent who was raised in the Red Room alongside Natasha Romanoff. We then learn that the Black Widow agent was Fitz’s wife from the aborted timeline (let’s say the granddaughter revealed the name of her grandmother in the 2099 arc). 

That’s the arc for next season; BLACK WIDOW

(EDIT: Completely forgot that Black Widow agents are sterilized. Let’s just say Fitz and the Black Widow agent adopted and Fitz’s granddaughter just got used to saying grandma). 

yuichiro  asked:

how about... star headcanons. a lot of pokemon reference the stars in some way, so what sort of roll do you think the stars themselves serve in-universe? are they mystical? revered? are they pokemon themselves?

This is quite a tough one. I’m not sure how I’d make a structured headcanon about something like this, so I’ll just share a few miscellaneous ideas here:

-An ancient text, believed to have come from another world, describes a tale in which a solar deity was usurped and devoured by his animal companion. This companion, a lion of immeasurable strength, made the sky burn hotter, brought fair weather to a world of ice, and went on to rule the planets in the deity’s place. Solgaleo’s status as ‘the beast that devours the sun’ therefore resulted from a translation error - it is in fact ‘the beast that devoured the sun god’.

-In the same text, Lunala was said to come after Solgaleo, to provide light in the places that the lion could not reach. When the two departed from that world, it is claimed that they left the sun and the moon to fulfil their roles in their absence. 

-Some hypothesise that the number of stars in the universe correspond to the number of Solgaleos in existence, but there is no concrete evidence to suggest this.  

-A portion of modern theorists argue that Solgaleo merely has the ability to produce large volumes of light, and that it is only human interpretation that has linked it to the stars. For the most part, scientific theory surrounding stars in the pokémon world is the same as it is in ours.  

I want to talk about Wanda Maximoff in the MCU and specifically in Civil War today. I know nobody is going to read this, but I want to talk about it. I’ve seen a lot of different reactions to what happened to her, most contained in a sentence or two, and I admit I haven’t done the best job myself dealing with it, in meta or in fic. But I thought about it a lot last night and want to try to work it out.

I don’t even want to deal with “I cannot control their fear, I can only control my own.” I just want to deal with “you locked me in my room.”

It’s such a childish line, but Wanda Maximoff is not a child. The narrative of Civil War goes out of its way to say she is, but it’s a back and fourth. One minute she’s locked in her room, one minute Steve sees her as a child in need of protection, the next her temper tantrums graduate to actually pushing a loved one through half a dozen floors, or throwing cars.

Let’s review who Wanda Maximoff is. She’s an adult. She’s not a US citizen and, judging by how much respect for authority and law Steve has, something tells me she doesn’t have a Visa or a green card and no one wanted to say anything…while the Avengers were still a popular institution. Plus, it does take a while to get that type of documentation, especially if it’s for a permanent stay. So she’s an undocumented, super powered, adult on US soil continuously drawing attention to herself with her powers.

She’s also a former Nazi. We don’t talk about this much because it’s gross and it never should have happened, but it did and that means we need to deal with it. Wanda and Pietro volunteered to be experimented on by HYDRA so they could get revenge on the man and the world they hated. They literally volunteered to work for the Nazis.

She enabled Ultron with far more intent than Tony or Bruce ever did, she turned the Hulk deliberately on a crowded area on Johannesburg.

Wanda Maximoff, at this point, is an adult foreign national living on US soil (likely without documentation and therefore much legal recourse), a former Nazi, and someone with immense powers.

She’s also, by and large, untrained. Look at Lagos–it’s a training mission. Steve and Natasha are training her. They’re talking her through a recon and showing her the ropes. It’s all kinds of gross that they bring her into the field and decide to train her using the citizens of Lagos as essentially props.

(Don’t think I don’t notice that Wanda’s two biggest fuck-ups happen in African nations. I think largely this can be attributed to a studio choice, and knowing that, grossly, a large segment of their audience would forgive her far quicker for being complicit–purposefully or through a general team negligence–in the deaths of Black people than they would be White people. That’s the gross reality of the world. I do think there’s an interesting characterization argument here too, but that would be a massive digression).

Steve and Natasha are training Wanda on essentially running recon in Nigeria. Wanda says “You guys know I can move things with my mind, right?” This makes me think she feels this portion of herself is being overlooked. Essentially, Steve and Natasha feel she’s “got that,” work with her on other aspects of running a mission, and assume the mind stuff is handled. But she’s undisciplined, and her powers seem by and large triggered by instinct and emotion. And look, I’m not trying to sound like “she should have done better”, but yes, I am. If you’re using your powers in the field, you should have finer control.

Unless, of course, it’s a training mission. With real, live people involved.

So let’s review. Wanda Maximoff is an adult foreign national, likely undocumented with little legal recourse. She’s a former Nazi and has wreaked her fair amount of havoc on the world. Now, as an Avenger, she has little training and has superiors who honestly think training her on active missions is a great idea.

We’re all caught up.

In Civil War, Wanda is locked in the compound. It’s rather like administrative leave pending investigation, with the added caveat that a.) she’s not technically legally in the country and b.) she’s a danger to others. If others push her–and we see on the news that they’re calling for her head–she’ll lash out. How do we know? Well, she’s lashed out at the Avengers before (the visions), and soon enough, she’ll do it to Vision, doing something that would literally kill a normal human.

If the world was clear and good, and Civil War didn’t happen, I would hope this “administrative leave” would conclude that a.) Wanda did have the best intentions, b.) if she didn’t act worse would have happened, c.) Steve and Natasha deserve just as much if not more censor for literally having a training exercise with people’s lives on the line and d.) more training–structured and controlled–is required. Except, of course, it would have been half-assed, because who would have been concluding this? Who would have enforced it?

Tony made this choice to place her in the Compound. Should he have told her? Should the man Wanda has spent her life hating, the man Wanda pushed to feel the necessity of Ultron, the man Wanda literally joined a Nazi organization for so she could get back at him, be in any position to communicate with her?

Tony had Vision stay with her and ultimately tell her. Should Wanda’s friend, closest friend, be in that position? Who else?

This is what I’ve been driving at. Wouldn’t it be nice if there was, I don’t know, some sort of council or something that jointly made discipline decisions, amongst other things, so the decision could be official, technically impartial, and followed through? Wouldn’t it be nice if the Avengers kept one hand on the wheel so they could work out a discipline system they trust and believe in with a council they have a mutual trust or at least respect with?

Wouldn’t it be nice if a board reviewed what happened while Wanda was in the compound, concluded what I said above in my points, and meanwhile the Avengers PR works on the press perception of her so she’s safe? Wouldn’t it be nice if it wasn’t Tony trying to protect her and everyone else and not having the means or resources, but rather a system in place?

Wanda Maximoff and what happened to her isn’t an argument against the Accords. She is literally one of the biggest arguments as to why the Accords and some sort of official body to govern the Avengers are necessary. This is what discipline, order, and limitations means, and to me, it looks a whole hell of a lot better than anything else.

reidbyers  asked:

4 + 15 for spencer!!

best places to kiss on their body

have you seen spencer’s bone structure? you’d be a fool not to kiss along his jawline– depending on his mood he’d either let out a breathy laugh at the tickling feeling of your soft lips against his skin, or he’d be very serious and completely, utterly lost in the moment. his lips are an obvious answer, they’re so full and pink and it’s hard for anyone who’s interested in him not to stare at them and wish to kiss them as he spoke quickly as he always did. as far as body goes, his collarbones and shoulders are a pretty good spot too- drives him crazy.

what it takes to make them cry

spencer isn’t a crybaby, despite his soft looking exterior he’s one of the strongest people anyone knows. however, if something bad involving someone he loves happens, he needs a good cry, and the obvious answer of when someone close to him passes away. at times when something is emotionally overwhelming he’d cry too to get his feelings out there. (or that one time he stubbed his toe really badly.. he let out a few tears at that too.)


Comme des Garcons 

CDG SS 2010 Sheer Dress with Elastic Internal Bands at Bust & Waist

CDG SS 2010 Sequin Wool Vested Belt/Tuxedo Tail

CDG SS 2010 Nylon 3-D Structural Belt

CDG AW 1999 Leather Slip-On Loafers with Decorative Cut Outs on Toe

Bottom: same with addition of CDG SS 2008 Sequin Nylon Knee-length Leggings


I looked at the Fool and for one blink I could see him as if for the first time. As attractive as his colouring was, I had never seen any other person with it. There were other differences, the way his wrists attached his hands to his arms, the airiness of his hair…

Fool’s Errand by Robin Hobb, p280.

HOLD UP a second there, Fitz. I’ve caught this a few times and kept meaning to make a post about it.

‘the way his wrists attached his hands to his arms’?

Okay so we know that Beloved is anatomically different from regular humans, thanks to the heart-rending ending of Fool’s Fate. Old news. But does anyone else get absolutely fascinated with how?? I always assumed the differences, aside from skin and hair and eye colour, were largely internal - like, differently arranged organs and such. But this?

How many different ways are there to join hands to arms? Probably many, I’m sure (I dropped biology okay I wasn’t good at it XD); but… think of the possibilities! I was talking about this with 1boo, and we came up with the idea of there being an extra joint in there, making Beloved’s wrists just a little elongated and adding to their many reasons for designing (as I’m confident that they do) all their own clothes. Or maybe it’s a very different type of joint to a human wrist? I’m trying to think of how this could be… at this point in the narrative, Fitz hasn’t healed Beloved - they’ve been bonded, though - so I imagine it’s something that could be noticed by careful observation, especially if Beloved is smitten with relaxes around you.

And I don’t think it’s just Beloved’s wrists, either. Check out this bit in Fool’s Fate:

‘But even at that distance, and in the fading light, I knew he was not one of our party. He moved swiftly and oddly, yet in a way that I could not pinpoint, his gait was familiar. I saw no more of him than his silhouette as he hastened over the ridge.’ - Fool’s Fate, p315.

Now in that quote, Fitz’s talking about Prilkop, who he hasn’t met yet. Why does Fitz recognise his gait? Perhaps because it’s similar to Beloved’s. Perhaps because Beloved and Prilkop share a few non-human joints that make their movements just slightly unusual (and Fitz has an incredible attention to detail, particularly when Beloved is concerned). So that’s why Fitz recognises the movement as familiar…

Now I really want to see White Prophet skeletal structure sketches :D Weird thing to get randomly fascinated with. 

Thoughts anyone?

ryugan777  asked:

I really am happy that you show signs of activity. And I adore your pokemon designs. I really missed ya. But I wonder: is there a project behing those designs. A comic, some webseries? Or just casual art?

I had one at one point, but I threw that and its continuities into the trash a looong time ago. It was fun to make, but it had zero structure;I’d like to give it another go at some point, but I need to get something of a script thrown together first. 

yourchangelingoverlord  asked:

I been thinking you are a counselor right? So can ptsd cause someone like marlin from finding nemo to become overprotective and try to keep his son in a bubble? If so Disney just portrayed ptsd realistically.

Well, I’m not a counselor, I’m a psych student, so I probably will be one eventually, but I’m not qualified to diagnose anyone in reality.

But, since this is a fictional character, I did a quick search to see if I could find you an answer.

This question is sort of twofold. 1. Does he have P.T.S.D., and 2. Could P.T.S.D. lead to his overprotective parenting?

Now whether or not he has P.T.S.D., the structure of the narrative tells us the experience of losing his wife and most of his children is what caused his overprotectiveness, but if you specifically want to know if it’s P.T.S.D. that caused it, let’s crack open the big book.

The DSM-5 states:

“Criterion A (one required): The person was exposed to: death, threatened death, actual or threatened serious injury, or actual or threatened sexual violence, in the following way(s):
Direct exposure
Witnessing the trauma
Learning that a relative or close friend was exposed to a trauma
Indirect exposure to aversive details of the trauma, usually in the course of professional duties (e.g., first responders, medics)”


“Criterion B (one required): The traumatic event is persistently re-experienced, in the following way(s):
Intrusive thoughts
Emotional distress after exposure to traumatic reminders
Physical reactivity after exposure to traumatic reminders”

Can’t say, we haven’t seen anything of that nature, which would be enough to axe this whole theory unless you want to overlook this. Unless there’s an example I can’t think of (haven’t watched the second movie). Since he’s fictional, it’s still possible to say we just don’t see these symptoms.

“Criterion C (one required): Avoidance of trauma-related stimuli after the trauma, in the following way(s):
Trauma-related thoughts or feelings
Trauma-related reminders”

I think so. He doesn’t really want Nemo leaving their home, right? (It’s been a while since I watched the first)

“Criterion D (two required): Negative thoughts or feelings that began or worsened after the trauma, in the following way(s):
Inability to recall key features of the trauma
Overly negative thoughts and assumptions about oneself or the world
Exaggerated blame of self or others for causing the trauma
Negative affect
Decreased interest in activities
Feeling isolated
Difficulty experiencing positive affect”

Check, he’s a worrier.

Criterion E (two required): Trauma-related arousal and reactivity that began or worsened after the trauma, in the following way(s):
Irritability or aggression
Risky or destructive behavior
Heightened startle reaction
Difficulty concentrating
Difficulty sleeping”

Check, irritability and hypervigilence.

Criterion F (required): Symptoms last for more than 1 month.”


“Criterion G (required): Symptoms create distress or functional impairment (e.g., social, occupational).”

I believe so, although it’s been a while since I watched the first, never watched the second.

Criterion H (required): Symptoms are not due to medication, substance use, or other illness.”


The two parts we don’t know for sure would be critical to a diagnosis, but seeing as it’s a fictional character and we don’t know his whole life, I’m willing to say, sure. It’s possible he has P.T.S.D.

I searched for overprotective behaviours in parents with P.T.S.D. toward their kids, and the U.S. Department of Veterans’ Affairs had this to say:

“Individuals with PTSD tend to have a high level of anxiety and arousal, which shows up as difficulty sleeping, impaired concentration, and being easily startled. They tend to have a high level of irritability and may experience an exaggerated concern for their own safety and the safety of their loved ones. Parents with PTSD can therefore tend to be overprotective. Irritability and low frustration tolerance can make a parent seem hostile or distant, again making children question the parent’s love for them. This perception is simply a misunderstanding of the reasons behind the symptoms.”

Source: (x)

So, there you go.

Now I wouldn’t say Disney did a perfect job if they were trying to portray him as having P.T.S.D. because he missed one of the more important criterion (they didn’t portray him as re-experiencing the trauma, in my memory), but yeah, it’s possible that this is why he’s over-protective.

anonymous asked:

Omg so about that Gem themed d&d thing. If followers were, say, interested, could we join y'all on the discord?

Haha, I’m not actually planning one yet!  But if I did, it’d probably be with a group of no more than six, because otherwise the game gets out of hand.  But if y’all wanted to create just a Gem themed roleplaying group, without all the d&d rules and game structure, I’d totally recommend just doing it!


One of the most amazing places to date that I have visited in Second Life is the 3-D maze. This enormous structure is housed inside a glass building and is full of ramps going up and down that you must use in order to make it through as well as just going through hallways. There are 4 stories. I have included a few pics and a gif showing what it’s like inside the maze and there is a short You Tube by the inventor as well, AlmostThereInventor.

It changes every week and each floor and wall surface is a different comination and moves a little As well as the theme, the maze changes too. As you can see, this week was fish and aquariums. The week before that was candy and chocolate. The week before that was Egyptian paintings. The week before that was Space and planets and nebulas and the moon etc…. Next week (tomorrow) will be…..who knows….

Amazingly, this huge building only takes up a small portion of the bottom rightof the rest of the island, all activities on which are devoted to puzzles and chess and meditation and other mind and body health activities. The island (sim) is called Inspiration Island.