I'm sorry, did you say "memes about “Master Kenobi’s sculpted abs”"????? HOW did that come to be? How did it happen that Ob-Wan "always wrapped in at least 3 layers of linen and wool" Kenobi got to be seen in deshabillé? Did Obi-Wan become a Jedi sex symbol? (he ought) Who was more mortified, he or Anakin? Were the Jedi pissed or were they like "mmmmh, good pr this is"? TELL US MORE!
combining this with:
Anonymous said: /MEMES/ ABOUT OBIWANS /SCULPTED ABS??!?!/ Omigosh I have a sudden need to know how the holonet even got a pic of Obiwan’s abs. Was it a clone? Was it Ahsoka? Was it a jedi youngling? A trolling knight? A lucky-stalking journalist climbing the sides of the temple? HOW? HahahahahHHAha
Anonymous said: THE HOLONET NEVER FORGET hahahhaha yesss. But really, how did the public get a glimpse of Obiwan’s abs???
I just love that this became a BURNING QUESTION that NEEDS ANSWERS. Luckily I do have answers, but lol. (referenced by this and this)
WARNING: mentions of child slavery and the discovery of child slaves. Nothing graphic what so ever, in fact, the children haven’t been made slaves yet, though they have been kidnapped for that purpose.
It’s the kind of mission that Obi-Wan will do his absolute best to completely forget as soon as it’s over and he’s finished his report.
For months they’ve fought this war, struggling to keep the Separatist forces at bay and keeping the Republic safe. For months the clones have been at the Jedi’s backs, help keeping them safe. Helped the Jedi be enough to keep the Republic safe.
The Jedi are not an army, they’re not soldiers… They’re supposed to be peacekeepers but now, at the behest of the Republic, they’re not.
What's your impression of ME Andromeda so far? Have you finished it yet? Any particular ship so far?
Heyo! I haven’t finished yet. Got no time to play game…:(( It’s funny. I thought I’d run into it and forget everything except travelling new galaxy lol but you know life never let us go.
I’m quite impressed actually tho. Coz Bioware seemed to be desperate for getting off from the original series and commander shepard’s shadow even before launching the game ME:A. and they did it perfectly! All characters have the same concepts from ME world but they got totally different identities from original characters. well, there’s lots LOTS of words on animating, for me, graphic and animation look so wonderful (umm…their hair tho!). well, they never stop improving it so we need to give them time. I also love how much they put their efforts into the action scenes and skills. I’m just having so much fun whenever the battle gets startEd!! all that jumping, sliding, battle skills and weapons make me so happy. The only thing causing me inconvenience is that this total open world system takes me so long time to find next main mission lol HELP
Currently my sisryder is with Peebee. But unlike Shepard and Liara, I’m total open minded to ship others too. like, I’m interested in ScottXCora, SaraXVetra, SaraXSuvi ships now ha:)! Thanks for asking me anon and see you around!
it was Bundy’s ability to captivate an audience that made him an especially terrifying killer. Take a trip inside Bundy’s twisted mind with ten of his most ominous, graphic, and manipulative confessions.
“I just said that the Hawkins girl’s head was severed and taken up the road about twenty-five to fifty yards and buried in a location about ten yards west of the road on a rocky hillside. Did you hear that?”
“I don’t think anybody doubts whether I’ve done some bad things. The question is: what, of course, and how and, maybe even most importantly, why?”
“When you work hard to do something right, you don’t want to forget it.”
“In my opinion, the best chance you have of catching this guy is to get a site with a fresh body and stake it out.”
Darlene and I’d hide in movie theaters all day. Darlene would sing Frere Jacques. She rode her scooter in front of our house. I’m crazy. I’m crazy― crazy. She tried to run away in the third grade. How come I didn’t remember this? Slept in the same bed when our mom was mean to us. Why did I forget? I remember her voice. How could I forget? I’m crazy. I’m crazy.
Okay so there are of course a lot more fics out there but some of them I haven’t read yet. I also tried to fucos on the longer ones so 10k minimum. A few ones are shorter but thats because a) the have more parts or b) they are still to awesome to not share them. I’ll update this post from time to time. If you want me to add a ff feel free to send them to me. (I need more to read)
Bts: Their girlfriend is obsessed with the game "The Last of Us."
J-Hope: J-Hope would probably be fairly annoyed at how much you pay attention to the game rather than him. But he would eventually deal with it, but still be a little bit jealous.
“Wow. I thought she preferred me over something electric?”
Jimin: Jimin would be a little bit less than ticked off. Whenever you went to go play the game, he would watch you, but with a rather upset expression.
“This game is getting in the way of us, you know.”
Jin: Jin would try to get your attention by doing something really big for you. Something with a bunch of balloons. Once you came to see it, he would explain how it made him feel how obsessed you were.
“Okay. Let’s do this, Mr. Llama. Now blow so we can get the balloons ready!”
Jungkook: Jungkook would probably constantly try to talk to you at the worst time- when you’re playing the game. So when you snapped at him, he would kind of feel like the gif.
“All I did was ask if you wanted to go play something. What did I ever do to you?”
RapMon: Rap Mon would probably understand why you’re addicted- it’s a good game, amazing graphics, and a gripping story. But he would like for you to get on less and actually hang with him and your friends.
“I understand, it’s really cool and a good game. I just wish she’d get off more and socialize.”
Suga: Suga might not say much about it at first, but that would only be because he’s thinking about what to say and how to say it. After he figures out, he’ll probably just forget it once he sees you playing again and have to think about what to say again.
“Oh, how about this?! No. Time to think again.” *sarcastically does the gif*
V: V, like Jin, would try to get your attention by doing something rather big. In this case, V would probably make a song for you about how he wishes you’d spend more time with him, and sing it when he knows you can hear him, but he would pretend he didn’t know you could.
*sings one of not only the stupidest but cutest songs he made*
I don’t know how to describe how I feel about her. It’s hard to describe things systematically. I’m supposed to be good with my words, but all the verbs that I utter just cause her to get mad at me. I’m all like can we talk about her anatomy. That’s pretty sad you see because mathematically she’s as far away from average as one can be. Then I end up saying something cliche like she’s my infinity. I guess everyone has a learning curve, but what’s the point in learning words when she makes you forget how to count to three. I wouldn’t consider myself a cheater but I considered making a cheat sheet . Maybe a graphical plot of our heartbeats, but all the data just describes how much I want to date her, but if I truly did make my peace why is it that I can’t function. I’m all like give me a sine or at least something I can derive, but every time I look into her eyes why do I see tangent lines and an indefinite blue sky. My love for her is like solving for a radical in the denominator. You can’t let it go undefined. By all means that doesn’t mean she’s a distraction, I can prove to her with simple subtraction that if you take a half from whole all you’re left with is a fraction.
“Hey man, I thought perhaps you might be able to shed some light on something;
Where does one start with getting into your world? illustration? Animation? General fine art? I’m 28 and looking at rebooting my life by advancing my favourite lifelong hobby into (hopefully) a better job, but to risk 3 years of my life and upwards of £30k, I don’t want to go in the wrong direction right at the start.
I know you’re USA and I’m UK, but what course did you do? What’s your origin story, and your advice to someone who wants to follow a similar path?
Cheers bro, really appreciate the time you take to read this meaty message.”
First off, sorry for the late reply. I let messages build up and answer when I can. I wonder if you’ve already made some decisions about your direction toward comics and this response is way too late! But regardless, I’ll answer anyway! I’m up in the middle of the night unable to sleep, so you get my long winded reply.
If you want to get into comics, I wouldn’t recommend college. I know, parents hate hearing that. (And probably colleges too) But accruing that kind of debt for schooling that you could learn on your own might not be the best start for your comics career. And really, if you don’t already have a talent in drawing, schooling won’t help you much. Ask anyone that went to an art school, you will see plenty of students that lack talent and took school to make them better. And guess what, it didn’t work. But then there are those that were already talented that took schooling and they used that time and the assignments to get even better. Well, you can do this on your own. There isn’t tons of secrets to good drawing. It’s talent plus skill. And skill can be learned by doing.
My path went a little something like this. Drawing comics was a dream job since I was 15 and I always drew and practiced, and after a few years I heard about Joe Kubert School of Cartoon and Graphic Art but couldn’t afford it. I forget how old I was (maybe 20?) but I did a correspondence course from them, they sent me a book which I drew in and did assignments and then they’d do corrections over them, (much cheaper than going to the school! About 200-300 I think?) But it was very helpful since I couldn’t find many books on sequential art. But at the same time it made me realize that I didn’t need to spend thousands for schooling. I think a big reason I wanted School was to be around other artists like me, since I knew zero artists. But the learning part, I can do that one on my own with all the art books around. So I schooled myself with large doses of Burne Hogarth, George Bridgeman, and later Andrew Loomis. (All great artists with an emphasis on anatomy, not comics) Sure I didn’t get that correspondence like I got with Joe Kubert courses, but after a while I found online forums and got feedback there, more on that in a second! Now I always drew but I did it slowly, I gave up the dream of comics due to low confidence and even lower confidence after submitting to a few companies and was rejected. I still drew but slowly and with less intent. But after being fired at the age of 26 from a warehouse job I decided to try again. This time I tried harder. I was hungry for work and to learn. My personal schooling was back to anatomy books, but also, I did free short stories with writers for anthologies and webcomics. I figured studying anatomy was good but I needed to do actual sequential storytelling. I didn’t worry about getting paid, these anthologies and things didn’t make any money anyway. I looked at this free work like it was my schooling! I basically pretended I got a scholarship and was doing school for FREE! I had a great time! I did inking for a couple comics because I thought maybe my pencilling wasn’t good enough. But the online forums were huge for me, I got that correspondence that is invaluable by posting art. Other artists commented on the posts and let me know what they felt was off or on about it. My confidence went up because the reaction from other artists was that I am good enough. (Digitalwebbing.com, Penciljack.com) But at the same time my bank account was looking terrible haha! I was three years married to my very supportive wife Erin who always told me to not worry about money and keep pushing for my dream job, even when we had to move into her Moms basement. It was nice getting help so I could concentrate fully on my “schooling”! But very difficult battling others advice of getting a job and stopping what I’m doing. And battling my own worries if what I was doing was worth it or not. It was quite the struggle for sure. I was pretty sure I could get work I just needed to keep pushing. And then Robert Kirkman contacted me on a private message on Penciljack.com forums asking if I wanted to work with him. I was 28. Thats when I started Invincible. And that’s really when most of the learning started. By reading Invincible you can see my growth in the last ten years. And I’m still learning and growing and evolving.
So my suggestion for getting into comics? Work for it, find your own way in. You might have to write for yourself, give yourself assignments. Fill up sketchbooks. Study artists, draw from life, collaborate on forums. It might be a hobby for a long while. So getting a job in the meantime will probably be necessary. You don’t need to follow my way or anyone’s way to get into comics. Do it your way. I was always told that the only way to get into comics was by submitting. I stumbled upon a different way, many artists have. And now mail submissions are a thing of the past. It doesn’t happen. Go online. Go to cons. Make friends. Enjoy it, dammit. Hopefully my middle of the night rambling was coherent enough to understand. Thank you.
I’m not even a huge Metroid fan but I must say I am incredibly disappointed with this game. This is not a Metroid game. This looks like Disney’s version of a multiplayer Halo that was made by a novice indie game developer.
Where is the deep and dark story and atmosphere of the Metroid series we all know and love? Did Nintendo forget how subliminally gruesome the Metroid series was? If you take the time to read the lore, there is an entire story and even journals of soldiers describing what it was like fighting off Metroids and other aliens. Simply put, it’s brutal.
In addition to all of this, the graphics look atrocious. This is 2015, not 2005. This game looks like it was made for the original Nintendo DS or even the N64. I’m not saying graphics are a priority, but when you’re games look like they’re an entire generation behind, there’s a problem.
Why would you take the Metroid series; a visually stunning and vast world with a strong female protagonist and deep story, only to remove the main character and her story from it to be replaced by large headed robot soldiers with basic colors to indicate who is who like this is some five year old party game. Do you not know your target audience? Metroid fans have grown up since they’ve played the Metroid Prime games and I can easily say that most of them are at least 18 years old now. The fans have been asking for a METROID game, not this bullshit excuse for a “fun online multiplayer first person shooter experience” with Metroid’s name slapped onto it. Even if you didn’t use Metroid’s name as the title, the game itself looks very half-assed. This includes the game play, character design, story, mechanics, graphics, everything.
Where is the story? Where is the depth? Where is the exploration? Where is the sense of fear of the unknown that Metroid is loved for? This year was your chance to reel in the old Metroid fans, but you’ve done the exact opposite, and I don’t think you’ll be getting those fans back.
the Julia thing happened in the books, guys… it’s an essential part of her storyline and it was important that it played into the show. Please quit bitching about how there was no “rape trigger warning” and accept the fact that not everything you watch on television that is intended for mature audiences is going to be pleasant. Sy Fy isn’t responsible for “warning” you about anything past the point of issuing a general “viewer discretion advised” message, which it did right before the segment the scene was in came on, so hush.
it’s not like you didn’t know this show is dark as hell. did you forget a few episodes ago when eliot’s boo boo graphically ripped off that rabbit’s head and then crushed jane’s throat resulting in a bloodbath explosion? not to mention when the beast ripped the dean’s eyes right out of his skull at the beginning of the second episode?
overall- good finale. DRASTICALLY different from the ending of the first book, but I kinda expected that. As a huge fan of the books, I’ve been surprised with how much I’ve actually liked the show and have been mostly okay with the changes, so I’m looking forward to season 2. :)
Allow events to change you. You have to be willing to grow. Growth is different from something that happens to you. You produce it. You live it. The prerequisites for growth: the openness to experience events and the willingness to be changed by them.
Forget about good. Good is a known quantity. Good is what we all agree on. Growth is not necessarily good. Growth is an exploration of unlit recesses that may or may not yield to our research. As long as you stick to good you’ll never have real growth.
Process is more important than outcome. When the outcome drives the process we will only ever go to where we’ve already been. If process drives outcome we may not know where we’re going, but we will know we want to be there.
Love your experiments (as you would an ugly child). Joy is the engine of growth. Exploit the liberty in casting your work as beautiful experiments, iterations, attempts, trials, and errors. Take the long view and allow yourself the fun of failure every day.
Go deep. The deeper you go the more likely you will discover something of value.
Capture accidents. The wrong answer is the right answer in search of a different question. Collect wrong answers as part of the process. Ask different questions.
Study. A studio is a place of study. Use the necessity of production as an excuse to study. Everyone will benefit.
Begin anywhere. John Cage tells us that not knowing where to begin is a common form of paralysis. His advice: begin anywhere.
Everyone is a leader. Growth happens. Whenever it does, allow it to emerge. Learn to follow when it makes sense. Let anyone lead.
Harvest ideas. Edit applications. Ideas need a dynamic, fluid, generous environment to sustain life. Applications, on the other hand, benefit from critical rigor. Produce a high ratio of ideas to applications.
Keep moving. The market and its operations have a tendency to reinforce success. Resist it. Allow failure and migration to be part of your practice.
Slow down. Desynchronize from standard time frames and surprising opportunities may present themselves.
Don’t be cool. Cool is conservative fear dressed in black. Free yourself from limits of this sort.
Ask stupid questions. Growth is fueled by desire and innocence. Assess the answer, not the question. Imagine learning throughout your life at the rate of an infant.
Collaborate. The space between people working together is filled with conflict, friction, strife, exhilaration, delight, and vast creative potential.
____________________. Intentionally left blank. Allow space for the ideas you haven’t had yet, and for the ideas of others.
Stay up late. Strange things happen when you’ve gone too far, been up too long, worked too hard, and you’re separated from the rest of the world.
Work the metaphor. Every object has the capacity to stand for something other than what is apparent. Work on what it stands for.
Be careful to take risks. Time is genetic. Today is the child of yesterday and the parent of tomorrow. The work you produce today will create your future.
Repeat yourself. If you like it, do it again. If you don’t like it, do it again.
Make your own tools. Hybridize your tools in order to build unique things. Even simple tools that are your own can yield entirely new avenues of exploration. Remember, tools amplify our capacities, so even a small tool can make a big difference.
Stand on someone’s shoulders. You can travel farther carried on the accomplishments of those who came before you. And the view is so much better.
Avoid software. The problem with software is that everyone has it.
Don’t clean your desk. You might find something in the morning that you can’t see tonight.
Don’t enter awards competitions. Just don’t. It’s not good for you.
Read only left-hand pages. Marshall McLuhan did this. By decreasing the amount of information, we leave room for what he called our “noodle.”
Make new words. Expand the lexicon. The new conditions demand a new way of thinking. The thinking demands new forms of expression. The expression generates new conditions.
Think with your mind. Forget technology. Creativity is not device-dependent.
Organization = Liberty. Real innovation in design, or any other field, happens in context. That context is usually some form of cooperatively managed enterprise. Frank Gehry, for instance, is only able to realize Bilbao because his studio can deliver it on budget. The myth of a split between “creatives” and “suits” is what Leonard Cohen calls a ‘charming artifact of the past.’
Don’t borrow money. Once again, Frank Gehry’s advice. By maintaining financial control, we maintain creative control. It’s not exactly rocket science, but it’s surprising how hard it is to maintain this discipline, and how many have failed.
Listen carefully. Every collaborator who enters our orbit brings with him or her a world more strange and complex than any we could ever hope to imagine. By listening to the details and the subtlety of their needs, desires, or ambitions, we fold their world onto our own. Neither party will ever be the same.
Take field trips. The bandwidth of the world is greater than that of your TV set, or the Internet, or even a totally immersive, interactive, dynamically rendered, object-oriented, real-time, computer graphic–simulated environment.
Make mistakes faster. This isn’t my idea — I borrowed it. I think it belongs to Andy Grove.
Imitate. Don’t be shy about it. Try to get as close as you can. You’ll never get all the way, and the separation might be truly remarkable. We have only to look to Richard Hamilton and his version of Marcel Duchamp’s large glass to see how rich, discredited, and underused imitation is as a technique.
Scat. When you forget the words, do what Ella did: make up something else … but not words.
Break it, stretch it, bend it, crush it, crack it, fold it.
Explore the other edge. Great liberty exists when we avoid trying to run with the technological pack. We can’t find the leading edge because it’s trampled underfoot. Try using old-tech equipment made obsolete by an economic cycle but still rich with potential.
Coffee breaks, cab rides, green rooms. Real growth often happens outside of where we intend it to, in the interstitial spaces — what Dr. Seuss calls “the waiting place.” Hans Ulrich Obrist once organized a science and art conference with all of the infrastructure of a conference — the parties, chats, lunches, airport arrivals — but with no actual conference. Apparently it was hugely successful and spawned many ongoing collaborations.
Avoid fields. Jump fences. Disciplinary boundaries and regulatory regimes are attempts to control the wilding of creative life. They are often understandable efforts to order what are manifold, complex, evolutionary processes. Our job is to jump the fences and cross the fields.
Laugh. People visiting the studio often comment on how much we laugh. Since I’ve become aware of this, I use it as a barometer of how comfortably we are expressing ourselves.
Remember. Growth is only possible as a product of history. Without memory, innovation is merely novelty. History gives growth a direction. But a memory is never perfect. Every memory is a degraded or composite image of a previous moment or event. That’s what makes us aware of its quality as a past and not a present. It means that every memory is new, a partial construct different from its source, and, as such, a potential for growth itself.
Power to the people. Play can only happen when people feel they have control over their lives. We can’t be free agents if we’re not free.
i was thinking about 12 years a slave and how important it is that it didn’t brush aside the sexual violence that so many black women in that time period faced it didn’t portray it in a graphic way, but it wasn’t glossed over like i think it’s an aspect of history ppl try to forget, but we need to be reminded it did happen
how did we end up here—first of all, ignore the graphic. second, I honestly can’t believe this. it literally feels like I started this blog yesterday and I’m already celebrating 200 SMACKAROONIES. Jonathan has become so special to me, this entire fandom has become like a new little home and the people I’ve met are so nice. This is the type of fandom I hope to stay in for a very long time !!
as a silent hill and LoK fan I have to rebuke your statement that SR1 revolutionized gaming using fog! The first Silent Hill, which also used fog to help lower the graphical requirements of it's massive open world, was released seven months prior to Soul Reaver! However SR1 looked WAY nicer than SH1, and i definitely believe that both of those games together helped revolutionize gaming as a whole due to their innovation and story.
Ah, how could I forget? Silent Hill is also an excellent game in regards to graphics and storytelling.
Although, I must add that it wasn’t the fog that was revolutionary. The fog was a consequence of having such a wide open world with no load times. The absence of in game load times was what made Soul Reaver revolutionary for its time. It would have been impossible to make such a game otherwise. Did Silent Hill have load times when you entered buildings? I can’t remember.
Cover art by the talented, majestic and indomitable ligeiia.
Summary: Emma Swan, self-described “loner, loser, and complicated wreck” takes a much needed vacation from her New York City life by doing a home exchange with Liam Jones, a charming bartender from Brighton, England. She could have never anticipated that what, or whom, she would find on her summer vacation was exactly what she had always been missing. (The Holiday AU, summer style)
The dim light of the cabin cast Killian’s tan skin in a warm glow. Emma toyed with his soft patch of chest hair, resting her head on his shoulder, while he carded his fingers through her long, blond locks. They were sated and very nearly asleep when Killian’s phone buzzed to life. The glow of the screen illuminated its location on the shelf above their heads and he reached for it as best he could without disturbing his beautiful companion. Squinting at the screen, he discerned the speech bubble text icon indicating a new text message. The sender read Liam.
Hey Killian. Got a mo?
“Sorry, love, it’s my brother.” Liam usually used some manner of belittling pet name, reserving Killian’s given name for more serious matters. With one hand, Killian thumbed out a response.
Yeah, what’s up?
Liam’s reply didn’t come in the form of a text, but rather, his photo popped up on Killian’s phone with a video call.
“I think I have to take this, darling.”
Emma let out a small whine of protest. Begrudgingly, she rolled over, resting her head on a pillow that was a poor substitution for Killian’s shoulder. She pouted playfully, but understood. If she had family to speak of that called her from across the world, she’d take it in a heartbeat.
Killian scooted up so he was reclining against the back wall of the compartment. He framed his face in the screen and met eyes with Liam, who was smiling broadly in the afternoon sun. He was in some sort of park, surrounded by green space overlooking the river. Leave it to Liam to find a picturesque spot by the water to show off his travels.
“Nice of you to check in,” Killian chided, “You’re quite the jetsetter!”
“Aye, sorry about leaving so abruptly. I called you before I left. You got my message I presume?”
Thankfully, I did not. Not in time, anyway. Killian thought to himself, straining very hard to maintain a poker face. “Aye,” he nodded.
“The woman staying at the house seems nice. I know I said not to bother her, but you should maybe pop by and see how she’s getting on.”
“Right. First thing after work tomorrow, I’ll drop in and see if Emma needs anything.” Killian damn near clapped his hand over his mouth, hearing his error tumbling out. It was too late.
“I never told you her name. Killian…” Liam eyed him suspiciously through the lens. “Oh! You didn’t. Tell me you didn’t…”