i've wanted to make a contrast post for a long time so

my alternative titles for every eurovision song contest (up to 2017)
  • 1956: So Good They Did It Twice
  • 1957: Yes, Gimmicks Were A Thing In 1957
  • 1958: One Of The Most Covered Songs In The World Came In 3rd Place
  • 1959: The Official Soundtrack for Disney's 'Cinderella' (1950)
  • 1960: Camera Angles Are Extremely Important
  • 1961: Blimey, The 50s Is Taking A While To End
  • 1962: Contrast Overload
  • 1963: (Studio Version)
  • 1964: So Lit The Original Film Got Destroyed In A Fire
  • 1965: The Year Eurovision Starts To POP
  • 1966: Udo Jürgens: This Time It's Personal
  • 1967: Whoever Thought Rotating Mirrors Is A Good Stage Background Was A Fool
  • 1968: COLOUR!!!!! (or, “The Year Cliff Richard Was LIVID”)
  • 1969: The Year Everybody Won
  • 1970: The One With The Most Ridiculously Energetic Interval Act
  • 1971: I Want Whatever Conditioner They're Using
  • 1972: Vicky Leandros Is A Goddess
  • 1973: [Luxembourg to the rest of Europe] You Just GOTTA See The Orchestra!!
  • 1974: The Rise of ABBA
  • 1975: None Of The Acts Can Paint For Shit
  • 1976: Whoever Had To Move That Background Display Before Every Song Must Be Fucking Ripped
  • 1977: A Bird And A Child In The Hand Is Worth Four In The Bush
  • 1978: Who Needs Postcards When You Have Lifts?
  • 1979: The Year With A Gay German Genghis Khan
  • 1980: Johnny Logan, Pt.1 (or, "Close, But No Cigar, Katja Ebstein")
  • 1981: Blonde White Folk Create New Global Dance Sensation
  • 1982: [Germany to the rest of Europe] Babe, I've Changed, Trust Me
  • 1983: The European Flower Show
  • 1984: *Sigh* I Wish I Was As Cool As Désirée Nosbusch
  • 1985: The Student Has Become The Master: Norway Edition
  • 1986: A Child Is Significantly Better Than A Load Of Adults
  • 1987: Johnny Logan, Pt.2
  • 1988: Europe's Embarrassing 80s Prom Night
  • 1989: Yugoslavia Finally Wins 3 Years Before It Stops Existing
  • 1990: The European Union Is A Very Good Thing
  • 1991: Gorgeous Singers Make Up For Ugly-Ass Staging
  • 1992, 1993 & 1994: Ireland: The Trilogy (Franchise)
  • 1995: (Instrumental Version)
  • 1996: Ireland: The Sequel Nobody Wanted
  • 1997: Love Shine A Light (Except Towards Basically Anywhere That Isn't England)
  • 1998: Trans-cending The Haters Through Eurodance
  • 1999: Here Comes The English Language
  • 2000: The Year The Logo Predicted Instagram Makeup Trends
  • 2001: Not Even The Songs Could Save The Horrible Fashion Of The Early 00s
  • 2002: Well… That Wasn't Expected
  • 2003: A Song Sung In Nonsense Almost Won
  • 2004: The Dance Off
  • 2005: You're My Number One Angel If You Let Me Try
  • 2006: Demons Win In Front Of Some Stairs
  • 2007: Like Everything Else In 2007, Eurovision Has A Bit Of An Emo Phase
  • 2008: What On Earth Were We Thinking
  • 2009: Mother. Fucking. Violins.
  • 2010: A Significant Amount Of Jumping Occurs
  • 2011: Good Luck Filling All This Unnecessary Stage Space Up, Lads
  • 2012: Are My Eyes Bleeding Or Is Literally Everything In This Contest Red?
  • 2013: Ministry Of Sound: Eurovision Edition
  • 2014: What A DRAG, Amiright?! (Nah But Seriously 2014 Was A Fantastic Year)
  • 2015: The Story Of A Man And His Projector Friend
  • 2016: Jamala Beautifully Makes Us Feel Sad
  • 2017: The Year Having A Dancing Gorilla Was Considered An Advantage

i was asked to do a tutorial on how i make my icons by anonymous, so here’s my super easy way of doing it. there’s no major editing or backgrounds simply because i’m super lazy and i prefer the look of clean, bright icons. i’ve only ever used this method on cartoons (voltron. i’ve only ever made voltron icons lol), so i can’t say for sure whether this method would work well with real people. just keep that in mind!

for some examples of what you can make, here’s my icons page.

please like/reblog if you try it out, and feel free to ask me any questions.

Keep reading


One of the reasons why I don’t like the word “famous” …Because then people use it afterwards and they go like, “he used to be famous,” or, “he’s not famous anymore.” And it’s, like, just this weird thing of, like…. Like, I was a guy before, I was the same guy during, and I’m the same guy afterwards. But, like, people think that they can, like, label your life.

Yuuri and Grief/Loss as it Applies to his Career (and Victor)

Following my Victor and Grief post, here is a look at Yuuri’s perspective to his feelings of grief and loss surrounding his own career. Unlike Victor whose perspective we didn’t get until later episodes, Yuuri’s has been laid bare for us since episode 1. We’ve gotten the chance to hear his thoughts in specific moments and watch his evolution throughout the course of the show.

So one thing that I think will come as a surprise to absolutely no one is that he has been grieving over the loss of his career since episode 1. And added to that is that he accepted this loss by the time episode 12’s hotel scene rolled around.

Let’s take a moment to quickly review what kinds of loss Yuuri has been working through.

In the interest of not repeating a huge chunk of text that I already described at the beginning of my Victor post, I’m going to point you to it here and only describe the portions here that apply to Yuuri.

The type of loss that Yuuri works through during the show would fall under the category of Anticipatory Loss. In short, this is the anticipation of loss, regardless of whether the loss will actually come to pass or not. Victor says “I’ll get you gold at the GPF” but never actually states during the entire show that his coaching and time with Yuuri will end there. That interpretation of his words is entirely on Yuuri’s end. Yuuri then spends a lot of time convincing himself that he is going to lose Victor when there’s been no confirmation on whether that will actually happen or not.

The impact of Yuuri’s loss very clearly falls under the category of Compound Loss. It’s easy enough to see that through losing his career he feels like he is going to lose a lot more (the future tense and focus on how he feels about it are important as his loss is about something he feels he is going to lose in the future). He would be losing his role, identity, direction, and more. But most importantly he’d be losing his relationships, both with his friends/fellow skaters (Phichit for example) as well as with Victor, both before he knew him (he’d lose his chance to ever get to know him in any capacity) and after (he’d lose the relationship he had grown with him as a person and not just a skater).

As you can see, none of that really comes as a surprise because Yuuri himself has basically told us as much. So let’s get into the 5 stages and see where they play in.

Keep reading

Peter Maximoff Smut

Requested by @trafalgarlau

“Hi there! Can I request some Peter maximoff smut? (Cause I’m trash) it can be any story you’d like. Please? c:

A/N: Of course! I’m glad to receive my first smut request especially for that silver speedster. :) I apologise if it’s a bit meh! I've written smut before but never extremely descriptive so hopefully I can improve the more I can write! Also, I’m sorry this has taken so long, I was away all weekend at a festival so I had no way of checking it and posting it sooner!

Word count: 1498 words

Peter had never known frustration like it.

He’d been laying there beneath a tree with Kurt and Scott, keeping out of the hot summer sun, when you’d happened to walk by with Jean and Jubilee. The three of you were heading down to the lake by the look of it, your towels in hand. Jean had a large floppy hat on, protecting her fair skin from the harsh sunlight. You were all lathered with sun cream, and the three of them had watched as you girls lay your towels out. Peter was focusing on you solely, the way your butt jiggled in your bikini bottoms when you walked, and how the oil from the sun cream made your breasts reflect the sunlight.

Peter couldn’t stop his shorts from getting tighter, as he felt his dick harden slightly at the sight of you. He watched silently, observing as you tested the water before slowly easing yourself in. The water was cold and once it reached your breasts, you shivered as your nipples hardened. Peter still watched intently, his dick twitching impatiently as he raked his eyes over your body.

He couldn’t stay here and continue to watch you. Already his erection was pressing against his leg, demanding to be taken care off.

You didn’t know of course, how bad Peter’s need for you was. But you liked to tease him, hence why you made sure to set your stuff up right in his line of view.

Peter continued to watch as you swam and splashed for a few more minutes, until he couldn’t help himself any longer.

“I’m off inside. See you later.” Peter muttered to his pals, zipping off fast before they could ask questions. He went straight up to his room and tore his shirt off, letting the cool room contrast against his hot skin. Still, not enough. Peter looked out of his window and was surprised to see he couldn’t see you down by the lake anymore. But thinking about you again, your little bikini tugged tight over your breasts and ass jiggling all for him, it made his head go dizzy. Peter sat on the edge of his bed, struggling to pull off his shorts until he was left in his boxers alone.

Slipping a hand inside his underwear, he pulled his erection free, feeling his hard cock throb in his hand. Letting it spring free earned a sigh from his lips, and Peter shut his eyes as he pictured you in front of him. He gripped his hand further around his dick, already a slight drop of pre cum sliding down the tip. Peter slowly began to rub his hand up his length, starting off tenderly to prolong his pleasure. Letting out a breathless groan, Peter began to move his hand along his cock a bit faster, with a nice rhythm.

As he did he pictured your hands, oily from sun cream, sliding over your body and toying around your little panties. He imagined what it would feel like to bury himself deep inside you, to hear the pleasurable moans escape those gorgeous lips. Those lips, he wanted them around his cock, taking in every inch of him and covered in his cum as he orgasms into your mouth.

“Y/N…” Peter moaned, bucking his hips into his hand desperately.

“Peter?” Your voice echoed in his ears and he opened his eyes. You stood in front of him, eyes wide like saucers as you stood with your hands on your hips. Peter realised what he was doing and grabbed a pillow to cover himself.

“Fuck…s-sorry.” Peter fumbled, his hand still wrapped around his yearning erection, begging for him to finish.

You just smiled coyly, kneeling in front of him and squashing your breasts together.

“Were you thinking about me?” You whispered, eyes wandering over his naked chest. He shook his head. You just tutted, reaching your hands out and tossing the pillow aside. You unashamedly looked at his hard dick, feeling yourself growing hot just looking at it. “Do you want me to help?” You asked huskily, running your tongue over your top lip as you locked eyes with him.


Peter removed his hand from his dick and rested back on his elbows, waiting to see what you would do. You ran your hands up his thighs, one of them keeping his hips pinned against the mattress and the other stroking its way up his cock. Peter loved the feeling of your hand touching him, and let out a hot groan. You gave it a few slow, test strokes, watching Peter’s reaction as he bit down hard on his lip to stifle the explicit words forming on his tongue.

“What do you want?” You mumbled, your tongue darting out to flick against the tip. Peter’s hips jolted, but your firm hand stopped him from thrusting his cock into your mouth.

“I want you to make me cum on you.” Peter hissed, his fingers gripping into the bed sheets. You smiled and obeyed his order, wrapping your lips around the head of his dick and moving your hand at the base. You took him deeper and deeper into your mouth, until his tip was almost hitting the back of your throat. Then you started up a quick rhythm, your spit dripping off your bottom lip as you bobbed up and down on his cock, your hand moving up and down in time. Peter couldn’t do anything but moan and throw his head back in pleasure.

His breathing became shallower and his hips tried to thrust up into your mouth again. You began to slow down, your eyes locking with his as you teased him mercilessly. Peter hated you for doing so, and denying him the opportunity to cum. So he sat up and wrapped a hand in your hair, securing the back of your head as he pushed your head down, his cock burying inside your warm, wet mouth.

“Don’t tease me.” Peter hissed, controlling your movements now, bobbing your head up and down relentlessly on his cock. He could feel his orgasm coming and pulled out of your mouth, using his other hand to stroke his cock with a faltering rhythm, until he finally orgasms. He let out a loud groan, hand still tangled in your hair as his cum spurted onto your lips and down your chin. You licked the cum off your lips, reaching your hand down to feel how wet you were for him.

“Peter…” You whined, slipping your hand into your bikini bottoms and rubbing yourself. Peter snatched your hand away and pulled you up off your knees and lay you on his bed.

“Don’t touch yourself.” He growled, sliding himself in between your legs. His dick was already hard again, resting on your stomach as he removed your bikini top and began to squeeze your breasts. He wrapped his mouth around your nipple and sucked on it, his tongue swirling around it until it was hard and throbbing. He copied this action with the other one, sliding your bottoms off as he did so.

You were a mess beneath him, your hands clenched in the sheets as you whimpered. Now with your pants off, Peter was able to rub his tip against your clit, sliding himself teasingly along your wet folds.

“Peter!” You cried desperately, begging for him to stop teasing you. Peter snatched a condom from his lowest drawer beside the bed and rolled it over his hard dick, rubbing himself against you some more. You snapped and told him to stop playing with you, moaning when he opened your legs wider and slid himself inside you.

His hands came underneath your ass and lifted your hips up so he could thrust into you easier. You cried out as he quickened his pace, burying himself deeper and harder into you, grunting slightly as he did. Your skin was slick with sweat and sun cream, and when Peter shifted to lean over you, your chests stuck together slightly. Peter moved a hand from your ass to shift between the two of you, his thumb rubbing on your clit as he continued to pound endlessly into you, the two of you shifting up the bed.

The knot in your stomach got tighter and tighter, until you felt it physically snap and your orgasm hit you. You clenched around Peter as he continued to thrust into you, until his hips jerked and he pushed into you with one large thrust, making him orgasm himself. He stayed still for a few seconds, his face buried into the sheets beside your head as he breathed heavily, his dick still inside you. Then he pushed himself up on wobbling arms and pulled out of you, pulling off the condom and throwing it away. Then he climbed up the bed and lay down beside you, turning his head sideways so he could gaze at you.

“Was that what you wanted?” You asked him, turning your head as well so you could look at him. Peter leaned over and kissed your mouth passionately.

“That was everything I wanted and more.” He admitted.

Originally posted by walxx

beautifulhigh  asked:

Off the back of that anon's question... when did Aaron fall in love with Robert? Like proper, totally in love, not like he'd felt for Jackson (and Ed?), but something more and bigger. "I've never had this with anyone" kind of love. When did that happen?

Ahh Jen why are you doing this to me!! So many feelings! My beautiful, sweet Aaron!

OK, so a big moment in my head is their first hotel stay, when Aaron wakes up and he’s got Robert’s arm around him – the first time he’s had Robert truly to himself, without the panic of getting caught and without the discomfort of hay bales sticking into his back – and it’s like he has this moment where he pictures what it would be like to have Robert all to himself, and he wants it. He wants it so much. The way he looks at Robert when they kiss as well the next morning – have you ever seen something so beautiful? For me, he is clearly smitten at this point.

It’s also key that it comes just after Robert’s ‘You’ll make me think I fell for a quitter,’ line. I can’t work out Robert’s motivations behind that line, I’ll be honest, but when Aaron hears it he’s physically shook. It’s like, up until that point, he hadn’t even considered it as an option, and then all of a sudden it’s entered his psyche and that’s what plants the seed, leading to old heart eyes teddy bear Dingle in the hotel room.

The second hotel room was another big moment – and I think when Aaron realised he was struggling to share Robert any longer. His talk with Paddy the next day confirms that, and that he was in love with him at that point, and already it’s a different kind of love to what he’s ever known (see below).

Home Farm week was important too – Aaron getting a taste for what a real relationship with Robert would be like, and Aaron loving it so much he never wanted it to end. I mean, I’m not sure what Aaron was expecting to happen afterwards, but when Robert announced that Chrissie was coming home, he’s completely devastated. He fell hard during that week, and I’m not convinced he’d ever enjoyed domesticity quite like it before, even if he had lived with Ed in France.

BUT you ask when he felt the ‘never had it with anyone’ before kind of love? Well…

What he feels for Robert is completely different to what he felt for Jackson or Ed, in my opinion, so arguably as soon as he’d fallen for Robert, it was automatically different; automatically something he’d never had before. Why do I think that? Jackson and Ed were safe. He fancied them – clearly – and there was a spark. But in many ways, Aaron was totally in control. He decided to pursue the relationships, and the feelings developed from there. Love arose from attachment, in some ways. The narrative with Jackson is a little skewed because it runs alongside Aaron coming to terms with his sexuality – which he was clearly not in control of – but I think Aaron felt with both of those relationships that he was at least able to make the decision to be with Jackson/Ed, and there was never the same level of uncertainty that he faced with Robert.

With Robert, he accepted there was no future (hahahahahaha bless them!) and that it was what it was, and yet his feelings developed regardless; despite himself. There was no attachment (or there shouldn’t have been) but still his heart longed for Robert. His heart didn’t do as it was told, with Robert; in contrast, with Jackson and Ed, his heart was just doing what was expected in that situation.

AND, to add to that, I think that in actual fact it was sometimes the time apart from Robert, where Aaron really realised how much he really loved him, and how deeply. He got over Jackson and Ed with time. Time cured him of those feelings. BUT – he could not get over Robert. Despite everything – despite what he knew Robert had done; what he was capable of – he couldn’t stop. However much time passed, and however much distance he tried to keep, and however many times he may have tried – he NEVER STOPPED loving Robert (we know that – it’s canon). He couldn’t. And that’s a kind of love Aaron had never had before.

Also – as an aside – with the whole shooting/Aaron wishing Robert was dead scenario – I was talking to @stolemyhheart about this only today – I think the real reason he wanted Robert dead wasn’t because he didn’t love him. It was because he knew that was the only way he could move on from him; the only way he could stop loving Robert, was if he was dead. (And, I doubt that would have stopped it tbh, Aaron – Robron’s love transcends human nature and mortality, I’m sure of it)

So, yeah. He loved him early on, and he never stopped, and it was only when they weren’t together that he realised he’d never had a love that overpowering, and he never will again!

anonymous asked:

seeing that robert sean leonard comparison made me wonder since he is such a wonderful actor: what do you think are the most well acted moments of skam? (personally my favorite is the phone call scene in 3x09. that was extraordinary, so natural, i really felt like i was the one calling and the nerves would destroy me.)

Hey, sorry, I was thinking about this question for a while! It’s so hard to choose because the bar is so high. Also, I’m just watching this as a layman without any technical knowledge so separating what I love because of the production choices vs what really features the acting can be tricky. I’m probably biased towards the moments that really feel like a punch to the gut too? My simple answer: “anytime Tarjei’s face (or even the back of his head, really) appears onscreen and also Henrik really getting to dig in during episodes 8-10 and also all eye contact they have together because that can tell their whole love story”. But I tried to do a top five, since you asked!

Honorable mentions: Tarjei in 6.10 part 3 - Kan du varme et til meg også, Henrik in 8.10 part 1 - Tenke det du føler, both in 5.10 part 1 - Hjernen er alene, both in 9.10 part 4 - O Helga Natt.

5) Henrik in 5.10 part 4 - Pause. I love love love that such a quiet scene is so pivotal and that it really only gets its significance from what they aren’t saying. They’re both good here but I single out Henrik because he goes through a complete emotional rollarcoaster in four and a half minutes. He’s nervous, then maybe the most simply happy we’ve seen him on “I’m not sad!”, then alarmed… resigned… saying goodbye. The first time around though… I didn’t see it all. This was second clip that aired after I started watching the show in real time and at that point, I still hadn’t figured out what was going on with Even. So, my first watch through, I was taken in by the way Even forces himself to remain casual and thought it was empathy for Isak rather than a personal reveal. Henrik in this scene is so good because there was just enough there, it was only when I watched it a second time that the alarm in his initial reaction and the moment he looks down clued me in that something was wrong here for him. When I watch it now though, I can almost see the thoughts flitting across his face the whole time as if he’s actually speaking them. It’s a love being built up and then suddenly slipping away right there in that locker room.

Standout detail: When he averts his eyes and takes a second to process:

4) Tarjei in 9.10 part 3 - Sees fredag. Already mentioned in the ask but this scene is done entirely through watching Tarjei go through different emotions in a room by himself. You don’t need to do anything but watch him to get how nervous he was: how he holds the phone to his heart, how he was steeling himself and running through his opening words in his head, how he closed his eyes and chanted silently “pick up, pick up” no matter how anxious about this conversation he might be. And then on the phone with his dad, how he sounds so defeated but he doesn’t break until he has to deny he’s upset… and then all the emotion just comes flowing out. I don’t think anyone could watch this scene without relating deeply?? I think everyone has had phone calls where you’re heart is beating out your chest like this, everyone has burst in tears just like that before. He nailed it.

Standout detail: When he just cracks as he denies he’s upset:

3) Tarjei in 6.10 part 5 - Vært litt spess i det siste. I’m just retreading what’s already been said here but I don’t think I’ve ever seen a more true-to-life coming out done? I’m getting a little teary just thinking about Isak on that bench, steeling himself to make that leap. It’s the sheer reality of this moment that has this so high on the list. Really, kudos to Julie and to Tarjei for getting it so right and putting this on screen. It’s such a universal experience for people who’ve lived this but I’ve never seen it done quite this well. All the little moments of waiting, the tension he’s holding as they go get food first, how nervous he is the whole time as they circle closer and closer to it, the overwhelming RELIEF after they’ve started to laugh about it. It’s just… pitch perfect.

Standout detail: When we cut back to his face as he’s waiting anxiously for Jonas’s reaction after he said “It’s not a girl”:

2) Both of them in 10.10 part 1 - Minutt for minutt. I cryyyyyyyyyyy. First of all, I’m in awe of how Henrik’s face looks completely different in this scene?? He’s getting help from makeup and lighting and camera angles but it’s amazing how different he looks having turned off that light in his eyes. He’s fallen open in a way that we’ve never seen. We’ve caught him turned inwardly, seeming to struggle or be wiped out by something, for brief snatches of time before but now, he doesn’t have the energy or motivation to keep any sort of guard up and you can see it all. He portrays the weight of depression so well too, the physical exhaustion he can barely speak through. How he believes what he’s saying but he doesn’t want to… I’m just really impressed by how well he plays it. And Tarjei, he’s always great, but I especially love the self-consciousness in what he’s doing in this scene. Like how when he reaches out to hold Even and stroke his face, it doesn’t come to him easily, he’s a little stiff at it. The shaky resolve of his voice. And his determination, the fire in his eyes in contrast to the blankness of Even’s.

Standout detail: Henrik’s face when Isak first denies the ‘truth’ he’s telling him and Tarjei’s slight clumsiness as he reaches out and holds Even’s face:

1) Both of them in 8.10 part 4 - 15:15-01:01, from 5:28 to 8:58. I still haven’t rewatched this clip in full, it was almost too effective, but this part is the very heart of it for me. Tarjei’s face as he’s starting to put together that something isn’t right here… my heart is in my throat. And I just never can say enough about how well Henrik played this. I think it would be easy for what happened to be something shocking, something off-putting that puts distance between the audience and characters, even increases the stigma about someone going through a manic episode. But I never felt like that, I felt like the audience was Isak here… it slowly dawned on us. The emotional impact of this scene hinges on both seeing Tarjei slowly putting it together but also Henrik walking that fine line where you can almost think nothing’s wrong at first, but you’re talking yourself into it… it’s just a little too much… and then it gets to the point you can’t ignore. We’re alarmed because we know Even and we know something is off. The way they intercut this with their conversation on the bed, which is another great performance, that’s about things they’re not saying creeping closer but in a much quieter and more intimate way, Even realizing he needs to backtrack and adding “I’m just kidding” and how much both of their eyes are saying there…

I can’t really put it into words. I think the editing and sound help create a lot of the fear you feel with this scene but the empathy, what keeps you with Even and with Isak’s worry for him, what keeps this from ever seeming like a spectacle but instead deeply personal, comes from the performances the two of them gave here.

Standout detail: When Even starts talking about the wedding and it’s just not… hitting… right and the complex mix of emotions in Tarjei’s eyes here, the fear and concern and knowing:

anonymous asked:

I never played the game so when was implied Komaeda's hair wasn't white? I really thought that was his natural hair color so now im curious thanks

When I made the post, there seemed to be an agreed on idea that Komaeda’s pinkish highlights on his tips were a sign that his hair used to be a different colour, likely some shade of brown.

I’m actually kind of ashamed of myself for getting caught up in it now, because literally a few weeks ago I actually,in my design notes, (because every time I figure I’m gonna draw a character a lot I make a shorthand guide for myself) wrote down “Komaeda’s hair is actually not a gradient/ seems to be more of a shading technique” (with a frowny face next to it because adding the gradient was my favourite part of drawing him. I actually don’t do it as much or as often/harsh now.)

because if we look at detail portraits from the game like this one:

and this one

Naw it’s white.

and if we want anime screenshots:

what would be the gradient area is the exact same tone as the cell shaded area, so it’s probably to add depth, and in game it’s to contrast with his huge green jacket and pale white face. (His hair was also shorter while at Hope’s Peak and his eyes are clearer/more green but that’s a side thing to talk about later)

Mind you, I purposefully chose images from 3 different eras of his life to see how/if things progressed.

THEN AGAIN, There’s aso a lot of official art where it’s interpreted as a gradient. 

Seriously in DR:AE It’s not all that consistent:

(Some of those are DEFINITE gradients, some are straight up white. The main ones that are gradients are also taken from the same scene)

and yknow what just going through his image gallery on the DR wiki has exhausted me because sometimes there’s a gradient in DR3 and sometimes there’s not. It changes depending on the lighting and whoever’s job it was to do colour that day. Don’t worry his vest is inconsistent too I noticed that while watching. (Making anime is actually super hard and things like this happen)

(The bottom half of his head here is very obviously pink)

(also I love this scene so here’s a screenshot)

(the ends are also tinted in the shower scene)

If we were to try to rationalise it in universe, you could just say he has a reddish undertone, which a lot of people have (Most people just don’t have white hair haha) The images from this post (x) also seem to hint that it’s an undertone or general artistic decision to shade Komaeda’s hair with reds, but since I don’t know how official those actually are.

Basically what I’m saying here is that while a headcanon around the undertone and occasional gradient could exist because on some level the text supports it, but anything that relies on it being true doesn’t have the strongest legs to stand on if you wanted to pick a real fight. It’s one of those things where a fandom would have to divide into branches over, and based on those decisions come up with something equally valid.


(He has to be in Elementary School or younger in this pic, just based on timeline)

It’s been white/white based for a long time, if not always. Which isn’t unusual in that of itself because Peko has been grey since she was a baby. And also has red eyes. We’d have to know how common snow white hair is in-universe.

oh and also it was deep grey in DR:AE for his model so

I’m sure what happened was that whoever was in charge of the character models for his sprite sheet weren’t clear when it was translated to other mediums EXACTLY what was up with the pink hair, because different mediums disagree.


Speaking of speculation, though, I’d like to add an important note: Nagito’s avatar in dr2 is made from his own memories of what he was like before he entered hope’s peak academy, which is why I mentioned that his hair was longer and his eyes were more dead. and that there are more detail shots of his hair being entirely white in-game than in the anime. If he has a gradient while at Hope’s Peak, but his avatar doesn’t, then Nagito’s hair was more likely pure white BEFORE Hope’s Peak. 

Take of that what you wil, it would require yet another post, www.

I am actually exhausted. 

anonymous asked:

Why do you always reblog angst kyle ron shit to your blog. Half the time you seem good but then you do stuff like that.

You are probably a troll, but I’ve answered a question (albeit that anon asked in a friendlier tone) like this already. Every time I reblog Kylo content I get two to three anons like you. 

I relate to Kylo Ren because of very personal and painful reasons. Since you and a few others seem really really adamant about probing me; here are some canon reasons why. 

When next Snoke spoke there was an intimacy in his voice, a familiarity that stood in sharp contrast to the commanding tone he had used with Hux.

“I have never had a student with such promise—before you.”

Ren straightened. “It is your teachings that make me strong, Supreme Leader.”

Snoke demurred. “It is far more than that. It is where you are from. What you are made of. The dark side—and the light. The finest sculptor cannot fashion a masterpiece from poor materials. He must have something pure, something strong, something unbreakable, with which to work. I have—you.” - Force Awakens Novelization


He met her eyes steadily. “We’ve lost our son, forever.”

Leia bit her lower lip, refusing to concede. “No. It was Snoke.

Han drew back slightly. “Snoke?”

She nodded. “He knew our child would be strong with the Force. That he was born with equal potential for good or evil.

“You knew this from the beginning? Why didn’t you tell me?”

She sighed. “Many reasons. I was hoping that I was wrong, that it wasn’t true. I hoped I could sway him, turn him away from the dark side, without having to involve you.” A small smile appeared. “You had—you have—wonderful qualities, Han, but patience and understanding were never among them. I was afraid that your reactions would only drive him farther to the dark side. I thought I could shield him from Snoke’s influence and you from what was happening.” Her voice dropped. “It’s clear now that I was wrong. Whether your involvement would have made a difference, we’ll never know.”

He had trouble believing what he was hearing. “So Snoke was watching our son.

Always,” she told him. “From the shadows, in the beginning, even before I realized what was happening, he was manipulating everything, pulling our son toward the dark side.” - Force Awakens Novelization


The Supreme Leader’s voice was flat. “You have compassion for her.

“No—never. Compassion? For an enemy of the Order?”

“I perceive the problem,” Snoke intoned. “It isn’t her strength that is making you fail. It’s your weakness.” The rebuke hurt, but Ren didn’t show it. […]

“I want the entire Ileenium system destroyed.”

Daring to disagree, Ren took a step forward. “No—Supreme Leader, I can get the map from the girl, and that will be the end of it. I just need your guidance.”

“And you promised me when it came to destroying the Resistance you wouldn’t fail me.” The threatening figure of Snoke leaned toward Ren.[…]

“Kylo Ren. It appears that a reminder is in order. So I will show you the dark side. Bring the girl to me.”


Ben had the wavy dark hair that Han remembered, now shoulder length. His mother’s cheeks, Han’s chin. Yet everything about him was narrow and stark, as if he had starved himself of nourishment. And his eyes were not the brown eyes Han remembered. They were dim and dark and terribly sad. […]


“They (Han and Leia) had this kid who was born equal parts good and evil. He is someone who is broken….But it’s more than just having a bad seed as a kid. Snoke had targeted this kid, knew that this kid was gonna be incredibly powerful in the force and wanted him as an ally. So this mother and father had a target for a son. Someone was watching their boy. And these parents aren’t there enough to guide him.” (J.J. Abrams)


Aftermath Empire’s End:

Who is out there, who is watching us? Hands reach for her, hands of shadow, lifting her up, reaching for her throat, her wrists, her stomach -
Inside, the child kicks. She feels her baby turning inside, right-side, up and down, struggling to find his bearings, trying so hard to find his way free of her.

He is less a human shaped thing and more a pulsing, living band of light. Light that sometimes dims, that sometimes is thrust with a vein of darkness. She tells herself that it’s normal - Luke said to her, Leia, we all have that. He explained that the brighter the light, the darker the shadow.
Right now, her son is upset, tumbling inside her as if he can’t get comfortable. His light, flickering with dark. […]
As Leia finds her peace, so does her son. […]
My son is alive. The future is bright.  […]
The baby turns inside her again, troubled by something she cannot feel and cannot yet understand.

anonymous asked:

Your analysis of Len's speech patterns is so amazingly detailed and wonderful. Sometimes while writing Barry I feel like I fall into too much of a generic voice so I was wondering if you've noticed anything that's really specific to Barry's speech?

I totally feel you, anon. 

I think because Barry is the protagonist, and because he’s this kinda nerdy (but not super nerdy) guy who gets enthusiastic about things he loves, deals in sarcasm and dry humor sometimes, and tries his best but leads with his emotions… well I think most people who write him end up doing so in part by projecting themselves onto him? Which there’s nothing inherently wrong with, and I’m sure I do it too, but it means he ends up sounding like us, or else not like anyone distinct, rather than as himself. It’s something I work hard to avoid in my fics sometimes, tbh.

Anyhoo, I also find his speech a little harder to dissect because there’s fewer things that just jump out, relative to Len’s. So I’ll talk about his patterns that go along with his specific word choices, like body and voice and such.

Because for starters, speech is at least half body language and facial expression. Barry uses broad, wide, gestures, especially with his arms and sometimes his whole body. He’s very kinetic, often pacing or moving or walking over to someone, and moves a lot when he’s emotional about something. Not that he can’t be subdued, but if he is, it’s for a reason, typically an emotional one. He’ll curl in on himself a lot too, if his energy is low, but if he’s subdued but has to face someone, then you just get a hunch to his shoulders unless he has to square off against them. 

He’s also a freaking bobble head, often giving his head a bit of a shake side to side, for laughing or teasing or disagreeing or exasperation. When he’s embarrassed or guilty he ducks his head, when he’s overwhelmed or exhausted he runs a hand over his face, when he’s tired but trying to focus he runs it through his hair and when he’s shy and hedging about something then he scratches the back of his head. When someone (read: when Iris) is upset with him, he’ll touch his face and then drop his hand then do it again, desperate and pleading, curling his fingers and uncurling them as he brings them toward his mouth then tries to barrel through an apology. That’s when he’s confronted. When he’s more ready to genuinely apologize, he gets more subdued.

Things Barry will say, hmm. 

Well, he’ll start a sentence and trail it off before getting straight to the point. A momentary hedge, so to speak. None of these are direct examples from his speech, but I bet you can imagine him saying all of them: “Yeah, about that…” and “This is… Look, you know as well as I do that–” and “I don’t know I just… There has got to be some way to fix this.”

That last one brings me to another point. Unlike characters (*cough*Len*cough*) who stress sometimes strange words to clearly hammer-home a point, Barry tends to only emphasize verbs in his speech, particularly the copula (basically, the first verb in the sentence). “What I do know–” and “We have to do something” and so on, and he tends to do it when he’s louder. (Thinking currently of “what I am is the guy who’s not fast enough to stop Wells!” from 1x22, where he actually enunciated the ‘fast enough’ bit as well, which is a rarity for his speech patterns).

That reminds me, in line with that, Barry has a tendency to sometimes ask questions in one breath and answer them in the next. He’s not really asking, he doesn’t say “what” but he poses things like a question. “Watching that happen in from of me? Living that? It was real to me.” (which he said about Earth 2).

Oh yeah, volume. Barry shouts when he’s angry. He gets quiet when he’s ashamed. 

He also brings other people into his speech. The example from above “you know as well as I do”? Well he does things like that, bringing the person he’s talking to around to his side by verbally including them in his statements. “You and I both know” and “We’ll think of something” and so on. He actually starts a lot of sentences with “you” it seems (contrasted with some people who have more “I” focused language). It shows a sort of mindset where he connects with his team and the people around him, brings them in to his perspective. An interdependent mindset.

What else? His sense of humor is something I feel like people miss at times? Barry’s not really laugh out loud funny, but he’s the first to smirk at an off-color joke (unless he’s already in a bad mood to begin with), or to widen his eyes at something awkward someone said. His actual humor tends to err on the side of a little self-deprecating but he can also direct it outward, normally slightly scathing and sarcastic. Actually, a good comparison would be Steve Rogers’s sense of humor in The Winter Soldier, if you’ve seen it? A bit of a troll when he’s in a good mood or flirting, but also dry as a freaking desert sometimes.

He’s also cocky, and when he is, he’s all smiles and humor and teasing people like “you know you love me” kind of stuff. He gets this ridiculous swagger and it’s adorable. 

When he’s annoyed or frustrated, that “for real?” attitude comes out too. 

Actually, that makes me think: he uses pretty clipped sentences. His speech patterns aren’t complex by any measure. The sentences tend toward short and have two clauses, at most, or you could interpret them as often having two clauses but those are very short and simple clauses. No run-ons in his dialogue, no excessive adjectives or adverbs except to emphasize and qualify. His speech is plain and not flowery (outside of romantic situations, at least). He doesn’t tend toward long speeches or explanations unless or until he’s put on the spot. His rambling is so awkward because he doesn’t normally get to talk and ramble, so when he does it spirals lol.

He also has a tendency to qualify things (unlike Len, lol), but he especially qualifies absolutes as absolutes. What do I mean? When he tells Joe about Earth 2 Joe West, he says “but you didn’t like me… at all.” He qualifies the statement “you didn’t like me” by making it even more absolute than it already was (whereas a typically qualifying clause hedges a sentence and makes it less absolute, not more). This is just sort of in line with his tendency, stated above, to give part of an idea, pause, then add the rest. To ask a question then deliver the answer, or to hedge and then get straightforward. 

Actually, that’s kind of neat, isn’t it? A lot of his speech is like a 1 step, 2 step kind of thing. (Another example of how this works, in the Time Vault in 2x17, “this Barry – your Barry?” He gets hyperspecific, even though he’s using the words here to manipulate).

For a more granular reading, unlike Len who uses words like “gotta” and “ain’t” and those extreme contractions, Barry doesn’t over-contract at all. He’ll use “gonna” maybe, but not “oughtta” (it would be “ought to” or some in-between of “ought’ta” almost), but does say “outta” instead of “out of”. Doesn’t say “lemme” but rather “let me” and doesn’t say “y’know” but “you know” (some of those are in contrast to Joe’s speech patterns, for the record). Barry uses “wasn’t” but more “’s not” rather than “isn’t”. “It’s not right” not “It isn’t right”. Mostly regular contractions other than that, like can’t and shouldn’t, it’s and “that’s” so on, etc. 

Barry’s also comfortable starting sentences with conjunctions, like ‘because’, ‘and’, and ‘but’ quite a lot. That’s typical of human speech though, if not formal writing.

And… this post is long enough so I should probably cap it there, rather than trying to dig around any more. If you have specific questions about his speech or movements or want more detail on anything I’ve brought up here, let me know!

anonymous asked:

I've been building a fictional world for years along with many (fitting) characters, but... I don't know how to incorporate them into a story? The world is pretty elaborate and complex but I don't know what to do with it? I'm really proud of what I've accomplished and don't want it to go to waste. :(

Well, that’s definitely an issue there… but at least you can take heart in knowing that this problem comes mainly to great character writers!  Take pride in that.  For some of us, it’s all we can do to make our characters seem semi-real…

Originally posted by mrthisbody

But the first thing to do is to recognize that if you’ve got a complex world and complex characters, the story is somewhere in there.  There may be hints of ideas that you haven’t really considered yet, but with a little time and imagination, you’ll figure it out.  You won’t have to make something up out of thin air!

So the real question is, where do you look?  Where do you find these story ideas, and how do you decide which one to use?

Finding Your Plot: What to Look for

The beauty of things like TV shows and book/movie series is that the writers have the opportunity to take one universe, one set of characters, and stick them into multiple plots – that’s what fanfiction is, really!  This is character-driven fiction, and works great for short stories, sitcoms, and plots built on romance or friendship or other such relationships.  But when it comes to novels or other long works, it can take a strong plot to get people to devote their time to it.  Even in character-driven stories such as Anne of Green Gables or The Perks of Being a Wallflower, one or several plots are necessary to keep things moving and to give your characters a purpose.

If you looked into every one of your characters’ pasts, dreams, jobs, relationships, families, and cultures, you’d come up with a thousand plot ideas in a minute.  The real test is choosing your plot/s wisely, and connecting them all to a larger theme.  To discern between plots, look for a few key characteristics:

  1. Favorites – your favorite characters, relationships, settings, and emotional themes.  Which character has a particularly audible voice or personality?  Where are the best interpersonal dynamics?  Look at your setting, too, and figure out where the action is happening!  Is there a war happening in your universe?  Is there a particular neighborhood or apartment complex that maintains the most activity?  And when you’ve considered all these things, think about their context.  If you don’t want to write a comedy, you probably shouldn’t center on the comic relief character.  If you don’t want to write on the themes of grief, you shouldn’t set your plot in the home of a grieving widow.
  2. Parallels – which will build your theme for you.  Look at your characters first.  If Character A lost her mother to an illness and Character B’s mother was emotionally absent, you can compare and contrast their lives and their attitudes toward their mothers, the idea of maternity, and relationships in general – and you’ve already got a theme.  Also look out for opposites.  Try taking a character raised in a family of science and move them in with an artsy hippie type.  Play around until you find something that excites you, and don’t stop until then.
  3. Conflicts – between those characters and their environments, and the ideals of these people and their communities.  The odds are good that if you’ve got a bunch of complex characters, they’re going to have different opinions that chafe.  They’re going to have conflicting desires, within themselves and their relationships.  Provinces, neighbors, coworkers, families, and friends will all have conflict.  People will have internal conflict that will cause them to live differently, and that different living might affect others.  Find the unresolved issues in your world and think of potential ways they could screw up enough stuff that all your favorite characters have to get involved.  Plot comes from necessity – necessity should not come from plot.

If you find something with two or more of these characteristics, you’re probably off to a good start!  These things, of course, will vary with the genre you choose and the universe you’ve built – but generally, if you find good characters with strong convictions and a necessary cause to draw them together, you’ve got a plot in the works already.  So poke around and let me know what you find!

If you need advice on writing, fanfiction, or NaNoWriMo, you should maybe ask me!

aimaileafy  asked:

So far I've only read the first 11 volumes of Ao no Excorcist, but I really like the manga (PUMPED FOR THE NEW ANIME!!!). One question: please teach me how to like Yukio ;; I just love every character of the manga (they feel so natural and realistic!), but... I just somehow cant connect to Yukio??? I don't know what it is , so... I'm asking a fan of him!

Hello! wahh glad you’re giving this manga a chance! it’s one of my faves <3 I hope the new anime doesn’t change the characters nor the plot like the 2011 did. As for Yukio, I don’t think I can teach you how to love him… after all it’s all about tastes, maybe he’s just not the type of character you enjoy ^^ I can explain why I love him tho c: I’ll stick to the first 11 volumes ofc but still this will be pretty long:

For me, Yukio is the most interesting Ao no Exorcist character (besides Shima) because he’s just so imperfect, I love that aspect of this character!.

We start with a character who seems perfect, the perfect younger brother, a genious exorcist -the youngest ever to get a license- good at his job, has to uphold Father Shiro’s wishes of protecting Rin and even his spot as a teacher in the academy, it’s easy to think that he’s just too good, but the actual character has so many flaws the contrast is just great.

From the start, we saw some hints of Yukio’s actual personality, like when he blamed Rin for Father’s death and pointed his gun at him…now do I think Yukio meant it? the narrative makes you believe he probably doesn’t and yes I say probably because that’s the thing with Yukio, for a character deemed to be the serious and analytical one, he’s very vague, you can never be sure if he’s either pretending or means what he says, it’s almost like he’s always doing both. (The only person we’ve seen him opening up and being himself with is Shura, and dang do I thank he’s got her).

Up to that point, Yukio didn’t seem to have much concerns, at least to me his major ones were knowing if Mephisto was on their side or not and that his brother had to take the Exorcist exam in 6 months…but boy was I wrong…

Saburota Todou enters and fucks up with his mind like no one else could

(Chapter 16 I’m putting a photo of my volume because the scanlation has these panels different, the translation is: “come on, calm down…Why did it affect me this much?” refering to Todou’s words on how Yukio and him are so alike)

and yes, why did his words affect him so much? well he knows there’s some truth behind them, he’s a genious, he’s a good exorcist…yet he still wants more, he’s unsatisfied with how his life is right now and is longing for a greater power.

Later when they fight

The truth is you hate your brother right?

Kato sensei has showed us that Yukio is very jealous of Rin, but I don’t think many understand the grasp of it. Yukio’s life has been shaped around his brother: being able to see demons from the day he was born, he grew up as a “weak” child who cried at everything, who was bullied, who couldn’t say his dreams out loud until his brother told him it was ok to do so, he depended on Rin for everything…but that was not all, and I think the main difference Yukio sees between him and Rin is very well portrayed in these panels:

Again Yukio may be a good student, a good athlete, good exorcist and teacher but he doesn’t think he’s a good person…unlike Rin (look at his face when he sees how Rin doesn’t care if he gets the credit).

This is a kid who fears to show his insecurities to the rest, includying his brother, a kid who thinks his crush won’t like him anymore if he shows his true self, Rin may be half demon but he sure has an easier/better time enjoying his human emotions, while Yukio feels guilty for having them (jealousy, wrath, etc. this is why Shura tells him he’s dangerous) and of course, he can’t help  comparing himself to his brother “nii-san always does what I cannot” truth is Yukio, you also do a lot of stuff Rin can’t…

Rin’s life wasn’t any better than Yukios, we know he had gone through hardships as well and gave up on being a “good kid” because no one understood him but the thing with Rin is… he doesn’t harbor any hatred towards people nor himself, he’s basically a good selfless kid… and Yukio?

“I both hate and love my brother, but even even more than that… the one I really hate most of all is myself!!

He rationalized his feelings towards his brother and himself so sharply and it’s so sad, it’s true that he loves Rin dearly and is doing everything in his power to protect him, but Rin is oblivious to most of what Yukio knows and while this could all be solved by having Yukio opening up…how could he? remember how Rin lost all of his confidence after he lost control of himself? Yukio must believe he wouldn’t be able to deal with all the crap he does, specially the fact that now he probably has powers too.

It definitely wasn’t Shiro’s intention but in raising Rin oblivious to their world, he left Yukio alone.

Yukio doesn’t think he is a good person, even if everyone /includying us readers/ know he is, this is why he’s so good at lying and concealing his emotions, he doesn’t want people to see how actually “awful” he is, and dang is it taking a toll on him.

Anyone having to deal with this much crap would go insane, so I can’t help but admire Yukio for standing up and still doing his best to protect his brother, he’s just so human and imperfect.

(and I love how he doesn’t back up when he has to call Rin on his shit)

Really, could you blame the guy?

For me he’s just a fascinating and complex character… and well, despite it all Yukio is still a sweatheart and a doof

And I love him for that (but omg pls Kato sensei send this child help)

pedestrianfootbridge  asked:

I was wondering if you had any thoughts on Mick Rory's speech patterns? (If you've already answered this in another post then sorry!). In particular I think (at least I've noticed it once or twice) that he sometimes doesn't use contractions and as a result the sentence comes out a little awkwardly (ex: in his first episode he says "what *are* you talking about" instead of "what're" and the result stresses the word "are" a bit) Idk, it could just be the actor's way of talking?

Mick Rory’s speech patterns are a fucking nightmare to parse. Honestly. I’ve been trying to pin them down since The Flash season 1 and they’re a goddamn moving target. A big part of why is because they changed his speech patterns for Legends (along with his characterization, a little bit, and Len’s). 

Dominic Purcell has also said in an interview that he didn’t hit his stride with Mick until they were filming the first Legends’ episode, and that’s when he really came to understand the character and when it fell naturally into place. So that’s bound to have affected his speech patterns some. It also doesn’t help that his accent occasionally drops and his Australian side slips out (I always laugh when it happens; it’s been happening more on this season of Legends).

But okay. This got crazy freaking long so I’m putting it under a cut. 

Keep reading

anonymous asked:

I've been looking through all your Throne of Glass stuff again (I seriously love it soso much, thank you for you input into the fandom!!) but I was wondering, how do you characterise them so well? Like, I always find it so hard to do drawings about book characters because there's obviously no actual face to the name, and I can never get them to look how I think they would look. If that makes any sense? But you do it so well, do you have any tips for drawing book characters?

Hi anon, thank you, you’re so nice <3333

When I draw book characters I very rarely picture them in my head first and then draw out my mental image. Instead, I tend to think about the character’s personality and their role in the story draw them based on that, trying to find a design that feels right.

It occurs to me that I haven’t drawn Lysandra yet, so I’ll draw her and talk about my thought process (the drawing is spoiler-free but the thought process contains spoilers for Lysandra’s arc in Queen of Shadows).

Okay, so we know that Lysandra’s strikingly beautiful, with black hair and green eyes. We know that she’s strong and determined and brave and teasing and full of compassion, so I want her face to be able to convey all these things. We know that she call pull off innocence very well - she fooled Arobynn for a very long time - and we also know she was very good at her job, so I want her to be able to look sultry and sexy. And I want a certain wildness to her design, because she is, after all, a beast in human skin.

I want her to look a bit like a porcelain doll - so beautiful that everyone notices her but nobody actually sees what lies beneath. So I’m going to start by giving her a delicate, curved face (no pointy chins or harsh lines) and big round eyes. Big eyes are both innocent and compassionate, which I want, but I don’t want her to seem weak-willed so I’m giving her thick, dark eyelashes.

I’m going to give her curvy lips (for sex appeal) and a small doll-like nose (for the innocent/beautiful look). And I’m going to give her strong eyebrows for her strong personality (keeping them thin enough to still be traditionally beautiful).

I can’t remember if the book described her hair much (other than it being black) but I really like the idea of her having wild, curly hair, the type of hair that she keeps tamed and tied back when she needs to appear meek and human but that curls out of control the rest of the time. Permanent bed-hair is also sexy so this works for her on many levels. I gave her an off-centre part and I like to think that her hair is never symmetrical.

I feel like her design is a bit generic at this point so let’s give her a beauty spot to make her more distinct and let’s put it near her lips for sex appeal. I also gave her boobs because I feel like Lysandra should have a super curvy hour-glass figure.

And finally a bit of colour. I’m pretty certain her skin is described as white but let’s give her light olive skin because that will contrast nicely with her green eyes and make her seem unnaturally beautiful (typically we only see green eyes on people with really pale skin, so green eyes with darker skin can be really striking). I gave her yellow-green eyes and green highlights in her hair to further emphasize her unnatural beauty.

And that’s done. I’m not 100% happy with her (is any artist ever 100% happy with anything they draw?) but she feels a lot like Lysandra to me and that’s what’s important :)

I hope that helped!

Some Tumblr GIFing tips

I’m not an expert - I’m still learning every day, when I have the time (ahaha -_-), so this isn’t a tutorial on how to make awesome GIFs, it’s just a few tips on how to get started as well as some things that took me ages to figure out on my own. Started this for Pleth and have been working on it sporadically ever since; HI PLETH. /wave

Note: I use Photoshop CS6, so this is based off that. Earlier versions of PS might work the same way, but then again, they might not. :(

Converting video to GIF

Keep reading

shakespeareangeek  asked:

Hello! I love the moon picture that you posted a few minutes ago! Do you use a special lens/camera setting to get good moon pictures? I've tried a few times recently, and they are never crisp or clear. Thank you!

Frogman here. That lovely moon photo you refer to was taken by Bex, but I’ve also taken some moon photos recently.

The moon can be tricky to shoot. Your camera doesn’t really know how to meter or focus on it properly so you will get the best results if you do things manually. I’ll try to run through all the steps to help you get the sharpest picture of the moon possible. 


The moon is a bit like photographing a really bright light bulb in a pitch black room. Your camera will want to try and average the pitch blackness with the super brightness and usually you just end up with a giant glowy orb with no detail. 

I suggest switching to manual mode on your camera and dialing in the settings yourself. 

You’ll want to set your ISO to 100 so you get the cleanest image possible. You may have to crop your image quite a bit, and the less noise you have, the better your image will hold up.

All lenses have an aperture sweet spot where you get maximum sharpness. This is usually around f/5.6 to f/8. You can experiment to find that sweet spot for your lens, but f/8 is usually a safe bet.

Now you must dial in your shutter speed. This will take a bit of trial and error. Your camera will use the EV meter in manual mode to give you a suggestion of what “properly exposed” should be. It looks something like this. 

Since the moon is so bright, you will probably need to expose 1 or 2 stops below dead center. I recommend doing a series of shots for safety. Take shots at -3, -2, -1 and 0 and then pick the best exposure on your computer later on. 

Use a long lens. 

If you want to get good detail of the craters on the moon, I recommend at least a 300mm lens. The moon will still be rather small in your frame, but you can crop your picture and still get some nice results. 

Use a tripod and a shutter remote.

Eliminate any chance of camera shake. You will be using a long lens and slower shutter speeds. Also keep in mind that the moon actually moves pretty quick through the sky, so you will need to adjust your framing frequently as you take pictures. 

Focus on infinity and use live view.

Near the manual focus ring of your lens will be a display of distances. There should be a symbol for infinity. You’ll want to turn the ring until it reaches that symbol. On many lenses you then have to turn the ring back a tiny bit so it hits the start of that little L shape. 

I recommend turning on your camera’s live view function to aid you. Magnify the display as much as possible and check your focus as you try to hone in on infinity. 

Practice and take tons of pictures. 

The best way to make sure you get good images of the moon is to hedge your bets. Try underexposing by many different stops. Experiment with different apertures. Unfocus and refocus frequently. Then when you get the images on the computer you can see what works best with your particular camera and lens. You will figure out all the quirks and be able to continually improve as you try, try again. 

Shoot RAW.

Because the moon is so tricky to shoot and it is easy to miss proper exposure, you’ll want as much editing latitude as possible. Shooting in RAW will allow you to bring up shadows, bring down highlights, sharpen details, and increase contrast with the least amount of image degradation. 

Don’t be afraid to crop.

Your moon will probably be small. However, if you have a high megapixel camera and you use all the tips above, you should be able to do a fairly tight crop and still get a great final photo.


  • Lens ~300mm or longer.
  • Use a tripod.
  • Use a shutter remote.
  • Set camera to manual mode.
  • ISO 100.
  • Aperture f/8.
  • Shutter speed is adjusted as needed to get proper exposure.
  • Take multiple exposures at -3, -2, -1, and 0 EV. 
  • Focus to infinity.
  • Use live view and magnify to check focus. 
  • Shoot RAW.
  • Crop as needed. 

Photo by Froggie

You can find me here: [tumblr wishlist]

The Hand One-Shot

Summary: With the return of Killian’s left hand returns the pirate side of him he had long since forgotten and he gives himself over to his baser more sexual instincts. 

AN: So this was onceuponataarna’s head canon for the upcoming episode “The Apprentice” and I couldn’t resist writing it. I know the summary sucks and so does the fic kind of because it was supposed to be longer (I really wanted to post it before the episode) but I fucking have work and I’ve been working all week so I didn’t have time to give it all the attention it deserves but it’s smut so what can possibly go wrong? (This fic is un-beta’d, sorry) 

Word Count: 1200

Rated M for reasons


Killian’s nerves grew as they walked the length of the hallway that led to his room at Granny’s, her dainty fingers interlocked with that of his right hand as his thumb lightly traces her knuckles, soothing over the growing nerves taking hold over her. His left hand tingled uncomfortably, a confused frown marring his face as he stretched his fingers to ease the unfamiliar feeling.

They stopped at the door to his room and Emma swirled around to face him, her back against the wall. “Killian?” She looked at him with a puzzled expression, her eyebrows knitting together as her free hand reached out toward his.

She barely touched it and his hand quickly jerked away from hers as he felt the feeling beginning to rush up his wrist, that bares the scar from its previously severed state.

“Are you alright?” She asked again with a bit more sincerity in her voice.

Killian pressed his mouth into an easy smile that radiated over his entire face, his cheeks burning to keep up the façade. “Of course love.” He answered confidently and without hesitation, his voice dropping into a dark and husky tone as his good hand lightly brushes over her jaw causing her breath to hitch in her throat. He propped himself up against the wall in front of her with his left arm, his lips pursed as he examined her carefully, his head tilting in concentration.

Emma stared at him blankly, her throat dry as she watched his pupils dilate leaving only a small ring of the enchanting blue color of his iris’s behind. 

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Lucy vs Angel

This was Angel’s battle to lose.

She outclassed Lucy on almost every level. She had the advantage of surprise, skill, strength, and knowledge.

After Angel summoned Scorpio, causing Aquarius to ditch Lucy and go off on a date, she smugly declared:

When Lucy summoned Loke, Angel countered with Aries, saying:

But Angel soon revealed that she misunderstood Celestial Spirit magic at a fundamental level.

Celestial Spirit magic isn’t about knowing the relationships between the Spirits, just so you can use and manipulate them.

It’s about having relationships with your Spirits: loving them, trusting them, feeling for them, grieving with them.

It’s not head-knowledge that’s important, but heart-knowledge.

And this is what Lucy had in spades.

Lucy cared so much about Spirits that she was willing to give up her life so that Aries–a Spirit who was not even hers–could be free.

The contrast between Angel’s coldness and Lucy’s love is what led to Angel’s ultimate defeat.

Lucy’s love for Spirits was so strong that Gemini could not bring themselves to kill her.

Think about this for a moment: Gemini disobeyed their contracted owner, Angel, in order to save Lucy.

That’s huge. 

Lucy’s feelings were so warm and true that they touched Hibiki and kept him from turning evil. This in turn enabled him to download Urano Metria into her head.

Angel managed to get up even after being hit by Urano Metria. But when she used Caelum to get Lucy, she missed. Even her silver key turned against her.

Nirvana used to be one of my least favorite arcs, because for a long time I was disappointed by Lucy’s role in it. But having re-read it recently, I realized how Mashima used this arc to underscore Lucy’s greatest strength as a mage: her love for her Spirits.

When Lucy and Natsu went over the waterfall, Virgo came out of her gate under her own power to save them. She brought them clothes, and treated Lucy’s wounds.

When Lucy was injured and out of magic power at the third lacrima, Gemini–Spirits that were not even contracted to her yet–came to her aid.

In response to Lucy’s love for them, the Spirits have gone above and beyond the call of duty for her:

  • Her love brought the Celestial Spirit King into the human realm, and all her Zodiac Spirits stood with her when she faced him.
  • Virgo, Loke, and Horologium have come through their gates on their own in order to save Lucy and her friends.
  • Lucy’s received gifts from the Celestial Spirit realm. Clothes, yes, but also her nifty River of Stars whip.
  • And, Lucy and her friends were invited as honored guests to a feast in the Celestial Spirit realm, to celebrate their return from Tenrou.

I doubt the Spirits would’ve done any of those things for Angel or Karen Lilica of Blue Pegasus.

Lucy’s grown into a stronger Celestial Spirit mage, but love still forms the basis of her magic. She didn’t want Taurus and Aries to remain trapped, so she used every ounce of will and power she had to fight Franmalth’s absorption and send them back to the Celestial Spirit realm.

If you look at the panels of her doing Forced Gate closure, you can see how much of a strain this was on her. Her soul’s being absorbed, she’s in pain, her veins are popping along her arms, and yet her chief concern is that her Spirits make it safely back home.

And last chapter, we saw how this love is reciprocated. Virgo and Loke tried desperately to win, and win quickly, for Lucy’s sake.

Lucy’s come a long way from the Nirvana arc, but her love has remained strong and true.

anonymous asked:

In tandem with Oda's involvement, I think he wants to get certain aspects of Sabo's character properly, namely his darker side. I've heard people say that Sabo potentially has a split personality, being cutesy and cheerful around his friends/family while psychotic/sadistic on another level when fighting. His panels especially show a major contrast when I look at them.

I haven’t watched the episode (and I won’t be able to for like 5 more hours), so I can’t say anything about whether or not it included anything about Sabo’s “darker” character parts. 

The main reason I’m answering this ask is to remind people how unhelpful it is to do things like use the language of mental illness to describe sadism and violence. Contrary to how it is used in media and popular culture, “psychotic” refers to people who experience psychosis, which is a broad group of symptoms characterized by a disconnect with reality. Hallucinations (which can affect any of the senses, but auditory hallucinations are the most common), are one example of psychosis, as are paranoia and delusional thoughts. None of that involves violence or sadism in any way. And, once again contrary to what most people believe, people who are mentally ill are not more likely to be violent than the rest of the population, but they ARE more likely to be victims of it. And talking about the symptoms of mental illness like they are the characteristics of Batman villains, rather than belonging to actual people in difficult situations, reinforces that disturbing trend. 

I say all this as someone who works with people who have psychosis, and as a person with friends who have it and do not appreciate being equated with violence and sadism. I’ve talked about this before when someone brought up the idea of Doflamingo being mentally ill to me (in this post). If you are not someone who knows what it is like to live with mental illness, then you don’t really have any business advocating ideas like a character displaying some somewhat sadistic tendencies must be mentally ill. All it does is use a marginalized group of people to give fake-depth to fictional characters. 

Anyway. Sabo sure as heck got pretty… intense during Dressrosa 

But there is no reason to need to use the language of mental illness to describe or explain it. Some people just seem to have a difficult time reconciling that characters can act so differently under different circumstances. Not that long ago I got an ask about someone who thought that it was OOC for Luffy to get so serious sometimes when usually he’s so goofy. But that’s how real people are too. People act differently in different situations, sometimes radically so. I even like it that Sabo seems to relish fighting so much, because it does a bit to distinguish his character from Luffy’s and Ace’s (because I think Oda struggles with making them too similar a lot of the time). And I think it would be interesting if Oda expanded on this more too. But again, there’s no reason to be so bewildered by this that you need to resort to attributing this difference in behavior to mental illness. 

Update: And as Pandora added in the replies here, “split personalities” the way that anon is using it here do not exist. There is such a thing as dissociative identity disorder, but it in no way works anything like what anon thinks it does. Schizophrenia and bipolar disorder, two other disorders that people commonly believe to be related to the whole “split personalities” thing also work absolutely nothing like this. Some character being all cutesy and harmless one minute and then murdering people with a big grin the next because they have “split/multiple personalities” is a made up fantasy thing that, as I’ve been saying, does nothing but damn real people by association in order to give a pretend scientific explanation for why a character is that way.

achrmy  asked:

I've been frequenting the Jedi Council Forums recently and I have noticed a fair number of posts stating Kylo Ren should not/cannot be redeemed. In a poll 43.6% of the 202 voters state that Kylo Ren cannot be redeemed. Why do you think there is this opposition towards a Kylo Ren redemption arc? I've appreciated all your meta commentary on Star Wars; thank you for your words!

Thank you! 

There are … various reasons, and I’ve gotten into a lot of the nonsensical ones before. However, I do think there is one perfectly legitimate one.

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