it's the speed of the players

wizard: i want to run up to the monster, put my hands on its butt and cast shocking grasp.

dm: how high is your speed and whats the spell range?

wizard: 30 and i gotta touch it to cast the spell.

dm: the monster is 45 feet away though. you can’t reach it.

wizard: yeah, but… what if i naruto run?

(long pause)

dm, visibly crying: just fucking…. go for it. im gonna let you do this just once.

hugealienpie  asked:

I see prompts are open yay! Please tell me all about Ford finding out about Bitty and Jack.

Ooh, this is interesting, because I don’t feel like it’d be an announcement, but just something Ford finds out when Jack visits or the like. I mean, it could go the other way, like Lardo could be, “heads up, Bitty’s dating our ex-captain” and Ford would be like, “okay? why are you telling me?” (She’s a theatre background, what is a Bad Bob to her?) I think she’d be pretty chill with it, and coming from theatre, like being gay is not an issue, esp in college (and even at the professional level) and esp if we go with the oft reblogged “Ford is gay” headcanon.

But here is a small fic that is only half based on the above…

Ford double checks the dozens of pages Lardo has given her for the upcoming roadie. She thought dealing with dressing room allocation was hard (and it is, one hundred percent) but figuring out room allocations is somehow worse, particularly when she’s new, and hockey players are more superstitious than the girl who played Johanna in Sweeney.

“So, who was it I’m meant to pair Oliver with?” Ford asks, grabbing for the red pen she’d stuck into her bun earlier. She comes out with a green one. It’ll do.

“Wicks. But really, he’d be fine with any of the guys in his year.”

Ford makes a note on one of the pages. “Okay, then I think I’m–Oh, shit.”

“What is it?” Lardo looks up from her sketchbook.

Ford double checks through all her sheets before she says anything. She’s not worrying, because there’s no time for that, she’s just already hating the amount of extra work she’ll need to do to fix things.

“I’ve left Eric, um, Bitty,” Ford corrects herself, still getting used to hockey nicknames, “off the rooming list.”

“Oh, that. Nah, you’re good.” Lardo goes back to her drawing. “He stays with his boyfriend when we’re playing up there.”

“Boyfriend?” Ford double-checks.

“Yeah. He’s in Providence. And he’ll drive Bitty to the games and practices and stuff. Should’ve emailed you that. My bad.”

“That’s fine.” Ford grabs another pen from her hair, forgetting she already has one in front of her. It’s red this time. “Just thought I was going to have to redo an entire afternoon’s worth of work.”

“Right,” Lardo says. “I can see why the minor freak out.”

“Excuse you, I did not freak out.” It’s half a lie. Ford has so many notes on these sheets, but she’s not freaking out, she’s managing. It’s all part of it.

Lardo looks up and smiles at her. “Knew you’d be fine at this.”

Ford takes the compliment with a gracious nod, and goes back to ticking off the rooming list against the team names. All accept Eric.

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This video game could literally train our brains to resist symptoms of disease

  • Some research already suggests that gaming can be good for our brains. Now, a study found that a specific type could help treat “brain fog,” also known as “cognitive impairment.”
  • Cognitive impairment is when the brain is slow at processing information. It’s a symptom that appears in people with Multiple Sclerosis, Alzheimer’s disease, schizophrenia and other illnesses — but it also shows up in head injuries, depression, fevers or simply as we age.
  • Scientists asked a group of about 200 MS patients to play computer games for 12 weeks, or about 60 hours in total.
  • Some played regular puzzle games thought to sharpen the brain, such as a sudoku, while others played adaptive brain games developed by a group called PositScience.
  • The PositScience games use something known as “adaptive cognitive training.” The game adjusts its speed or difficulty level in real time, based on how well players perform on simple tasks like remembering a sequencing of numbers or identifying a target on the screen.
  • Patients who played the adaptive games reported significant improvement in their thought processing, leading Charvet to believe that these games could revolutionize how diseases are treated. Read more (5/18/17)
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10 Space & Football Facts You Probably Didn’t Know

There are more connections between space and football than you may have originally thought. Here are a few examples of how…

1. The International Space Station and a football field are basically the same size

Yes, that’s right! The International Space Station measures 357 feet end-to-end. That’s almost equivalent to the length of a football field including the end zones (360 feet).

2. It would take over 4,000 footballs to fill the Orion spacecraft

Our Orion spacecraft is being designed to carry astronauts to deep space destinations, like Mars! It will launch atop the most powerful rocket ever built, the Space Launch System rocket. If you were to fill the Orion spacecraft with footballs instead of crew members, you would fit a total of 4,625!

3. Our new Space Launch System rocket is taller than a football field is long

We’re building the most powerful rocket ever, the Space Launch System. At its full height it will stand 384 feet – 24 feet taller than a football field is long.

4. The crew living on space station will see the day begin and end…twice…during the Super Bowl

An average NFL game lasts more than three hours. Traveling at 17,500 mph, the crew on the space station will see two sunrises and two sunsets in that time…they see 16 sunrises and sunsets each day!

5. Playing football on Mars would be…lighter

On Mars, a football would weigh less than half a pound, while a 200-pund football player would weigh just about 75 pounds.

6. It would take over 3,000 hours for a football to reach the moon

Talk about going long…if you threw a football to the moon at 60 mph, the average speed of an NFL pass, it would take 3,982 hours, or 166 days, to get there. The quickest trip to the moon was the New Horizons probe, which zipped pass the moon in just 8 hours 35 minutes on its way to Pluto 

7. The longest field goal kick in history would’ve been WAY easier to make on Mars

The longest field goal kick in NFL history is 64 yards. On Mars, at 1/3 the gravity of Earth, that same field goal, ignoring air resistance, could have been made from almost two football fields away (192 yards).

8. A quarterback would be able to throw even further on Mars

Aerodynamic drag doesn’t happen on Mars. With a very thin atmosphere and low gravity to drag the ball down, a quarterback could throw the football three times as far as he could on Earth. A receiver would have to be much further down the field to catch the throw 

9. Football players and astronauts both need to exercise every day

Football players must be quick and powerful, honing the physical skills necessary for their unique positions. In space, maintaining physical fitness is a top priority, since astronauts will lose bone and muscle mass if they do not keep up their strength and conditioning.

10. Clear team communication is important on the football field AND in space

During football games, calling plays and relaying information from coaches on the sidelines or in the booth to players on the field is essential. Coaches communicate directly with quarterbacks and a defensive player between plays via radio frequencies. They must have a secure and reliable system that keeps their competitors from listening in and also keeps loud fan excitement from drowning out what can be heard. Likewise, reliable communication with astronauts in space and robotic spacecraft exploring far into the solar system is key to our mission success.

A radio and satellite communications network allows space station crew members to talk to the ground-based team at control centers, and for those centers to send commands to the orbital complex.

Make sure to follow us on Tumblr for your regular dose of space:

Hogwarts House Aesthetics

Gryffindor: Chimney smoke mixing with the clouds as a storm begins to brew. A roaring fireplace on a cold January night. Inkblots on a crumpled sheet of paper. Autumn leaves dancing around each other as they fall to the ground. Plaid blankets. The song the wind sings when no one is listening. Loosely braided hair. A handful of copper coins. Skinned knees and untied shoelaces. The crease between eyebrows as lips pucker to blow out a candle. Laughter at six in the morning. Hands moving so fast that they look like fluttering birds. Broken tree branches. Songs sung off-key, out of tune, and together.

Ravenclaw: Rain pounding on the windows when everyone is asleep. A closed book on a dusty desk. Feathers. An emptied water glass, alone on the table. Wire-rimmed glasses. The leather bound cover of an overused journal. Handwriting so quick and swirled that it can hardly be counted as legible. The draft of air from an open window. Unnamed constellations. A cat with its claws stuck in the curtains. Perfectly buttoned shirts. Nights spent without sleep. A chessboard where the first player has yet to make a move. Lips pursed in thought. Bottle caps hidden in a box beneath a bed. A pen without ink. The feeling of falling asleep.

Hufflepuff: A flower unfurling its petals to greet the dawn. Freckles dotting blushing cheeks. Soup beginning to boil. Dust drifting through a lonely ray of sunlight. Tapping fingers that speed with every minute. Friends calling to each other from down the hall. Boots with broken zippers. A sunset just before it turns blue. A single bumblebee. A pair of socks with the toes worn away. The smell of something baking two rooms away. Birds singing an hour too early. The reflection of a face in a spoon. Birds flying in vee formation. Pinkies linked together. Eyes widened in realization. The call of a trumpet into an empty room. Hands stained with flour. The lingering of breath after a question. An owl carrying a letter. Papercuts. A face caught in standstill as it shifts from confusion to a smile.

Slytherin: Staying up too late and waking up too early. A river as it emerges from hibernation. Silver coins. Coats with three shiny buttons that swirl around the ankles. The moon on a cloudless night. Confessions spilled into the open air. Ivy creeping up the side of an old building. Falling into a familiar pair of arms. Blankets tangled helplessly. Bells. Footprints in freshly-fallen snow. Sentences without punctuation. A slightly breathless voice. A dream that doesn’t make sense but doesn’t seem entirely fictional. Hoarse whispers. Unused parchment. The flicker of a lightbulb on a windy day. Yawning. Overgrown grass in a forgotten field. Ears stained pink from embarrassment and cold weather. A handwritten letter sealed with wax. Boiling water. Standing off to the side and watching the world go by.

Other Aesthetics: The Marauders / Lily Evans / Jily and Wolfstar

quailsinspace  asked:

The group I DM for my hombrew game love to loot anything and everything that isn't nailed down. However, this makes it hard to give bosses cool/powerful weapons without them taking it and breaking the game. I've tried counteracting this by having them fight mostly magic users and monsters that use claws or fangs. It feels cheap though to just tell them "you can't have this because reasons" or having the weapon miraculously break after the fight. Any ideas on how to avoid this problem?

You could look for weapons that you know they’re not proficient in! I’m gonna try to cover as many weapons as possible, if this doesn’t help please feel free to send me specific weapons you wanted to use. Today, a week from now, a month, etc. I hope this helps! <3

Giant weapon: Literally too big to use/hold. You can take it, but you move at speed 10. 

Smaller hand held weapon: It burns, its almost unbearable. 1d6 damage every time you pick it up. [e.g. if they put it in a sheath and take it out, 1d6 damage]

The item has a spell cast on it to return to its wielder, even in death. Its powerful enough to drag the player holding it back by 10 feet whenever they move away from it.

The weapon is sentient, and had a symbiotic relationship with the enemy. Your players have nothing to give, so it doesn’t want to work with them. 

Book or wooden weapon: The enemy makes his items bursts into flames when he knows its over.

 The items great power came from the enemy, once he’s gone the item returns to normal stats. [e.g. amputation knife cuts off limbs, limbs become under control of enemy and does 1d10 damage. but in your party’s possession, it just does 1d4 slashing]

Bow: The string snapped. its replaceable, but the string is what gave it its power. Unfortunate. Looks beautiful, though!

Whip: Spikes found along the whip were grown by the witch, who is since dead. With no spikes, it does less damage.

Ammunition: Looks like its already been used…twice? Its dangerous to reuse it. You can, but its not recommended. 

“When you listen to Hendrix, you are listening to music in its pure form… The electronics we used were ‘feed forward’, which means that the input from the player projects forward - the equivalent of electronic shadow dancing - so that what happens derives from the original sound and modifies what is being played. But nothing can be predictive - it is speed-forward analog, a non-repetitive waveform, and that is the definition of pure music and therefore the diametric opposite of digital. Look, if you throw a pebble into a lake, you have no way of predicting the ripples - it depends on how you throw the stone, or the wind. Digital makes the false presumption that you can predict those ripples, but Jimi and I were always looking for the warning signs. The brain knows when it hears repetition that this is no longer music and what you hear when you listen to Hendrix is pure music. It took discussion and experiment, and some frustrations, but then that moment would come, we’d put the headphones down and say, ‘Got it. That’s the one.’” - Roger Mayer

quetzalrofl  asked:

Why did the guys that wrote up things like the bag of devouring or those insta-kill flesh-boring worms hate DnD players so much?

(With reference to this post here.)

That’s actually a really fascinating question whose answer touches on not only the history of Dungeons & Dragons as a game, but some fairly fundamental issues regarding the tabletop roleplaying hobby as a whole.

Folks who have only casual contact with the tabletop roleplaying hobby tend to have a pretty standard idea of what’s involved: enter dungeon, kill monsters, get treasure, rinse and repeat.

For some games, Dungeons & Dragons among them - as its name suggests - that’s broadly true. However, there can be substantial disagreements between games - including the various editions of Dungeons & Dragons itself - regarding how players are expected to go about achieving these goals, and even what the basic process of play is supposed to look like.

Naturally, individual groups can play the game however they want. By nature, however, even the simplest game rules encode a vast array of assumptions about how the game ought to be played. For brevity, I’m going to call this body of baked-in assumptions a game’s default or assumed mode of play.

As noted, different editions of D&D have very different assumed modes of play, to the extent that Dungeons & Dragons basically isn’t one game, but half-a-dozen completely different games that just happen to share a title and a handful of common terminology.

Of course, the fundamental activity of D&D generally remains “enter dungeon, kill monsters, get treasure”, so the question of what D&D’s assumed mode of play is reduces to a more focused question: what is a dungeon? There are about five different answers to that question, each reflecting broad trends in the tabletop roleplaying hobby as a whole.

1. A Dungeon is a Logistical Puzzle

Though D&D has a lot of superficial trappings lifted directly from Tolkien, at its inception the internal nuts and bolts of the game were much more strongly informed by the swords-and-sorcery fiction of the 1960s and early 1970s: writers like Fritz Leiber, Michael Moorcock, and Jack Vance.

One of the common threads in the genre is that your typical swords-and-sorcery adventure is basically a heist narrative: a group of highly skilled professionals, each with their own signature specialty, must combine their talents to break into a secure location and steal some desired object without being apprehended. Think Ocean’s Eleven with evil wizards.

Early D&D - or OD&D, for brevity - followed largely in these footsteps. Each dungeon was essentially a logistical puzzle: how can the party marshal their resources to extract the treasure from the dungeon as efficiently as possible?

Unlike many later tabletop RPGs, experience points in OD&D were awarded primarily for recovering treasures, not for killing monsters, so combat was something of a failure state - a high-risk, low-reward activity to be avoided wherever possible. It was preferable by far to trick, sneak or fast-talk your way past the monsters; indeed, the desire to have fast-talking always be an option is the reason that most D&D monsters are intelligent and capable of speech, even the really weird ones - a quirk that would carry forward into most later iterations of the game. Out-of-combat activities had a formal rounds-and-turns structure, just as combat did, creating a constant time pressure with the threat of the dreaded Random Encounter Table hanging over players who might otherwise prefer to dally.

The drawback to this heist-style mode of play is that it’s extremely demanding on the GM (that’s “Game Master”, for those just tuning in - i.e., the person who’s running the game); in order to play this style of game effectively, scenarios need to be very carefully designed, and running them demands keeping track of a great deal of information. Among many groups, there was a natural tendency to de-emphasise the logistical big picture in order to focus on overcoming individual set-piece obstacles, which leads us to…

2. A Dungeon is an Obstacle Course

In order to fully understand how this mode of play developed, you have to bear in mind that Dungeons & Dragons started out as a hack for tabletop wargames - the earliest rulebooks explicitly positioned it as a fantasy roleplaying “overlay” that could be added to your wargame of choice, rather than as a standalone game - and for the bulk of its early history, wargaming clubs remained its primary venue of play.

It’s for this reason that, once D&D had become popularised, the question of how to play it competitively arose. This might sound like a very strange notion to modern gamers - competitive roleplaying games? - but it seemed perfectly obvious at the time.

In order to avoid damaging the game’s party-based structure with infighting, rather than having individual players compete against each other, the approach that was eventually settled upon was to hold tournaments at gaming conventions, where several groups would be run through the same adventure in parallel. Some tournaments emphasised speed of play, while others awarded points for completing specific objectives, prefiguring the ideas of both speed-running and video game achievements by some decades. However, the variant that emerged as by far the most popular was the survival module.

A survival module was a pre-written adventure that, unlike others, was not actually expected to be completed. A typical survival module consisted of a relatively linear series of extraordinarily deadly obstacles, many of them blatantly unfair, intended to kill player characters as quickly as possible. Each player would typically be allocated more than one character, with replacement characters dropped in as the current one expired (e.g., like lives in a video game); the tournament’s winning group would be the one whose last surviving character’s corpse hit the ground furthest from the dungeon entrance.

Advanced Dungeons & Dragons 1st Edition (which is actually the third iteration of the game, owing to its somewhat muddled early chronology) was the child of this era of play. It’s here that the screwjob monsters and magic items discussed in the previous post came into their own - and in context, it’s easy to see why! Many of the era’s infamously deadly pre-written adventures were originally survival-based tournament modules, repackaged and sold in hobby stores with no indication of their original purpose, which inadvertently helped to popularise that style of play among players outside the tournament scene.

Further developments aren’t strictly germane to the question, so I’ll touch on them only briefly:

3. A Dungeon is a Story Path

The “dungeon as obstacle course” mode of play would remain dominant throughout the life of the game’s 1st Edition and into the early part of the 2nd. However, changing trends in the tabletop roleplaying hobby - brought on in no small part by the unprecedented popularity of White Wolf’s “World of Darkness” games (i.e., Vampire: The Masquerade et al.) - created demand for more a narratively focused gaming experience. By the mid-1990s, Advanced Dungeons & Dragons 2nd Edition had shifted to adventures structured less like obstacle courses and more like Choose Your Own Adventure novels, with each room in the dungeon serving as a decision point in a branching narrative. Of course, not all adventures were created equal; many were derided for their penchant for “railroading”, essentially reducing the player characters to passive spectators to a story whose outcome was already determined.

Toward the very end of the 2nd Edition’s tenure, another shift began that leads us directly to…

4. A Dungeon is a Simulated Environment

If you’re playing a game where the walls have hit points, you’re playing this. Coming into its own in the game’s 3rd Edition, the major impetus of this mode of play is to provide a single, unified set of game mechanics that allows the dungeon to be treated as a simulated environment - a sort of Sim Dungeon, if you will. This unification extended beyond characters and monsters, to the extent that everything up to and including individual ten-foot sections of dungeon walls would be assigned its own traits - hit points, elemental resistances, etc. - to govern basic interactions. Dungeons & Dragons 3rd Edition was also the first iteration of the game to post-date mainstream Internet access, so this is where theorycrafting and competitive character-building - facilitated by the game’s emphasis on mechanical rigour - really took off.

It wouldn’t be Dungeons & Dragons without an abrupt shift in focus every few years, though, which is how we get…

5. A Dungeon is a Series of Tactical Set-Pieces

Motivated partly by a dissatisfaction with the 3rd Edition’s perceived tendency to emphasise theoretical character-building over actual play, the game’s 4th Edition pulled a hard 180. Returning to D&D’s roots as a modified tabletop wargame while incorporating elements of modern board games, this mode of play reenvisions a dungeon as a series of tactical set-pieces: carefully constructed combat scenarios that focus on heavily stylised map-based play with no pretence of simulating anything in particular. The GM’s role shifts from that of a supervisor or referee to that of an opposing player, and the tone departs from high fantasy to become more like that of a kung fu movie - the kind where people are leaping and being hurled all over the battlefield and calling out their special moves by name.

(This was, needless to say, a controversial move. Dungeons & Dragons 4th Edition was perceived as hostile to its online community in many circles, and was widely derided as being too video-game-like in is execution - though ironically, most detractors compared it to completely the wrong genre of video games, failing to recognise that most of the elements they decried as MMO-isms had been borrowed by MMOs from earlier iterations of D&D in the first place. In practice, if video game comparisons are unavoidable, it plays more like a tabletop implementation of Disgaea or Final Fantasy Tactics.)


“I was a great football player […] Don’t say I said that. But, dude, I was a great football player. I was a fullback and an inside linebacker. I never had the speed to play college. But I loved it. I don’t think anything will ever take its place. The competition, the team. You get a little bit of that in acting. You get it with action films. You have to train, be in shape. I think I learned more about how to handle myself as an actor playing sports than I ever did in theater.”

anonymous asked:

I am making a post-game heavily inspired by JJBA. I tried to use Pathfinder, but it really isn't working out. Can you recommend a system for me?

Wow. Yeah, totally the wrong tool for the job.

Hmm. Play-by-post is a tough one - the milieu of JJBA really wants more back-and-forth than asynchronous online play generally permits.

This is a totally off-the-wall suggestion, but have you considered reskinning The Extraordinary Adventures of Baron Munchausen? I’ve discussed it before, so that link goes to the previous recommendation post; I won’t repeat the material it covers here.

It’s pretty far afield from a traditional tabletop RPG, but I think the game’s basic flow of play - i.e., with one player narrating an over-the-top tall tale while the others cut in with nitpicking objections and absurd complications and challenge the speaker to incorporate them into her narrative - could be an excellent fit for the sheer Calvinballesque what-the-fuckery into which that JJBA‘s stories inevitably descend.

The only hitch is that in a play-by-post game, you’d have to be very strict about how much you’re allowed to narrate in a single post in order to ensure that there’s adequate opportunity for others to interject.

If you want a more conventional roll-the-dice-to-punch-the-other-guy experience, it’s trickier - most games of that type that can handle action of that scope are also waaaaay too fiddly for play-by-post. A reskin of Exalted 3rd Edtion could totally handle it, for example, but any non-trivial combat scene could easily take weeks to play out in PbP.

So here’s my crack at it: Nobilis 3rd Edition. It’s designed for playing gods, but that’s basically what JJBA protagonists are, for certain definitions of “god”, so adapting it wouldn’t be much of a stretch.

In a nutshell, every player character has a specific sphere of influence called an Estate, which has one or more enumerated properties. For example, you might have Time as an estate, with properties like “Time waits for no man”, “Time heals all wounds”, etc. Your character’s abilities then revolve around various ways to manipulate that Estate, express its properties, and so forth.

For example, the Noble of Time could obviously speed up or slow down time, but with the right moves, they could also pull of goofy tricks like inserting an extra day between Wednesday and Thursday, punching an opponent into next week, or directly applying the properties of the Estate of Time to themselves and others - e.g., “Time waits for no man, therefore I wait for no man”.

Individual actions are resolved through a combination of diceless resource pools and semantic arguments; each type of miracle (power) is very particular about what it can and cannot do, so figuring out what happens when characters clash is basically a matter of arguing it out: should I be able to do that, by the strict letter of the miracle I’m using? Should your miracle be able to stop it?

I think it could work well for a play-by-post game of JJBA both because the way actions are handled is a good fit for forum games in general, and because it reflects the fact that JJBA conflicts themselves tend to boil down to two characters arguing with each other about how bullshit power A should totally be able to counter bullshit power B. Just swap Estates for Stands, define your properties accordingly, and you’re good to go.

Large Races: The Mechanics of Creation

Originally posted by SwordMeow

Large races operate under another ruleset that takes precedence over other rules because of their size. These rules apply to all races of large size, unless altered in that specific race.

This overarching ruleset can also be applied to any other races that the DM may wish to be large, whether through simple tweaking or the creation of new race options altogether.

This ruleset is intended to mean that being large is better than being medium or small, and the races are balanced accordingly.

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Aspect Analysis: TIME

 Time waits for no man… except me.

  • Pos/Neg: Time is a Negative Aspect.
  • Nature: Time removes Existence from a closed system.
  • Counterpart: Time’s opposing Aspect is Space.
  • Symbolism: Clocks, gears, and machines of all kinds. Music, rhythm, and associated paraphernalia. 

One, two, one, two, tick, tock, tick, tock. The steady march of seconds slides smoothly by, transitioning from future to past in the uninterrupted heartbeat of the universe. Time is steady, unwavering, inescapable. However, those who listen close and learn to count the rhythm can unlock its secrets and dance to the beat of all existence - so long as they have the patience to let it catch up.

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  • when aaron antagoized neil at the resort by saying “do you take your cues from dead men?” it wasn’t bc he hated neil it was bc he was looking out for andrew
  • and once aaron decides that no neil isn’t trying to fuck with andrew he backs off
  • he still doesn’t like neil but he can tolerate him
  • after all it was neil who made aaron fight for katelyn and it was neil who made the twinyards start to fix things between them
  • so once aaron stops hating neil he respects neil bc how can this tiny child do this??
  • coming to the foxes a total mess and ending the year securing vice captain
  • but anyway aaron doesn’t mind neil so much anymore
  • and over time aaron and neil bond over things
  • like for example neither of them understands how andrew can eat so much sugar like “honestly andrew where does it go”
  • “don’t you get sick”
  • and once neil mistook aaron for andrew
  • like it was early in the morning and neil was still sleepy and making drinks
  • and he accidentally gave aaron the hot chocolate and andrew the coffee
  • and sat closer to aaron that he did andrew
  • and neil was about to say something when aaron just looked at him with a slightly horrified look and said “aaron”
  • and they didn’t make eye contact for like a week after that
  • but then neil does it again on purpose in front of everyone bc he knows it pisses aaron off and andrew doesn’t care much
  • but it amuses katelyn 
  • so aaron puts up with it bc it makes his girlfriend laugh
  • anyway
  • aaron also helps neil with his math sometimes
  • like we know andrew is smart but idk how much he could be
  • but aaron is a Nerd and would be willing to help
  • and they also run together sometimes
  • like its not planned and they don’t mean for it to happen
  • but aaron knows he needs to get faster now that the foxes have made it to the top
  • and he knows he’s a good player but he lacks speed so he decides to go on runs in the morning
  • and one time he runs into neil who is also running and neither of them says anything but they keep running together
  • and end up getting breakfast together 
  • it happens a couple more times before it just becomes a Thing
  • and they go farther and farther start bring back breakfast for the foxes and everyone is like “um.,,thanks”
  • but it’s one of those things no one is allowed to talk about
  • and they just accept this strange new friendship
  • there are times when aaron wants to bring katelyn to the dorms to hang out with the foxes
  • bc as much as he pretends to hate them they’re his family and he wants them to know his bae
  • so a few times he kinda tells neil beforehand so neil can warn andrew to not pull any shit
  • not that he needs to bc andrew has accepted katelyn as a part of aaron’s life
  • but neil will still “ask” andrew to not be a dick and aaron will say  his silent thanks
  • this got out of hand i’m sorry its past midnight


One truly sadistic RollerCoaster Tycoon player made “Mr. Bones’ Wild Ride”, a 30,696-foot-long coaster. For comparison, the longest real roller coaster is Japan’s Steel Dragon 2000, at 8,133 feet. More importantly, Steel Dragon hits a top speed of 95 mph, while, in a cruel mockery of its name, Wild Ride tops off at 5 and averages 3. In real time, Wild Ride takes 70 minutes to complete. In game time, it takes over a year. Riders are simply bored by the glacial pace at first. Then they’re confused. Then they want to get off. They all want to get off. They grow hungry and thirsty but never die, because the park won’t allow it, the ride itself somehow giving them just enough sustenance to continue their wild ride.

6 Insane Ways Fans Make Innocent Video Games Super Creepy

Crazy things my guest conductors have said

No crying in baseball and no relaxation in Strauss

I want your mom to disintegrate

When your conductor comes back, I want this to be so soft he’ll think you went home already

Oboe, speed up your solo. The horn players are going to hyperventilate. Their hair is going to be the same color as mine by the end of it

Its not about the measure, its about your life

Next time your conductor comes back I want you to stare at him until he becomes an errotic mess

Are you dating your part? Cuz it looks like your eyes are glued to it. Be in love with me, keep your eyes glued on me!

You’ve got to look at your French horns. Love your French horns. Love the Cornos. Look at the Cornos. Say, ‘please dont mess up, my cornos. Because I love you.’

If they don’t understand your conducting, they’re either dumber then a box of bricks or dead

You play so well but can you make me go home and take sodium because i’m seasick? I want to be seasick.

You need more tssssst in your sound

Are you a ? or a !

You cannot play with a ? in your head

No clucking hens

Nice doesn’t work!

It’s all in time: metronome, metronome!

Is this the first time your body has gone vrrr?

Pain is just a message

That’s why I’m saying vibrate

C’mon guys you’ve got to go ‘ho ho ho’ like Santa Claus!

In the Mad Max game there’s an enemy camp known as Havoc Point that’s infamously known for being bugged. For many players, a second gate within the camp will not open no matter what you do, barring you from destroying the oil pumps within and dismantling the camp.

Some folks have invented ways of getting around this. One method involves scoping out a nearby plateau and methodically sniping the base of the pumps, until a lucky round blows them up. Others, including myself, have settled for stripping the Magnum Opus of all its heavy plating, driving around to the back of the camp, launching the car full speed into the perimeter wall and, as you’re airborne, sending a single Thunderpoon into the camp, destroying all three pumps in a single go.

You think I’m joking. I’m not joking.

How to be the best McCree player a tutorial by actualMcCree™
  1. Choos H I M
  2. shoot
  3. miss
  4. shoot again
  5. miss
  7. barrel roll back at THE INTENSE SPEED OF a can of soup
  8. roadhog
  9. repeat
  11. POCKET SAND ™ - right click- THEY AREN’T DEAD J I M
  12. panic- no more panic you are dead
  13. repeat

inspired by @mchanzo


1985. Master of Disguise

is the first album by band Savage Grace.

the band formed by Chris Logue and Brian East , they active between 1981 and 1993.

followed in 1985 and introduced yet another new vocalist, Mike Smith. The album’s controversial cover depicts a police officer with red demon-like eyes keeping a topless girl cleave gagged and handcuffed to his motorcycle. The album was also recorded with only one guitar player, Chris Logue handled all guitar duties. During its release Grace were joined for a short period by Kurt Phillips of Canadian band Witchkiller and then Mark “Chase” Marshall. Later Mike Smith was fired and after touring Europe Dan Finch left the band.

“Master of Disguise” Easily one of the earliest and best speed metal albums ever.

              Mike Smith     Chris Logue    Brian East    Dan Finch

i think the only thing game wise i want for slime rancher is a like, ingame map for the player to be able to pull up bc like? 

its fairly easy to cross the map once you get the upgrades to your speed n what not but like, its so big i just Cant memorize where everything is