For those of you who do not know, Origin Access (the service which you pay $4.99 USD monthly) is allowing players to play a trial of ME:A on March 16th - one week before the 3/21 release. It lasts for 10 hours and will, understandably, have the majority of mid-game/late-game content cut out.
Should you not want to pay the $4.99, my suggestion for you is on the 14th, grab Origin Access for its 7 day free trial. That way, when the 16th rolls around, you can play the trial for free.
Acquiring it is simply going to on Origin, clicking the “Origin Access,” and clicking once more on the “Play First Trials” tab.
summary: college neighbour daniel (tbh the college aspect of this is almost nonexistent but heh) a/n: requested; i combined two asks for this bc they were pretty similar haha also to anyone else who has sent me a request, i’m still trying to figure them out + i’m busy rn so it might take a while ;; thank you for waiting <3
it is a tired afternoon
you’ve just submitted one major mid term assignment and you have another huge written test looming ahead in 2 days so you drag yourself as fast as possible to your dorm room and decide to crash for a few hours before getting up to work again
you draw the curtains, set an alarm for exactly 1.5 hours later, settle comfortably into your bed with the blankets snug around you, and are just about to drift off into a much needed sleep when suddenly
“CAN YOU BE A LITTLE MORE CAREFUL WHAT THE FUK”
“YO I’M TRYING BUT THIS SHIT IS HEAVY”
“JAEHWAN I SWEAR TO GO-”
seriously all you want is just a little bit of quality sleep time is that too much to ask @ god??
you barge towards your door and swing it open to see what’s going on only to find the whole corridor outside your flat filled with 2809349283 boxes and 2 guys trying very hard to get all of that stuff up the stairs and into the room next to yours
they freeze and look up at you
your 1st thought is: what the fuk is going on
your 2nd thought is: damn that boy is kinda cute
so you’re just standing there kinda glaring and kinda staring at them unsure of what to do next when the cute guy finally unfreezes and comes up to you and offers you his hand for a handshake or smth
“hey, my name is daniel! and that’s jaehwan. we’re moving into this flat and i guess you live in this one so,, hi new neighbour?”
you just take his hand and and go “uhh yeah hi i’m y/n”
On this day in music history: August 15, 1981 - “Pretenders II”, the second album by The Pretenders is released. Produced by Chris Thomas, it is recorded at Wessex Studios in London and EMI Pathe Marconi Studios in Paris, France from Late 1980 - Mid 1981. With the major success of their self-titled debut album, The Pretenders feel palpable pressure from their record label to quickly follow it up with another album. But the band are unable to comply due to the lack of having new songs written. Work begins on their sophomore effort in late 1980, with much of the material being written while the band is touring in support of the previous album, recording during breaks in their busy schedule. The twenty month gap between albums is filled by the release of the stand alone singles “Message of Love” and “Talk of the Town” in the UK, which are also both included on a five track EP titled “Extended Play” in the US (released in March 1981). The album is reissued in 2006 as two CD edition with a remastered version of the original album on disc one, with the second disc containing live versions of several songs, demos and alternate takes. The album is remastered and reissued by Rhino Records in 2006 as a double CD set, with the second disc containing a live concert recorded at the Santa Monica Civic Auditorium on September 4, 1981. Audiophile label Mobile Fidelity Sound Lab also releases the album as a hybrid SACD in 2010. “Pretenders II” peaks at number ten on the Billboard Top 200, and is certified Gold in the US by the RIAA.
the last update happened and i couldn’t resist a drabble:
In which Satan tries to finesse a date (except it’s totally not a date.). It goes about as well as expected.
At first, it was out of convenience - at least that’s what he told himself. The girl - emphasis on girl, not woman - looked like a teenager. She was a teenager, and she wasn’t the kind of teenager to have a fake. So aging her up to get into the casino made sense. Nothing major, just mid-twenties. The dress solidified the look.
“This doesn’t feel like something I need to get dressed up for, dude.”
Essentially, Jangles is the primary character, so she’s the one who gets into the initiative order. Anarmor can’t take a main action or movement on their turn if they’re being worn–logically, because one turn happens simultaneously for everyone so the armor’s turn can’t interfere with the wearer’s.
Because Tempest is enchanted Armour of the Wind (grants +5 to speed and negates the stealth disadvantage of the half plate), she’s already giving Jangles a speed buff. PLUS wearing Anarmor halves most melee damage between the two characters. So, with the usual setup, the most Tempest’s allowed to contribute to a round is to take Jangles’ bonus action. Without movement, she’s also limited to purely Verbal spells–pretty much only leaving Healing Word and Mass Healing Word.
Being worn = Party’s pet healer and Jangles’ damage sponge.
If Tempest needs to start taking major actions mid-battle, Jangles sacrifices an action to remove her gauntlets and unbuckle her pauldron fasteners–taking -2 to AC–to free up Tempest’s arms and get her into the initiative order. With the AC difference, this also means it’s now possible to hit Jangles and not Tempest, in which case she’ll now take full damage. On the following turn, Tempest now has a major action and a bonus action.
On this day in music history: November 1, 1965 - “The Temptin’ Temptations”, the third album by The Temptations is released. Produced by Smokey Robinson, William “Mickey” Stevenson, Ivy Jo Hunter and Norman Whitfield, it is recorded at Motown Studio A in Detroit, MI from Mid 1964 - Mid 1965. After the major success of their second album “The Temptations Sing Smokey” (featuring the classics “The Way You Do The Things You Do”, “My Girl”), they follows it with another major smash before year’s end. The Motown vocal groups third long player features previously released singles by the group from mid 1964 to mid 1965, as well as several new tracks. It spins off four singles including “Since I Lost My Baby” (#4 R&B, #17 Pop), “Girl (Why You Wanna Make Me Blue)” (#11 R&B, #26 Pop), “I’ll Be In Trouble”(#22 R&B, #33 Pop), and “My Baby” (#4 R&B, #13 Pop). Non singles from the album including “The Girl’s Alright With Me” and “Everybody Needs Love” also become fan favorites, further solidifying it as one The Temptations best early period albums. The album is remastered and reissued on CD in 1998, also restoring the original cover artwork, duplicating the look of the original 1965 LP release. “The Temptin’ Temptations” spends fifteen weeks (non-consecutive) at number one on the Billboard R&B album chart, and peak at number eleven on the Top 200.
Being an independent artist of all, which websites or social media gives you the most feedback? Tumblr, deviantart, facebook or twitter? And which site is the best for artists to get noticed the most?
This is my personal experience, but I’ve heard different things from different people.
Deviantart: My home base. I get the most feedback here, but it’s also casual. Mainly for building a solid fanbase. (Took me a decade though.) •diverse crowd •mainstream •all ages
Tumblr: Impossible to communicate with people outside of asks and ‘fanmail’, both being less than ideal. pros: clean online presence, if you pick a decent customised profile. Image sizing is terrible. •crowd: mainly women •teens to mid twenties Facebook: Vast majority of german fanbase resides here. Not ideal for art though. Image sizing is terrible. •mid teens and up •casual viewer
Twitter: Majority of my Japanese fanbase. I enjoy this as a silly casual thing, not great for art either, but good for mobile/tablet users. •huge asian userbase (artists) •casual viewer •mainly mobile
Instagram: good if you use your phone a lot to photograph your traditional art. con: you cannot upload from your PC. you must use your phone. I use it mostly for personal snapshots mixed with art because posting my digital work is too much of a hassle. •mobile •artsy, somewhat hipster crowd
Artstation: great if you want to get into game art, and be professional. More geared towards western game art than anything though. (mostly blizzard and LoL style, occasional Disney.) •professional •job oriented •game- and film industry crowd
Drawcrowd: Asian-centric site similar to artstation. High quality game art in anime style for the most part.
•professional •mainly asian styles
Paigeeworld: Casual, young. not professional. •teens •manga style
Pixiv: Japanese site. hard to navigate, amazing for great art and resources. •anime/asian styles •mainly japanese crowd
Tapastic: Great for webcomics. They have a support program for creators and also share ad revenue. •US and western oriented •creator-centric •clean design and presentation
Patreon: Great once you have a fanbase and want to fund a project or bridge the gap between freelance work. Not good for unknown artists or beginners. •great safety net for freelancers IF it works •hard work to maintain •clunky website •lots of unfinished features
My most active platforms currently are: Deviantart (base), Patreon (income), Twitter (casual). Professionally I would recomment Artstation, but only if you plan on going into movies, games and concept art.
So that ant*reylo survey basically revealed what all of us knew already. The majority of the ant*s are white girls under the age of 18 and yet this is the exact same demographic that they used to mock reylo shippers for the longest time.
“stupid white teenage girls always shipping the problematic ships!! I, another teenage white girl, am much better and morally just than you are”
It kinda sucks that UCF hasn't had an opportunity to play a serious team. Blowing out Memphis and beating Navy were good wins, but I think that Georgia tech game would have been a much better test of Scott Frost's Knights. All this being said we still have SMU and USF to play so we'll see how they do. What do you think of the Knights? Do you think they have the chops to take on teams like VA tech or LSU. Charge on!
It really is a shame that UCF didn’t get a chance to play that game against GA Tech. The Knights look totally legit. I think they should have no trouble winning out because they’re a category above teams like South Florida and SMU. Some computers are even saying they’re in the range where Utah, Boise State, and TCU were in the late-2000′s. We haven’t had a mid-major like that since 2011. They’re a legitimate top ten and maybe top five team based on how they’ve played against lesser opponents. But that’s the problem, the lesser opponents.
I think UCF could totally go toe to toe with VA Tech and LSU and on a good day beat them even on the road. I mean, clearly you can do that against LSU but I’m talking about good LSU, not the team Troy played. It’s a real shame UCF doesn’t have that win over a P5 team to give them legitimacy for the Playoff. I’d rather the Knights go than a two loss conference champion or Penn State/ or whoever loses the SEC Championship.
I’m pulling for you guys! Thank you for writing in!
Dinosaur Jr.’s Major Label Era, Pt. 1: Dispensing With What Must Be Said About “The Wagon”
Sire Records’ first attempt to push the newly-signed Dinosaur Jr. via a promo-only 4-song cassette titled “The Soap Opera Saga” (after Mascis’ well-known interest in watching daytime soap operas). Featured the extended album version of “The Wagon” that would open the then-forthcoming Green Mind plus previous era pleasers, “Freak Scene”, “Little Fury Things” and “Just Like Heaven”.
Dinosaur Jr.’s major label phase of 1990 - 1998 (or what I’ve also assigned the clumsy tag of “Mach II” for the purpose of these installments) is a casualty of retroactive misrepresentation and misunderstanding. No doubt the same could be said about an astonishing number of similar chapters in the past histories of other artists/bands because we discussing the early-to-mid-90s major label feeding frenzy, itself an anomalous phenomenon (in its scope and other primary elements) in the annals of rock history. No one reasonable, sane person would elevate any of Dinosaur Jr.’s 90s albums for Warner Bros. (or imprints thereof…Sire, Reprise and Blanco Y Negro) above, say, You’re Living All Over Me (and most would add the other two pre-1990 albums to this claim). My underdog obsession and crusade for corrective measures against scores of underrated entities/works over the years, the following looks at Dinosaur Jr.’s least-favored period will not be fueled by delusion or reactionary nonsense.
Something that is rarely pointed out in the band’s collective mountain of available biographical content is that Mascis signed his band (or himself as the band) to Warner Bros. in early 1990, well ahead of the feeding frenzy’s initial explosion of the following year’s final quarter as a result of Nevermind’s rapid ascent to total domination. Sub Pop had already tapped Dinosaur Jr. for an installment in their Singles Club subscription series, and the A-side to said 7” was the original, shorter 1990 version of “The Wagon”. Perhaps I’m just burned out on “Freak Scene”, the 1988 college-radio killer that many hold as the band’s apex in mastering the marriage of pop-craft and noisy aggression, but in comparison I find “The Wagon” to occupy an entirely different level of catchiness. Although a previous post did have the song’s claymation video nestled midway through a 10-minute YouTube embed I included for an entirely different reason, below is the longer, much better-sounding album version that opens Dinosaur Jr.’s major label debut, Green Mind (released in Feb of 1991). Notice the track contains not one but THREE hooks strong enough to each carry their own imaginary song.
It’s not hard to imagine even the original, abbreviated single version of “The Wagon” packing enough infectiousness to warrant boosterism by way of major label A&R, if that was indeed how things fell into place. And maybe this explains why, when the band’s first appearance on late-night TV in mid-1992 was based around the song, Dinosaur Jr. was joined by all of “The World’s Most Dangerous Band” for what might be one of the weirdest, if not the most intense, performances ever featured on Late Night with David Letterman. The clip is loaded with stuff that was way left of the norm when it came to what viewers were used to when it came to musical guests, so pay attention.
To drive my point home, notice how Letterman introduces Dinosaur Jr.’s next appearance on the show in 1993, performing the decidedly tamer “Out There” (opening track on the next and much more successful Where You Been? album):
It’s a beautiful day. The sun is shining, the birds are singing, and I feel like vomiting.
Results are still coming in, but the Tories are returning 304 seats, and with 37 still to return, it looks like a dead cert that they’ll get at least a strong-ish minority government.
And this scares the shit out of me. I don’t understand it. I don’t understand how anyone could look at the last five years and go “yes, more of that, please.” I don’t understand how they can actually have GAINED seats from both Labour and Lib Dems. And I don’t understand what the hell we’re going to do now.
Let me be clear: I am not opposing this on a purely ideological basis. I am not scared of abstract legislation. I am scared of this regime killing the people I care about. I am a disabled, queer student who comes from a low-income area, and while I am lucky enough to be middle-class and have family I can fall back on, way too many of the people I know do not have that.
Let me be clear: The current austerity measures are a joke. They disproportionately affect the poor, the elderly, and the disabled. The Tory aim is what the Tory aim has always been: class warfare and the privatisation of enterprise. Thatcher never died, kids. Not while Thatcherism’s alive and well.
Let me be clear: Every public service attacked by the Tory manifesto is one we need. We need the NHS. Believe me, as someone who has multiple neurological, physical, and mental conditions; believe me also as someone whose ambition is to work in the NHS. We need proper state education. Believe me as someone who attended an underfunded school, one whose grades fell after it became an academy. We need full benefits and a living wage. Believe me as someone who has too many friends struggling to live. These aren’t things we want, they’re things we need. They’re what makes us a society rather than just a bunch of people stuck in the same shitty country. They’re fundamental necessities of life, and they’re being undercut at every turn by an urban, Westminster-centric view which ignores the poor and the vulnerable. (And, for the record, one of the things that makes me sickest is that I even need to say this: we need the winter fuel allowance. People die of cold from not being able to afford fuel now, jesus wept)
Let me be clear: This government is not going to get better. This isn’t a bug, it’s a feature. This kind of class warfare is the modus operandi of the Conservative Party, and we’ve just condemned ourselves to half a decade more of it. And people will suffer. Our culture will suffer. People will die. And given the circles I move in, a good number of those people will be my friends, or friends of my friends. I am one of the lucky ones. And I am struggling. As a student, as a disabled person, as a human being in this society, I am struggling.
Checking the results again. 621 returned. Tories with 310.
Dean does not expect to walk into an arts and crafts fair in his living room on Thursday. He had expected to get off work, come home and hang out with his roommates, and make dinner before his evening class. But no, that is apparently not in the cards today because…well, he doesn’t know why. Probably should get on that.
“What the hell?” Dean asks no one in particular. The sofa and chairs have been pushed to the edges of the room and the kitchen table and a card table have been pulled in and sit lined with what looks like cut up garbage bags as people sit around them and ignore Dean. “Anyone gonna fill me in?” he says a bit louder.
“Hey, Dean! We were worried you wouldn’t make the party!” Charlie chirps. Jumping up from her work station, she moves to hug him but stops herself, thankfully, since she’s wearing rubber gloves covered in…dye? And are those…white cotton shirts in a pile on the sofa?
“The…tie dye party?”
Amazingly, he hears Cas sigh from all the way across the room. “It’s been on the house google calendar for two weeks, Dean,” Cas says without looking up from his extremely interesting task of precisely folding a plain tee. Dean rolls his eye.
“Oh you mean the calendar you guys are obsessed with that I never look at,” Dean grouses.
“I told you I can set it up to send notifications on your phone,” Charlie shoots back. “It’s not our fault you’re so…analog.”
Cas’s friend Meg snickers from where she sits beside him. They’re next to another gal with dark hair who Dean’s seen hanging out with Cas before a few time but has never actually talked to him. Hannah maybe? He figured her for a girlfriend at one point, then he met Meg and revised. Then he got to know Meg and just…started suffering.
“Okay, I’ll try this again…” Dean says, tearing his eyes away from Cas’s tousled hair. “Why is it the summer of love in our living room?”
“We’re all making shirts for pride this weekend!” Charlie explains excitedly.
“P-pride?” Dean echoes, his brain having been reduced to that of a parrot. “As in the…the gay kind?”
“Well, technically the whole month of June is pride month,” Charlie explains helpfully. “Which you would know if you checked the google calendar. But this is for the parade on Sunday. We’re getting our flag on.”
“Sunday?” Dean’s stomach drops. “Sunday is father’s day.”
Charlie raises an eyebrow and Dean opens his mouth to explain, or more like ask if that means Charlie (and apparently everyone they know?) is going to be running around the house pride-ing it up on the one day his dad is visiting. And if he has to participate cause…well. Uncomfortable reasons. He got in enough trouble for opting into summer classes (like most of his geek friends) and staying in town in their rented house right by campus. This might by a bridge too far.
for Cheek by Jowl is very pragmatic. We’re a touring company, so our
productions have to be mobile: they could be in London one week, Spain
the next, St Petersburg after that.
Heavy scenery is a no-no; often it’s shipped by road or air. Those
realities are always in your mind. But then there’s something mobile
about Shakespeare’s plays. There’s an absolute requirement for fluidity;
one scene segues immediately into the next. As a designer, I want to
make the actors as free as possible to move. Movement and flow keep the
My co-director Declan Donnellan
and I always do a lot of dramaturgical work on the text: what does it
suggest, what possibilities does it offer? I’m always keen to get a
sense of what the actors think. But I need to move pretty quickly to get
a set designed and costumes made. In general, our aim is to make
Shakespeare feel as contemporary as possible, so there needs to be a
pretty strong reason for us to move a play out of a modern context. That
doesn’t mean we can’t – when we staged Much Ado About Nothing in 1998,
we set it before the first world war, with Edwardian costumes and
military uniforms. But that was something that came out of rehearsals: a
lot of the language of the play just seemed to make sense in that
setting. We’re constantly aware that these are old texts. Our job is to
make them come alive for a modern audience.
Cymbeline is located in ancient Britain at the time of the Roman empire,
and you can get very hung up on that idea – I dread to think what
“authentic” costume would look like, if you interpreted it literally.
Blokes wearing woad and/or Roman breastplates? When we staged it in 2007,
we didn’t want that at all. I hate the idea of the audience saying,
“Oh, you’ve set it exactly in 1914” or whatever. So we went for a sort
of transitional 20th-century look: a bit 1950s, a touch nostalgic,
because there are all these references in the text to time and time
passing. In the opening scenes, Jodie McNee wore a red ballgown as
Imogen; Tom Hiddleston, who played her husband Posthumus and her half-brother Cloten,
had a dark suit and a raincoat. Very simple. There was very little in
terms of set – some blue drapes, I think, which floated above the stage.
A hint of Buckingham Palace for King Cymbeline’s court.
Tom was very keen to wear glasses as Posthumus; he had a slightly
eager, intense quality. But as Cloten, who idiotically attempts to woo
Imogen, he was pure clown. There’s a scene where he stands beneath
Imogen’s window and sings “Hark, hark, the lark”, which we turned into a
boyband number, with Tom singing and dancing. I forget whose idea it
was, but it was brilliantly cringeworthy. He really went for it.
Declan and I have recently done Measure for Measure with our Russian company,
and it felt as if there were so many references to contemporary Russia
in the text – corrupt city governments, authoritarian power, a resurgent
church. But I don’t think you can make a rule about how to design one
of Shakespeare’s plays: you can come up with good reasons for doing
anything. I can easily imagine the play set in the Victorian era, or the
17th century. It’s about puritanism, and that doesn’t date. When we did
it the time before, with English actors in the mid-90s, John Major was
talking about “back to basics”. Shakespeare is writing about human
beings, and about us.
In a way, that’s the point. Shakespeare wasn’t historicising reality – he was setting his plays in certain periods or locations,
but using that as a way to write about his own world. Costumes and
clothes were expensive in the Elizabethan period, so there must have
been a lot of using what they had available, making-do. People are
sometimes surprised by how pragmatic theatre is. They imagine the
director and designer have absolute authority over what you see, that
everything is planned. But there are thousands of tiny decisions, many
of which you don’t really control. You’re collaborating with actors, and
a text. It’s as simple as that.
pairings: Reader x Bucky Barnes characters: Reader, Tony Stark, Pepper Potts, Happy Hogan, Bucky Barnes, Wanda Maximoff (mention), Natasha Romanoff (mention), and OC Miranda word count: 996 warnings: some cussing a/n: hah, a new series. i’m killing myself here. summary: You were expecting to become editor-in-chief, what you weren’t expecting was the job being given to some perverted idiot.
Every day, at the same exact time, you followed your holy schedule. For as long as you could remember you’ve always had your days and weeks planned to the tee. It was something that you had picked up as you grew up. Others found your meticulous personality overwhelming, you found it soothing.
It was nice knowing when things were going to happen and why they were going to happen. Controlling your schedule made you feel empowered. After all, your ten-year plan and your attention to detail were what helped you book your dream job.