pattern sharing

eversoulauthor  asked:

I'm curious if you do commissions? I volunteer with my therapy cats at schools and hospitals visiting sick children. I dress them up in costumes all the time but they're mostly store costumes. Nothing as awesome as yours. I'd love to know more.

I can share base patterns that we use and edit to form. But I’m currently too busy for any individual builds at this time.

W.D. Gaster Masterpost

(undertale spoilers)

Doctor W.D. Gaster is an enigma shrouded in mystery, with very little known about him. Despite the scarce amount of information, this character is a popular topic for many fans who are desperate to know who he is. After the January 2016 patch, more “fun” events became available in regular gameplay, driving more people to look for answers as to who Gaster is.

The following is a breakdown of facts, circumstantial evidence, and unconfirmed theories on Gaster. All technical information mentioned below is based on v1.001 of the game.


Facts

Before Gaster is discussed, three important characters should be considered – the followers.

Facts about the followers:

  • There are three followers.
  • Their sprite names are spr_g_follower_1, spr_g_follower_2, and spr_g_follower_3.
  • Their object names in the code are obj_gaster_follower_b,  obj_gaster_follower_a, and obj_gaster_follower_c.
  • Each follower has a very low chance of appearing.
    • Follower_1: fun value 62 and 50% chance = 0.5% chance
    • Follower_2: fun value 61 and 20% chance = 0.2% chance
    • Follower_3: fun value 63 and 50% chance = 0.5% chance
  • These are the only monsters that ever mention Gaster by name.
  • They share a monochrome gray color theme.
  • Two of them use the words “they say” in reference to what they know.
  • Frisk’s phone does not turn on in their presence.
  • Follower_2 disappears after speaking.

Since the followers are the only characters that mention Gaster by name, what is known as canon about Gaster is derived from their dialogue. However, because the followers speak in such a hearsay manner (e.g. “They say he created the Core.”), it’s hard to be sure how accurate this information is. With little else to go on, this information will be taken at face value. 

Facts and hearsays about Gaster:

  • He was the previous Royal Scientist, before Alphys.
  • His brilliance was “irreplaceable”, which is why Asgore took so long to replace him.
  • He created the CORE.
  • His life was cut short.
  • He fell into his creation.
  • His experiments went wrong. (Yes, experiments is plural here).
  • He vanished without a trace.
  • He shattered across time and space.
  • A piece of him exists with Follower_2.
  • He is still listening.

Outside of what the followers share, there are a few more things known by special events in the game and by examining the code and assets.

From the game’s code, assets, etc:

  • Entering Gaster’s name in the character name screen causes the game to restart – and it only happens with Gaster’s name.
  • The Sound Test Room in Snowdin has a 50% chance of being accessible at fun value 65 (after defeating Papyrus and before defeating Asriel in the pacifist route), and Gaster’s Theme can be played in this room. Once the song starts playing, the music cannot be changed. Eventually, the song ends and then Frisk is automatically returned to the room with the fishing rod.
  • Despite not having a battle, Gaster’s monster type identifier in the code is 666, and his stats are composed using only 6. (ex. HP of 666666)
  • Sans’ attacks, which bear resemblance to animal skulls, use six sprites called spr_gasterblaster.
  • An unused NPC field sprite called spr_gb_npc looks like the spr_gasterblaster sprites, but without a face.
  • The gasterblasters are used in the code’s obj_gasterblaster, which is used in the code’s obj_gasterbl_gen.
  • By editing the game’s save files, ENTRY NUMBER SEVENTEEN can be found in an unused room. The code for this room is called obj_gaster_room, confirming that the entry belongs to Gaster. The identifier for the text type is 666, and the game quits after the last line of the entry.

Circumstantial Evidence

The following is a list of reasonable deductions based on clues provided in the game. Unlike the facts listed above, these theories are not confirmed directly. However, they have enough circumstantial evidence to make a strong case.

Gaster is the original creator of the DT Extraction Machine.

  • Alphys specifically mentioned “using the blueprints” in her lab entry 5.
  • Since Alphys used these rather than created them, it’s presumed to be from the previous Royal Scientist.

W.D. Gaster refers to Wingdings and Aster (two fonts). 

  • Wingdings shares Gaster’s initials, W.D.
  • Because the room with ENTRY NUMBER SEVENTEEN is coded as obj_gaster_room, Gaster has a connection to Wingdings.
  • If the W.D. refers to Wingdings, the name Gaster may refer to Aster. However, there is no Aster in the game.

Gaster is a skeleton.

  • Because Sans and Papyrus are named after fonts and are skeletons, Gaster is assumed to be a skeleton.

The Core was built before New Home.

  • Considering New Home is built above the CORE, it’s reasonable to assume Gaster built the CORE before the Royal Family moved to New Home.

Gaster may have a connection to the monster that appears in a room behind a gray door in Waterfall – Mystery Man.

  • The sprites are called spr_mysteryman.
  • The object name in the code is obj_mysteryman.
  • At fun value 66, there is a 10% chance of this door appearing. That means there is a mere 0.1% chance of finding this door without hacking or cheating.
  • Frisk cannot collide with Mystery Man; they walk right through.
  • When interacted with, Mystery Man disappears, and the sound effect snd_mysterygo plays. It is the same one that plays for the disappearing Follower_2, who claims to be holding a piece of Gaster.
  • Unlike with the followers, the phone can be used, but there is no response.

Gaster may have a connection to the monster in an inaccessible room in Waterfall – Redacted A.

  • Its sprite is called spr_redacted_a_0.
  • Its object name in the code is obj_redacted_a.
  • The room can be accessed by editing the game’s save files, but only after disabling dogcheck.
  • The monster is solid and cannot be walked through. 
  • It disappears if Frisk moves away from it, and reappears if Frisk moves towards it.
  • This is the only monster that speaks in Wingdings, specifically all lowercase. Its only dialogue is “* [redacted]”.
  • The text sound used for Redacted A’s dialogue is the same one used for ENTRY NUMBER SEVENTEEN.

Sans has a connection to Gaster

  • Sans uses gasterblasters in his battle.
  • Sans has blueprints with unreadable symbols in his secret lab. The narration remarks that it may be just the handwriting that makes it illegible, perhaps implying it belongs to Alphys who’s handwriting is described as illegible chicken-scratch. However, unreadable symbols could also mean Wingdings.
  • During his battle, when Sans sleeps, he snores in an unidentified serif font. This font was originally thought to be Aster, but further examination has proven this is not the case.

Popular but Unconfirmed Theories

With how little information there is and how hard it is to find, it’s easy for “fanon” to become so popular that it is misrepresented as canon. The list below is made of popular theories that are commonly misquoted as fact. This was not written to diminish the theories in any way; in fact, the reason these ideas are so popular is that they make a lot of sense and are not directly contradicted by evidence in the game. However, it’s important to know fact from fun.

“Mystery Man is Gaster.”

  • Because the followers, the Sound Room, and Gaster’s stats all share a pattern of 6′s, Mystery Man has an association with Gaster.
  • However, Gaster was said to have shattered. If this is the case, it doesn’t seem right for him to still be intact as the Mystery Man.
  • It is more plausible that Mystery Man is a “piece” of Gaster.
  • Redacted A is the only monster in the game to speak in Wingdings, which makes it another candidate to being a piece of Gaster.
  • Dogbomber’s interpretation of Gaster was removed from the official tarot card merchandise, keeping his true identity a secret.

“Goner Kid is a follower of Gaster’s.” 

  • Goner Kid is the gray monster kid that can be found in Waterfall.
  • Their sprites are called spr_mkid_goner – it does not include the word “follower.”
  • Their object name in the code is obj_mkid_goner.
  • They have a gray color scheme like the followers.
  • However, Goner Kid appears if the fun value is above 90 – not in the 60′s. This means there is a 10% chance of running into them.
  • Unlike the followers, the phone can be used in the room with Goner Kid to call Papyrus.
  • Goner Kid never mentions Gaster.

“Gaster was forgotten by everyone.”

  • Based on the idea that Gaster shattered across space and time somehow causes his existence to be forgotten. There is no mention of this, however.
  • There is also speculation that Gaster is talking through Goner Kid about how the world can be the same “except you don’t exist.” However, Goner Kid has no confirmed association with Gaster.
  • The word “forgotten” is never used to describe Gaster.
  • His followers remember him.
  • Nothing indicates that Asgore forgot him, especially considering he took so long looking for a replacement since Gaster’s genius was “irreplaceable.”

“Gaster wrote the true lab entries.”

  • Other than the ENTRY NUMBER SEVENTEEN that is written in Wingdings, there is no evidence that Gaster wrote any of the entries found in the true lab.
  • Alphys explains to Frisk the experiment she carried out on the fallen monsters, which the true lab entries document.
  • Based on supporting evidence in the game, Alphys wrote all the true lab entries.

“The followers are Gaster’s assistants.”

  • Nothing indicates they ever worked with Gaster.
  • They mention information about Gaster, but in a hearsay manner.
  • The “follower” name makes them seem more like fans or cult members.
  • Sans has a photo album filled with photos of people Frisk does not recognize, which people believe is Gaster and the followers. However, Frisk can meet any one of them, even if the chances are extremely slim.

“Sans was Gaster’s assistant.”

  • Sans says “you’ll never see them again” in the Lost Souls battle as if speaking from experience.
  • ENTRY NUMBER SEVENTEEN addresses two people at the end, but nothing confirms who these people are.
  • Sans speaks about “our reports” and has a scientific background, but evidence supports that Sans may have worked with Alphys instead of Gaster.

“Gaster is Sans’ and Papyrus’ father.”

  • Gaster is speculated to be a skeleton, so it’s commonly assumed he would be their father. However, Sans and Papyrus make no mention of family outside of each other.
  • A poorly drawn picture of three people smiling can be found in Sans’ photo album under the right circumstances, but there is nothing to say who these three people are.

Conclusion

Shrouded in mystery and darkness, Gaster’s identity and story continue to elude the community. Filling the gaps with speculation is part of what makes Gaster theories so much fun. Hopefully, this comprehensive master post will aid with the guidance, testing, and formulation of fan theories. While conjecture and assumptions breed compelling speculation, it is always important to distinguish fanon from canon.

» view more: album of Gaster related content

Analysis: Romance in One Piece

Note: I’ll be posting condensed versions of this analysis in other sites

A) Relevance of plot and characterization AKA Unbiased Readers Vs. Delusional Shippers

“Who lives on ilusions dies from disappointment” – An old Puerto Rican saying

Most of us know One Piece is a very popular manga. Its high quality and popularity depends on several factors, among them we could name memorable and likeable characters along a deep, compelling, fun and action-packed story. The One Piece many know and love wouldn’t exist without the balance between these factors

When talking to at least 3 different One Piece fans, each of them non-shippers who analyzed the manga they all enjoy, I found interesting and pretty sound perspectives of the One Piece story and its nature. All of them value characters, story, development, consistency and logic; something I can totally relate to

But I also found a pattern; these 3 guys shared one single outlook on the very same subject: shipping. Regardless of their expectations, all of them expressed distate for shippers’ general mindset and “odd” viewpoint:

One of them called shippers out for ignoring characterization and very clear and direct statements made in the manga. His attention was centered on a Luffy pairing and how it contradicts his own character. Oda once explained that he writes Luffy as someone pretty straightfoward when it comes to expressing his thoughts and feelings, and this non-shipper said with brutal honesty that for the discussed ship to happen we would need to disregard and/or discard the very core of Luffy’s character. Meaning Oda would need to stop being consistent and faithful to his own story and characters

The next one explained how shippers tend to turn a characters’ relationship into a sappy teen love fantasy that doesn’t match One Piece at all. His analysis also exposed how integrating this kind of underdeveloped “love” into the story would severely damage One Piece originality, ruin the series and needless to say destroy the likable dynamics between several characters as well as their own development. This fantasy, this so-called “love”, is what the vast majority of shippers support and defend. The same kind of “love” most non-shippers, fans and critics dread

The third non-shipper gave me a more detailed explanation: this is even more rough than the other two as he describes that the common shipper mentality of “he/she likes her/him so they should be together” can “only be likened to that of elementary schoolers”. And how shippers take every little meaningless detail and blow it out of proportion with no regard for context, legitimate bonding or the canon story!

But we can’t put all the blame on shippers. Many manga authors seem to have no idea how to write a character-driven series or complex character relationships. In fact, mainstream shonen writers have their fair share of guilt into promoting this common shipping mindset by being notoriously bad at writing romance. Which results in underveloped premises that leave your average fan skeptical, and your average critic disappointed at a poor portrayal of emotional bonding and a severe lack of cohesive narrative in the “romantic love” department

This is the reason why many fans, critics and non-shippers hold the shippers’ perspective in a very low regard. Just like the third non-shipper states: “The blushing, longing stares, corny ass lines etc. That kind of poorly portrayed romance is the kind of thing dreaded by the average fan because it reduces the quality of One Piece to the level of such poorly written series”

So an author needs to build a relationship the same way one person would construct a building: stablishing a strong foundation on companionship, respect, trust, signifcant moments, and emotional bonding. All of this must come before reaching the status of “romantic interest". In relation to this subject, there’s a trope called “First Girl Wins”, a portion of its description truly fits this criteria:

“From a [extradiegetic] point of view, the Law of Conservation of Detail suggests introducing the Love Interest early. An early introduction allows you to get the audience interested in her and rooting for her, gives you space for Character Development, and gives her relationship with her (eventual) partner the most time to develop organically. And with all that said, it’s such a common device that in all likelihood, it sometimes gets played for its own sake.” – tvtropes.org, 2017

Notice this isn’t a cliché, this is a literary device to enhance the story. Pairing up two characters without meaningful moments, emotional build-up and development, is the equivalent to lazy writing. Having such elements firmly stablished for two characters and then deciding to go for a different “route”, pretty much wasting a well-developed relationship for the sake of a “weaker” premise, would be the equivalent to bad writing

Is Oda, the man who’s willing to die for One Piece, a lazy writer? Of course not! Is he, a man who planned the ending years ago and is still sticking to said ending, a bad writer? Being number 1 in Japan and having such a loyal fanbase all around the world prove he’s not!

Do shippers want Oda to be a lazy/bad writer? Facts already answered this question as many (although not all) fans value their own fantasies and delusions over the manga canon and/or the author’s take on the characters and their relationships

Many (but not all) shippers now have a war. Not only against rival ships but mainly against One Piece story and consistent development. Yet as the old saying goes, those who live on delusions will have to eventually face reality and disappointment, because Oda is not a lazy/bad writer like some people here would want him to be

B) Romance Dawn AKA The not so secret origins of One Piece

“If we don’t know where we are going, it can be helpful to know where we come from” – Jostein Gaarder

When debating posible outcomes, fans rarely look back at the time when One Piecewas a still a work in progress. Taking a look at Romance Dawn V.1 and Romance Dawn V.2 helps us to see there are constants present in all versions of these Works that made it into what would later become the most popular manga in Japan

But before discussing those constants I would like to clarify the meaning of the word: “Romance”. There are people who doesn’t really grasp the concept of “Romance” both One Piece and Oda work with. Luckily the first two non-shippers I meantioned shed some light on this subject:

Romance:

“A mysterious or fascinating quality or appeal, as of something adventurous, heroic, or strangely beautiful
“A long fictitious tale of heroes and extraordinary or mysterious events, usually set in a distant time or place”
“A narrative in verse or prose, written in a vernacular language in the Middle Ages, dealing with strange and exciting adventures of chivalrous heroes

– thefreedictionary.com, 2016

“A prose narrative treating imaginary characters involved in events remote in time or place and usually heroic, adventurous, or mysterious
–  Merriam Webster, 2016

Romantic:

“Marked by the imaginative or emotional appeal of what is heroic, adventurous, remote, mysterious, or idealized
“Having an inclination for romance: responsive to the appeal of what is idealized, heroic, or adventurous

–  Merriam Webster, 2016

These definitions match pretty well One Piece and Oda outlook on this concept. Even Oda lampshaped this by giving his own translation to the title: 冒険の夜明け (“Bōken no Yoake”, “Dawn of the Adventure”)

So Oda’s “romance” covers a wide variety of themes: Adventure, heroism, mystery, virtue, idealism… we can find comedy and tragedy, happiness and sadness. And among the virtues and the idealism we find companionship and love. As the second non-shipper I mentioned explained One Piece is pretty much like an “Adventure novel”, which is why we’ll find in One Piece many of the tropes commonly used in those books

Among those tropes, we find a couple of constants in all versions of “Romance Dawn”

The golden-hearted protagonist and the “First Girl” who doubles as a female lead. Think about this “what if” scenario: If things would’ve played different back then and One Piece never went beyond “Romance Dawn V.1”. If that story were to be elaborated futher, which two characters would had shared the most moments to become endgame? The answer is pretty simple: The golden-hearted protagonist and the female lead!

But when debating, the weight of the argument depends on edvidence so we need to rely on what we can confirm. And we confirm this, what’s the constant in Luffy’s story in all versions of Romance Dawn? a Nami-like character

This becomes even more interesting when we discover that at an interview at “Manga no Chikara” and others, Nami was supposed to be the first one to join Luffy but her debut was postponed by Oda’s editor at that time. Edvidence of this being a last minute decision remains on the first color cover:

Yet as the second non-shipper noted: “her role as secondary protagonist was not altered” for “Nami shares with Luffy the largest character development in the entire series”. And as explained here we already know how the trope goes when someone seeks to write a natural growth for an emotional connection between two characters 

In fact, the relevance of Nami to Luffy’s story is implied in what Oda himself said about Strong World: “I really wanted to make a ‘hero saves the heroine’ story (ヒロインを助けるヒーローを描きたい the japanese sentence). [….]. You might think otherwise, but I had no intention of bringing in someone new to fill that [heroine] role. So when I had to think about whom to use for it amongst the straw hats of course that meant Nami

In Oda’s mind, Luffy is the hero and Nami is the heorine! We can tell that the hero and the heroine are meant to be the driving forces of the series, and therefore putting them together makes the most sense from a storytelling perspective

C) LuffyxNami AKA LuNa/LuNami

“Logical consequences are the scarecrows of fools and the beacons of wise men” – Thomas Huxley

Many shippers tend to ignore and disregard the importance of staying faithful to the canon story, and the author’s take on the characters and their relationships

To makes matters worst some of them even deem as illogical any argument solidly based on these factors. While considering stuff like lines, frogs, sweat, fire, nonexistent sexual tension, assumption of sexuality, and even assumptions of pregnancy, as legitimate proofs of a plausible outcome! In fact they even value comparisons to other series with a different tone, themes, and characters over anything that the One Piece author conveys through his work

There’s even people who goes as far as editing the wiki as if that would change the story to match their preferred pairing!

But in order to reach a conclusion that remains true to One Piece and its nature we have to rely on the very same foundation that was already described several times: mutual trust/respect, faith on one another, significant moments, stress in their relationship and emotional development. If the story doesn’t let you build your premises on these elements, the conclusion you’ll reach will obviously be flawed and stray away from what One Piece really is

So here I’m not only defending the premise I strongly support; I’m defending the very same story and build-up that contributes to this bond’s natural growth:

As explained before there’s nothing explicitly romantic about major interactions. But given we’re dealing with a good and dilligent writer, what we’ll get to see is how big to small moments stablish an emotional connection between two characters, and how that becomes the base for a even greater growth

First we have the themes of trust and faith: At first Nami doesn’t trust Luffy very much, out of her clear distate for pirates, until witnessing how far was Luffy willing to go to selflessly help others. Even then Nami treated their relationship as a mere business and later betrayed the crew

Still Luffy always trusted Nami to the point of putting blind faith in her. Even when given reasons not to do so. One remarkable example is when Luffy was informed by someone trustworthy (Johnny) that Nami apparently “killed” to Usopp, and Luffy not only kept holding onto his blind faith in Nami but he also threatened Johnny for saying such things about her


This becomes something remarkable when we take into consideration that Zoro quickly gave up on Nami and later tried to attack her without even a second thought! While Usopp just wanted  the Merry back…

And it would later become even more impressive in the Whiskey Peak Arc when Luffy came to doubt Zoro because of the words of wounded man he didn’t even know, and even doubted Robin during Water 7 until Nami told him and the crew the truth behind Robin’s desertion:

But what else makes this situation with Nami any different from others we see in the manga? Some might point to the saga where rescuing Robin was the primary objective; but in Robin’s case Luffy knew her life was in danger for Robin was planning to die for the crew, and he got the resolve to save her only after learning the truth. Others might point to the current arc, but he saw right through Sanji’s act and got desperate to rescue him only after hearing his life is in danger.

Here, Nami’s life wasn’t in danger as far as Luffy knew. And he constantly try to reach out to her despite her harsh attitude and the fact he knew next to nothing about her past and her current circumstances. It was only when he saw her cry he got enough motivation to beat Arlong, and it was only when he got a small glimpse of what she went through that he lost it!

How does Nami respond to this? Initially she wanted to get Luffy out of her villaje and her life. While Nami indeed grew fond of Luffy and the others she wasn’t willing to bond with any of them; she held on her distrust of others. But that changed when she finally hitted her lowest point, when she finally lost all hope. Then it comes Nami’s first major development as character: she realized she needed to rely on someone else, she realized Luffy was her only hope Nami decided to rely on him. The following scene marks the first time of many when Nami relied on Luffy to a emotional level. And the first of two times when Luffy entrusted his treasure to her in a touching gesture to provide comfort and hope:

From the very beginning the emotional build-up between Luffy and Nami was a key factor for one of the most meaningful and memorable moments in One Piece. The moment when Luffy becomes Nami’s “emotional anchor”

The effect Luffy had on her character was also quite powerful as we could see during the 2nd pass of the hat: back then at Skypiea arc Nami could still panic at dreadful situations: 

But as soon as Luffy gave her his treasure, the panic stopped and when he was later removed from the battle field, Nami was capable of drawing enough courage from Luffy to face the big bad from that arc:

Not to mention Luffy’s final move against Enel was combined effort of the two as well as an impressive display of mutual trust/faith

We can continue to appreciate their development even futher as the story goes on. As someone already pointed out, Nami during Water 7 displayed an impressive resolve and determination, but as soon as she got the chance to explain Luffy their situation she opened her heart to express how she felt, her anguish and her distress. When Luffy reassures her that he will save Robin, she doesn’t cry anymore until she reunites with Robin

Their bonding is even futher explored in the only One Piece movie fully written by Oda: Strong World. As this is the author’s take on their relationship is still a valid argument to support Luffy/Nami development:

We already considered how impressive Luffy’s blind faith in Nami can be. So after listening to most of Nami’s recorded message, Luffy gets enraged! Why?

Well, after all that time Luffy relied on his navigator without ever doubting her. He was likely expecting all his trust and faith in Nami to be reciprocated

Turns out Nami does return that feeling! And why can we say that? Remember the movie’s ending: Nami finds out everyone in the crew got her hidden “save me” at the end of her message… everyone but Luffy. Then when Luffy is about to play the recorded proof of Nami’s unwavering faith in him, what does she do? She tries to get rid of the “edvidence” out of embarrassment 

It’s easy to see then why Nami seeked out Luffy for hope and comfort during Zou. And how she did something similar to what happened in Water 7: she opened up to Luffy

I said it before, since Luffy is Nami’s “emotional anchor”, it makes sense for her to keep strengthening her bond with Luffy. And given Luffy needs a guide to new adventures and someone “mature” enough to sometimes keep him in line, it makes sense for Luffy to grow closer to Nami

She once summed it up pretty well: “He always talks big, but when it comes down to it, he knows nothing about the sea! He’s severely lacking in the ‘sense of danger’ area! And he always overdoes it…if I left him alone, he’d die. And he’s stupid, so I have to take care of him. That’s why I’m gonna help him!” - Nami, chapter 596

Still, none of this is explicitly romantic in the traditional sense of the word. But just like someone who’s contructing a building, we start dealing with the foundations to then proceed to make a solid structure: a well-written relationship that enhances the story

As someone once reviewed, Luffy and Nami dynamic doesn’t need to chance for them to become endgame for they already have anything they need to finish that “building”. And that’s what’s being a potent pairing means: having everything to your favor for futher development and growth. Luffy and Nami definitively have the major moments and the emotional bonding while remaining consistent to the One Piece canon to be considered a Potent Pairing

Bonus:

It’s interesting we find other interaction that proves how comfortable is Nami around Luffy: 

She doesn’t mind having Luffy around her, what she really minds is Luffy wanting to go to dangerous places But why is this relevant? In Thriller Bark we had a clear showing of how she reacts to pervs trying to accomplish what Luffy did here. She electrocutes them. We can confirm she haven’t changed in this regard because at the end of Fishman Island arc Nami electrocutes a perv for trying to peek at her while she was taking a bath

Another interesting detail about Nami’s attitude toward Luffy is a change we see in WCI. Of course we have the remarkable faith and trust Nami puts on Luffy by even boasting how him being the future Pirate King ensures their victory over Cracker’s ability.

But the real change is when Sanji brutalizes Luffy. Nami already stated she felt guilty for what happened when Sanji got taken. But when Sanji did his “little” number on Luffy her attitude changed, she not only begged him to stop but was also promising they’ll leave if he did (Luffy clearly disagreed on that)

After seeing the way Sanji treated her captain, Nami did something the could seem pretty justified because of what happened: she slapped Sanji and then sarcastically played along Sanji’s “royal” act.

When she goes to Luffy and finds out her captain is not relenting on his effort to get Sanji back, she gives us this little gem:

The Japanese text for Nami’s dialogue reads: “Luffy!! Why?! No matter what his reasons are, after he did all that to you…”

The term she used here for the line in bold conveys the idea of severe mistreatment. She was obviously mad at the way Sanji attacked and badmouthed Luffy and his dream. Ironically Luffy is the one who shows far more emotion to the prospect of getting Sanji back than Nami, she kept displaying far more concern for Luffy as the chapters went on

Nami is now showing, little by little, more of a emotional attachment to Luffy. Which makes a lot sense given what we saw in their story

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So, I love cardigans in real life, and naturally what I love my simmies love - so when I found this cardigan with the separated shawl that @witheredlilies did I knew I needed to recolor it. I had it sitting around for a while and well, I added some patterns and decided to share it for simblreen.. you need the mesh which you can get here !

also.. plaid tights are *heart eyes* and I don’t know about you guys but I wear cute patterned socks all the time! I didn’t take pictures of my last gift, but it’s the base game capri leggings in ombres and in patterns *plaid, houndstooth and hearts*

Cardigan Solids: here

Cardigan Patterns: here

Stockings: here

Socks: here

Capri Ombre: here

Capri Pattern: here

One thing that still blows my mind is the pattern of astrology placements that show up in your life that you had no idea about. As you discover yourself you learn more about individuals in relation to you. As you look at the charts of individuals around you, you start to notice a pattern. Shared placements of individuals who you love and hate. A common mars sign that brings your joy or a moon sign that you don’t think you can deal with emotionally. It’s a very interesting phenomenon that makes you think of the individuals you’ve met who you’ll never get to read the charts of. People who have made you feel so strongly. What placements did they have? What was it in their synastry chart with you that provided such a powerful relationship(good or bad)?

anonymous asked:

paranatural is a beauty of a webcomic and frankly I'm still processing that Serge keeps listing things and every time it feels like a pg "dick: out/I am forcibly removed from the premises" meme reference. He's so dramatic it's amazing.

OH MY GOD YOU’RE SO RIGHT IT TOTALLY DOES

This comic has a bajillion characters but every single one of them have the most incredible and unique personalities and it’s absolutely amazing

As a side note, I honestly think this

should be my new life philosophy

(Please read Paranatural)

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Headband designed after Hera’s lekku pattern. I used this image by @kimbachan for reference.

Done in double knitting. 4.5mm needles, worsted-weight acrylic yarn. I had to repeat the pattern a little bit to get something of the appropriate length for a headband.

Feel free to use and share the pattern. Make as many Hera-headbands as you want, it’ll be awesome. Make any alterations to the pattern that you feel would make it better, things can always be improved. I only ask that you don’t claim credit for the original pattern itself; and I’d like to see anything you do with it, but it’s not a requirement.

As a bonus, a slightly better photo of the Kanan headband I’d posted about ages ago:

Addendum: if someone doesn’t know what double knitting is, but does know how to do both knit and purl stitches, I can try and explain it. Or you can look up various tutorials; just if you know how to knit and purl, you can do double knitting.

A letter from Artistic Director, Emma Rice

Dear future Artistic Director of Shakespeare’s Globe,

I am writing this as the deadline for applications looms and my final Summer Season, The Summer of Love, prepares to launch. Before the Globe story is thrown up into the air again and the pieces fall in a new pattern, I wanted to share some thoughts with you.

Firstly, congratulations! By the time you are offered this most precious of jobs, you will have survived and triumphed over a rigorous and detailed interview process. You will have imagined a life dedicated to this most joyous and vibrant of spaces and will have shifted the tectonic plates of your own, equally precious life, to make this union happen.

And a union it is. The Globe is not a job, it is a vocation and an all-consuming, delicious tangle of histories, hopes, passions and agendas. You will be the latest in a line of experimental radicals and you will be in for the most intoxicating experience of your life. I have learnt much in my short time here and I thought I would take a moment to pass some of this knowledge to you, dear theatre friend, as you begin your own journey at the Globe.

I have learnt that a Globe audience is the best audience! Alert, excited and often standing, they are actively willing the night to be the best of their lives; they are generous beyond anything I have known before. Alive to the tragedy of life as well as the fun, they have taught me to speak with them not to them and to capture the moment with instinct, meaning and wit. They are the heartbeat and energy of this extraordinary place and will tell you not only what they need, but what you need.

I have learnt to work with other directors and what a gift they have been! Heroes, friends and inspiration all, they have cracked open my experience as a theatre maker and shown me such wisdom, ferocity, vision and dedication. I salute and thank them all.

I have learnt that there are as many opinions about what the Globe and Shakespeare should be as there are people you talk to.

I have learnt not to say that I sometimes find Shakespeare hard to understand.

I have learnt to trust my team with my heart and soul. They are true lovers and fighters, dedicated to a radical and relevant artistic mission and loyal beyond belief. They will listen to you, help you and support you and dance with you as they make real all your dreams. Take care of them for me.

I have learnt to love Shakespeare.

I have learnt where my personal and professional boundaries were. Born to please, I have enjoyed a life filled with encouragement, delight and love. I walked into the Globe expecting this to continue but my blessed path was crossed and I had to call on my beliefs, principles and integrity for guidance.

I have learnt, never again, to allow myself to be excluded from the rooms where decisions are made.

I learnt that I have many friends.

These precious things I have learnt and I am profoundly grateful.

But, dear friend, no more lessons. I chose to leave because, as important and beloved as the Globe is to me, the Board did not love and respect me back. It did not understand what I saw, what I felt and what I created with my actors, creative teams and the audience. They began to talk of a new set of rules that I did not sign up to and could not stand by. Nothing is worth giving away my artistic freedom for, it has been too hard fought for.

Like you, I have happily given my life to theatre. It has been my lover, my partner, my children and my future. I do not choose what I see, feel and do, it chooses me. I have spent my life developing my skills to be able to hear my instincts, reveal my inner stories and to be able to communicate them with my temporary community of strangers, my audience. And to reveal these truths, I have always used whatever medium best tells that story.

The Globe has been the making of me. Here, I have found my fight and my ‘right’, I have stood up for what I believe in and tried to do it with kindness, care and seriousness. However, in the wake of recent events, the Globe is wrestling with what, at its core, it now stands for. It is still in the process of deciding and clarifying what its fight and its ‘right’ are. I had to choose to leave because I choose myself and my work. Never think that my decision to step down in 2018 was simply about lights and sound, it was about personal trust and artistic freedom. You must make sure that your own freedom is assured.

So, ask the right questions, not only of the Globe but of yourself and take on the challenge with independence, caution and resolve. The Globe deserves an Artistic leader so fierce and true that they would steal a building and carry it over the river for what they believe in. It needs a leader who will shout to the heavens about what it is to be free and loving and one who is determined to make a difference during their brief time on the planet.

The Globe will always be part of me, so know I am here for you to enjoy beer, or tears, or dancing – and believe me, there will be all three of these pleasures in this place of rare humanity! Remember, you are part of a magnificent line of fearless theatre animals; in its astonishing 20-year history, this warm belly of humanity has been conceived, built and led by free-thinkers devoted only to Shakespeare, theatre and above all, the audience. You are not alone. As I plan and dream of the theatre adventures I am yet to have, I hand you the baton with pride, celebration and sadness as I say goodbye to this glorious chapter of my life.

I envy you so, but my heart cheers you on with a war cry of hope,

Keep in touch,
Emma Rice



(Photo Credit © Nik Strangelove) 

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Finished! Near the end, I nearly regretted doing this because I had so many errors. But…. I really like how it came out. I have plans to add an inside pocket and cover up the threads so it’s safe to use, and I’ll be good.

Human tirefire Clint Barton pattern is by @todayiwrotenothing and yellow squares pattern (with some of my own tweaks) by @dak-says-so . Thank you both for sharing thess patterns with me!

regarding Doctor Who, can I just say...

I’ve seen a lot of people complain about a lot of things over the years. The new Doctor is not the first. I know it’s not just guys complaining, but there is a large amount of misogyny and gate-keeping in this whole argument. So I would like to share a little memory with you.

When I was about 9, my school had a superhero themed disco. Now this was a challenge, because even as a tomboy kid, my exposure to heroes wasn’t big. My mum and I tried to find a female superhero I could dress up as. First idea I recognised was Wonder Woman. I had never read, seen or really heard much of anything to do with her at that stage, just that she had a lasso. My mum made me the crown out of cardboard, and silver fabric bracers. I loved the costume, and I barely had any idea who Wonder Woman was. I kept those bracers for years. Because I knew I was a superhero, and also a girl. And that was a enough for me to feel really cool and included in that outfit.

Fast forward to the present. I’m almost 20. But let me tell you… when I went to see Wonder Woman recently, all of my friends were crying by the end credits. HAPPY crying. Because from one movie, we felt it. We were all those little kids again, those little girls without heroes. Except now, there she was. Not sexualised or belittled for gender and POWERFUL AS ALL HELL. We felt INCLUDED and RESPECTED. Women across the globe seem to share this pattern, I saw so many tweets about happy tears in cinema seats. To have a gift given to you after so much disrespect and being ignored or made into a joke, no wonder we were all crying.

I grew up with Star Wars in my life, but never actively called myself a hardcore fan. I played with toy lightsabers, had the Phantom Menace on VHS and that was it. But when I saw Rey pick up that lightsaber, when Luke’s hero motif played, I cried. I was so unbelievably happy. A jedi, and a girl, and she was the STAR. I don’t usually happy weep at anything, but I sure did that night. I cheered on Furiosa when men wanted to throw her down and boycott the movie. I cheered when Ghostbusters tried something new.

It’s been three days, and I still smile when I wake up remembering that Jodie Whittaker is the 13th Doctor. And yes, we still have a long way to go in getting roles for women that aren’t all white, but I still celebrate this. Women appearing on screen is not political. We are not automatically pandering. We are not ‘taking over’. We are simply having our turn. Years and years of well written male protagonists and heroes - and we’re finally getting a tiny piece of that light.

So when those men whine, I push back. When those women sneer, I feel sorry for them. When I see all those heroines centre screen, for all the little girls who had nothing, I cry.

But I promise they are happy tears.