restriction point

septic-soldier  asked:

Hey jack, this doesn't really effect YOUR content specifically but what do you think about the YouTube LGBTQ+ restriction? From my point of view it is ridiculous and should be dealt with immediately.

At first I was like “well it seems like everyone is effected by the restriction mode” but then I thought about it a bit more. If people are being restricted as “inappropriate content” just because they’re LGBT channels then that’s absolute bullshit.

The fact that we dont know how or why restriction mode works is ridiculous. Youtube need to speak up. EDIT: YT have since issued an explanation https://twitter.com/ytcreators/status/843613347367079937

Lame adaptations and sequels are always like, “how can Mina go back to her stifling Victorian marriage after her experience with the dark, seductive Dracula??”

Meanwhile, Mina marries her best friend, who she’s known since they were children, who she share common interests with, they build a home together, work as partners, make immense sacrifices for each other, support each other through their traumas.

Guys, a marriage isn’t stifling and restrictive just because two people… get along, I guess?

1:57:04 // Today, I ran my first half marathon. And it meant the world to me. It was more than just a physical goal- Ive been running consistently for years. I know I’m capable. It was more than just a mental goal- because let’s be honest, races are a mental game too.

This race was an achievement because it symbolizes to me everything I have gone through to find balance and joy living in health and hope.

In 2012 I signed up for the Boston BAA Run to Remember half marathon. I trained for it for months, only to succumb to an injury due to my restrictive eating (the lowest point of my eating disorder). I was devastated and so upset that I gave running up after that, and didn’t return to it until November of 2014.

I cried today as I crossed the finish- not because of the pain, not because of all the cheering, and not because I finished way below my goal time. I cried for the 16 year old me who didn’t understand health and happiness. I cried for all those moments where I felt the shadows of my past creeping in. I cried because this is what I wanted and dreamed of for so long– and I finally did it through grace and strength.
My legs and my lungs and my heart and my body have endured more than some do in a lifetime. And I am so grateful that they stayed strong with me. Thank you Jesus and thank you God– for all of it.

Where Oswald Makes the Colour Purple his Own

The first time Oswald wears purple again after coming back from the dead it isn’t his choice. He’s sitting upright in a hospital bed, the bandages wrapped round his abdomen tight and restrictive to the point where he can barely move. He’s been left a pile of clothes on the visitors chair; jumpers, shirts, slacks. All off the rack and nothing at all like the tailored suits and dramatic coats hanging in his wardrobe back at the Van Dahl estate. Cold in the thin hospital gown, he reaches out to grab the nearest jumper, breath coming out in short huffs as his stitches pull and scream out in protest. It’s only once he’s successfully got it on, sweaty and red-faced with exhaustion, that he realises the colour: mauve. It’s nothing like the deep, rich purples he used to wear yet he still hears the soft ‘I’m partial to the purple’ and before he knows it he’s muffling sobs into the slightly too-long sleeves. He’s alone. He’s totally alone.

The second time is when he finally has access to his old clothes. What with his power and influence having fizzled away into almost nothing the second his back hit that icy cold water, he’s had a lot of work to do. Planting seeds, encouraging whispers. Penguin’s back, they say. Awed and nervous and baffled. A steady stream of old but loyal informants and allies have been trickling back to him and he’s thankful that even after everything he still has Gabe, still has Zsasz. And now he has his battle armour, too. Going through the clothes, he takes out a pinstripe suit followed by a purple tie. He lets the silk glide through his fingers in consideration before eventually slipping it round his neck. Its weight is a comfort. As if Ed’s there with him, murmuring encouragements ‘you can do it, Oswald, I believe in you’. He goes down stairs, by-passing his portrait with the obnoxious question mark now blazoned across it and into the lounge to join the gathered crowd all eager to hear what his next plans are. He touches the knot of the tie gently with the tips of his fingers and straightens his back.

The third time he’s standing in front of the newly opened Iceberg Lounge, press from every paper and news station in the city gathered around him. Journalists call out questions to him; how he feels about his success being dubbed the comeback story of the century, does he have anything to say to those who said he couldn’t do it, what’s it like being more influential than ever before. He rearranges the purple pocket square so the small flash of colour will show up clearly in every photo taken that night. Deliberate. Mocking. He smirks into the cameras, chin cocked up in defiance. Look what I’ve done, Eddie. And all without you.

The fourth time he has a gun pressed into the small of The Riddler’s back. He forcefully walks Ed to a nearby chair and orders him to sit down. He drops down into it, long legs awkwardly drawn towards him as Oswald crowds in close. Now facing him, Ed’s eyes flick down and away from Oswald’s face to take in the colour of his waistcoat. Purple. Elegant and dark. They widen slightly in realisation and he opens his mouth to say something when Oswald roughly grabs him by the jaw, effectively interrupting him before he even can even begin. He presses his fingers into Ed’s skin, his nails leaving little crescent moon indents, and rakes his gaze from the tips of Ed’s polished brogues up to the curve of his hat.

“Never did like green,” he sneers with distaste.

We keep getting messages of people trying to find ways around the age restrictions and the point of that huge post about age was to stop the asks.

If you’re not the required age by the time auditions are over, you cannot play that role!!!

Please stop trying to find loopholes so you can play certain roles!!!!.

We’re trying to make this as cut and dry as possible so please just stick with what we’ve said about age restrictions and stop trying to find a way around it.

Thanks.

English vocabulary

All words are taken from Magoosh vocabulary builder!

Anomaly - something or someone that is strange or unusual
Constraint - something that constrains; a restriction
Pinnacle - the highest point; a point of greatest achievement or success
Apex - the highest point of something; the moment of great success, expansion, etc.
Paragon - a person of preeminent qualities, who acts as a pattern or model of some given quality
Audacity - insolent boldness, especially when imprudent or unconventional
Exemplar - something fit to be imitated; ideal, model
Intimation - the act of intimating; the thing intimated; an obscure or indirect suggestion or notice

Eradicate - to destroy completely; to reduce to nothing radically
Extrapolate - to infer by extending known information
Crystallize - to give something a definite or precise form
Tarnish - to soil, sully, damage or compromise; to lose its lustre or attraction; to become dull
Delegate - to commit a task to someone, especially a subordinate
Retract - to pull back inside; to take back or withdraw something one has said
Abstain - to keep or withhold oneself; to refrain from something
Misconstrue - to interpret erroneously; to understand incorrectly; to misunderstand   

Elaborate - highly complex, detailed, or sophisticated
Irrefutable - undeniable; unable to be disproved or refuted
Embryonic - something, especially a project, that is very new and still evolving; yet to reach its full potential
Impermeable - impossible to permeate; not allowing passage
Unprecedented - never before seen or done, without precedent
Negligible - able to be neglected, ignored or excluded from consideration; too small or unimportant to be of concern
Malleable - flexible, liable to change
Robust - evincing strength and health; strong

Logan

Dir. James Mangold

Originally posted by neqns

So let’s jump straight into it. The most, and probably the only, disappointing aspect of this film were finding out that the false rumor of a no credit scene was in fact true. Logan ended, and it just ended; Plain and simple. However, looking at the rest of the movie, it definitely didn’t need one.

Logan, Hugh Jackman’s last time playing the character he was meant to be, the wolverine. He has never disappointed in his role, as a matter of fact, he has mastered it and perfected it through every film he’s been featured in. Logan is when he reaches enlightenment. Old man Logan is above the expectations you’ll ever set, he depicts the old and retired like wolverine the way it was meant to be; we have that rated R to thank. From his foul language to brutal fatalities, Hugh Jackman went all out for this role; it almost brought me and everyone else in that theater to tears. Honestly, it probably did bring some tears without a doubt. It didn’t hit me until I left the theater that this would be the last time we’d see him in those shoes, nobody else can really walk in them after that; Logan set the bar pretty high.

The film runs for almost 2 and a half hour long, and not a single moment went to waste. I can definitely confirm that you’ll be on your toes each minute; Logan never has a dull moment to spare. This is such an advantage because it makes the movie shorter than what it is, because audiences are so engaged. The story was coherent and logical. In the simplest aspect, the film was about a road trip; a journey at that. There are “bumps in the road” during their trip and some changes in events but it all escalates to one climax, a simple story road map. It keeps the film enjoyable and not complex. The factor that makes the Old man Logan adaption so spot on is because of the Logan’s R rating.

If it wasn’t for Deadpool, Logan wouldn’t have been the masterpiece it was. Hugh Jackman would not have gotten the farewell movie he deserved, and in after watching that movie, and dumbed down PG-13 rating would have done damage if anything. Wolverine is made to savage and depicted without censorship; he’s violent and gruesome with a touch of sincerity here and there. With Logan, we can finally see the full scope of what that is. Now, there were some scenes that deliberately included R rating images, I’m sure only to qualify the movie as being so. However, it wasn’t depicted in a fashion that was thrown in the movie; it was done smoothly and fit just fine.      

There are some areas that make me question a perfect score. Like the exploration of character. In Logan, all the mutants are gone, there are hints to what has happened but nothing truly answered (comic book readers know I’m sure). There are only three original mutants in the film, most likely the last. One of them (no names, no spoilers) was a supporting role but had his significance, but I don’t think we knew enough of him to see why he was in the story. It made sense why he was there during the timeline but some background would have cleared up the story; these are just my personal opinions of course. Another factor was the ending. Not giving away anything but, personally I felt like some ties were left loose, not bringing closure to a story that was meant to have complete closure (or at least I think so…).

Overall the best qualities were the depiction of Logan without a rating restriction and a new point being the realism the film had. Even though it was obviously fiction, the setting and actions of the characters and “rules of the world” were entirely placed in realism. The year was past 2020 and everything looked logically of how it might look during those times, not like a sci-fi adventure film. I think films that incorporate fiction and realism together in unity are fiction works done extremely well. It accomplishes the “what if” question.

Verdict: 9.5/10 “it’s sad to see Hugh go, but he didn’t leave wolverine without a proper goodbye”

"Why don't I identify with my _________ sign?"

The planet may be weakly aspected, overruled or overlapped by another placement, in Detriment or Fall, in a house where it is not comfortable, or negatively aspected with other strong parts of your chart. Those are the most common (and likely) reasons, but there are specific possibilities for each planet and either luminary, so I will explain them below.

SUN: The Sun is your base personality, your ego, or your sense of self. This is you on the simplest and most succinct level, but certainly not the most comprehensive. While your Sun sign will have a kind of influence over every part of your life and character, it is merely the starting point – your other planetary placements add to and alter those traits. For example, if you are a Libra, you may not feel like a charming or flirtatious person as many stereotypes suggest, but that might be due to your Virgo Venus. I find that the sign your Mercury is in while have a great impact on what you do and don’t relate to, and I’ll get to that in a second.

MOON: The Moon is your heart and your past. It is about feelings and one’s core wants and needs. However, your Moon sign describes your natural way of operating on an emotional level, and many people grow past that. It is what you inherently or somehow immediately know, somewhat like the way babies cry to communicate every imaginable emotion that they feel must be conveyed – except, for example, if you have a Sagittarius Moon, your instinct may be to run, be careless or optimistic rather than to cry. That’s what the Moon is about: instincts. And instincts can be manipulated or ignored in order for you to grow.

MERCURY: Mercury is the way you think, speak, and learn. It is the intellectual planet, having everything to do with the mind. That being said, your Mercury sign is the one you think like, and it is very common for this to be a sign one greatly identifies with. However, it’s easy for the Sun to overrule this planet’s position, and it’s also easy to overanalyze your reactions and inner processes to the point of seeing yourself as something you’re not, which is something I’ve noticed is exceptionally common with people who have Mercury in Gemini, Virgo, Sagittarius, and Pisces (the signs where it is in Domicile, Exaltation, Detriment, and Fall).

VENUS: Venus is your romantic and artistic side (or lack thereof). This planet rules the love and beauty department. The way you express affection (either romantically or platonically), your opinion on art and fashion, and your aesthetic choices will be determined by your Venus sign. It is possible for the Sun to overlap this placement as well, but also Mercury, especially if you’re a thinking-over-feeling type of person, and Mars, which rules passion and ambition. It is also not uncommon for someone to have chosen to condition themselves to behave a certain way in relationships or during creative exploits due to life circumstances or even simply their personal philosophies on those subjects.

MARS: Mars is your sex drive and determination. Mars is the planet of action, and thus it rules when, how, and where you choose to act upon strong feelings and intentions. Your Moon and Saturn signs have a great impact on this planet’s expression, and can restrict it to the point where you no longer trust your Mars impulses or reactions. I believe that the Mars sign is too ordinarily suppressed, and the reason you might not relate to it is that you could be ignoring it, refusing to acknowledge it as a relevant part of you.

JUPITER: Jupiter is your luck, morals, and life path. This planet is not only about what you’re good at and how staying true to that will benefit you, but how it can benefit others as well, and whether or not profiting yourself is more important to you than profiting others. However, since this sign also points to the lifestyle that will prove virtuous to you, it is something you have to grow into. Jupiter identification, unless another placement implies otherwise, is something that must be searched for and discovered, or accidentally (luckily) stumbled upon. And age has nothing to do with that.

SATURN: Saturn is your fear and sense of obligation. Saturn is the planet that tells you, “No, you can’t do that!” for a slew of probably irrelevant reasons that, strangely, mean a lot to you, and seem logical enough when at that moment but later look like nothing but irrational excuses that cushion one’s inhibitions. It is said that Saturn is the karmic planet, which means that it points to the negative things you did or that happened to you in your past life which will come back to haunt you in this one. Other than the general probabilities as to why you don’t relate with a particular planetary position, there aren’t usually many things clouding your ability to relate to it, and you might just not have encountered its affects on you yet.

URANUS: Uranus is your innovation and need for change. It is the planet that rules your inner rebel, but primarily values progression over wanting to “shake things up.” It is all about caring for humanity and community while still being original and unique. Ironically (and quite amusingly), the planet of individuality is one of the slowest to move, so extremely large groups of people will have the same Uranus sign. It, along with the next two on this list, is considered a generational planet, and you may not relate to it because it’s not meant for you to relate to, personally, but for your entire peer group, as well. If you want to notice the affects of this planet, look perhaps not directly inward and at yourself, but at the entire population of people who share your Uranus sign.

NEPTUNE: Neptune is your imagination and receptivity. It is about all things illusory and inspiring, desired but unreachable, mysterious but widely searched for. Neptune rules everything divine, whatever is beyond; it is perhaps the most spiritual planet, next to Pluto. But its influence is often hidden and shrouded in confusion. If you don’t relate to it, start looking in unfamiliar or frustratingly evasive places, such as the truth and fate of this generation and the last. You may find its affects amidst chaos and healing alike.

PLUTO: Pluto rules all powerful transformation and regeneration. This planet can take up to thirty years to change signs, so if you do not see its affects in yourself, look at the last few generations and all the great, irreversible changes that have been made during their time.

Trust me – it can take a lot of time to find the way a planetary placement applies to you personally, but humans are complex creatures and if you dig deep enough, I guarantee that astrology will become significantly reflective to you.

My weight FINALLY BUDGED.  I was sick and it just.. wasn’t?!  I don’t know?  Now that I’m getting better and I’m mostly just stuffed up the weight is coming off of me.  I don’t get it, but okay!  Maybe I can be 129 tomorrow?!!  If I push hard enough, yes.  I haven’t seen 129 in close to a year, those last 9 lbs I just lost took fucking FOREVER.  I got stuck at 133 for ages, then bounded back up after February a bit, then fought my way back down to sticking to 131-133 FOREVER again.  Finally saw 130!! I need 129 tomorrow, I just NEED it.  I moved last September and I haven’t seen the 120s in this new house yet.  I haven’t seen it since July.  I ballooned up to 139+ (I stopped weighing but the photos freak me out I was way more I know it. I was stress binge eating because I was losing my home and everywhere I applied rejected me bc I work from home).  

129 is a lot more than just a number to me.  It carries a lot with it.  I fucking NEED it with all of my being.  

119 is my long term goal, and to maintain between 110 and 119 comfortably is where I want to be.

I used to feel like I ‘~had~ to be super fucking small because, well, everyone on here want to be 100 lbs.  But honestly?  When I first started to restrict I was overweight.  Legit overweight BMI.  Most of my life I bounced between average-high to high BMI ranges.  So when I decided to lose, I pulled a number out of the air.  I saw 147 (I was probably more I was restricting already at this point) on the scale and thought, hell, 120 would be amazing.  Maybe 110 as an ultimate goal?  Then reach for 108 because thats “perfectly underweight”.

I’ve seen 120 on me.  I’ve seen 115, 110, 107.  I’ve seen “perfectly underweight”.  I liked how it felt.  I felt free as fuck.  But you know what?  I also like how 115 felt.. and that is just not unhealthy.  I’m old af now.  I have a job I’m trying to maintain making 6 figures a year in by my own self.  I’m trying to pay for living in this house, I’m holding onto a great 6 year relationship.  Goals need to change to fit my current life style.  Perfectly underweight isn’t as important as my boyfriend, my job, my house, my income.  I have a life that matters now.  120, 115?  That’s doable.  Thats okay.  I shouldn’t feel like it’s not enough.  I look good at that weight.  And thats a great and normal goal.

Tutorial #7: Character Turnaround Sheet

A turnaround model sheet of your character can be a very useful tool. Animators and comic artists use turnaround model sheets to help them stay on-model as they draw characters from different angles and in varying poses. You can also use your turnaround sheet as a reference to create a maquette of your character.

Materials

  • pencil
  • paper
  • ruler
  • tracing paper (optional)
  • scanner/printer (optional)
  • Photoshop (optional)


Step 1

Once you’ve chosen a character you want to use, draw them in a front, three-quarter and side/profile view. You should choose a pose that conveys your character’s personality. For example, if your character is shy, you could draw them slightly hunched over, with their knees bent and pigeon-toed, as if they’re trying to hide themselves from the outside world.

I prefer to use relatively simple poses that will allow me to see the character’s body from all angles. You’re free to draw them in as dynamic a pose as you want. Just remember that you’ll be drawing this pose from various angles!

I started by loosely drawing the front, three-quarter and side/profile view free hand.

Tom Bancroft, author of Creating Characters With Personality, suggests you draw these three poses free hand, without restricting them to fit within a certain height. You can make adjustments later, to make your lineup cohesive. Avoiding restrictions at this point will allow you to experiment freely to find the strongest poses to use.

However, for the sake of cohesion, I suggest you try to keep the proportions relatively close to each other. For example, try to keep the eyes, nose, and mouth at around the same height within the face in each pose, the hands and clothes at about the same length, the hair within the same size, etc.  


Step 2

Tighten your sketches a little bit more, taking into consideration the structure of your character and their geometric build up. This will help you maintain the shapes cohesive as they turn in space. (i.e. oval head, cylindrical legs and arms, cone torso, etc.)

I focused on strengthening the structure of the character and tried to keep it cohesive throughout by basing my second round of sketches on geometric structures (you can omit the character’s arm in profile view to allow a better view of the torso).

I used tracing paper over my original sketches to define the geometric buildup. I then tightened my sketches basing the form on the geometric structures I defined. Note that at this point I added more detail to the outline and structure of the face in particular.

It’s important to keep human anatomy in mind when you begin to define your character’s silhouette in three-quarter and profile view. You might want to look up references as you work, use a mirror or ask a friend to pose for you.

Keep in mind that foreheads, noses and chins often protrude noticeably, as well as the back of the head. These are key in creating an appealing and believable head shape. Eyes rest within eye sockets, which will make them much less visible in profile view. Try to visualize your character’s form in three dimensional space as you draw. Think of the volume of the shapes and how they would look from a particular angle.

Flat shapes are boring and do little to create the illusion of volume in a drawing. Take care to create variation within your character’s silhouette. Even if your character is skinny, their body will have mass and volume. Use this opportunity to really try to understand the way your design would work in three dimensional space.


Step 3

To create the back and back three-quarter views, take your front and three-quarter views and flip them horizontally to use as a reference. I scanned mine and flipped them in Photoshop. If you don’t have access to these, you could use tracing paper or a light box or draw them free hand.

  • Tracing paper: trace your sketches, then turn the sheet upside down for the flipped version.
  • Light box: place your sketch upside down on the light box to get the flipped version.

Place tracing paper over your flipped sketches and draw the back view of each pose.

I flipped the sketches on the left and referenced them, using tracing paper, to create the back and three-quarter back views to the right.

The purpose of the flipped sketch is to provide a silhouette you can base yourself on, but don’t get stuck on trying to keep the silhouette perfect. Make adjustments as you see fit to accurately portray the pose from the angle you’re looking at it. Use geometric structures to help you visualize the shapes as you would see them from behind.

When you see the face in your flipped sketch, imagine what the back of the head would look like. Is the character wearing a hat? What kind of hairstyle do they have?

When you see the torso, picture what the back of it would look like. Is the character standing up straight or hunched over? Would the torso be pointing toward the viewer or away from him? (in my case it’s pointing away).

When you see the feet and hands, picture how much of the toes and fingers you would see from behind. Would you see them at all?


Step 4

Tighten your lineup and make necessary adjustments to make the figures align properly. Photoshop can be very useful in this instance, since it allows you to select specific areas and realign, stretch and rotate them however you want.

If you don’t have access to Photoshop, you can use a ruler to create guides for yourself.

I put all my sketches together in Photoshop, added guides, and made all necessary adjustments to the sketch before finalizing the turnaround sheet.

More Examples

Turnaround model sheets for my characters Luther and Sloan. 

2

OH BOY While I was buying fabric supplies, I came across this awesome 4-way stretch fabric at my local market! It’s almost identical in colour / texture to the 2-way stretch pleather I used for my current suit and feels mega comfy! I ended up buying a few metres of it :) I’m pleased with how my current suit turned out (also the one I filmed for the tutorial) but the fact it only stretches one way can be a bit restricting, so at some point I’m gonna re-pattern and remake it with this material and see how it turns out! If I get chance I’ll add it into the current tutorial I’m working on, otherwise I’ll film it separately and make another video out of it :) I hope it’s okay with you guys! Sorry again for the mass delay ~

An Alpha is Chosen Commentary

I’m not feeling so great so I may just restrict myself to ten points in this commentary… Maybe five.

1. 0:00-1:00 I think something like the Witan would be a better idea for the werewolves.

2. 1:28 Ein, fool, Ein!

3. 2:30 This is not a good idea. An obstacle course might not be the best idea. It is a test of skill rather than of morality.

4. Aaron, it is not how it looks.

5. Ah, yes, the Wiley Coyote Werewolf Girl… What was her name again?

6. Yes, the slide. Wonderful idea.

7. A pack of rabid dogs… Or a trio of silly pups.

8. It was on the cheek! The kiss was on the cheek!

9. Well, Mr. Gavin, frisbee is more fun than an obstacle course… If only I was any good at catching.

10. Succession crisis imminent.

11. Aaron, you don’t even know the guy! Even a Roman Emperor had the wisdom to chose an adopted child rather than passing the mantle to some stranger!

12. I worry for Ein being the new alpha. 

Toon Dark Magician
————————————————
Cannot attack the turn it is Summoned. While you control “Toon World” and your opponent controls no Toon monsters, this card can attack your opponent directly. Once per turn: You can discard 1 “Toon” card or “Manga Ryu-Ran”, then activate 1 of these effects;
● Special Summon 1 Toon monster from your Deck, except “Toon Dark Magician”, ignoring its Summoning conditions.
● Add 1 “Toon” Spell/Trap Card from your Deck to your hand.

————————————————
Can Be Found In: The Dark Illusion (TDIL-EN032)

Toons were officialy the first archetype to debut in the game, yet took them ages to become a real threat. Most of their creatures carries lots of restrictions, going from Life Point costs to being unable to attack the turn are summoned. They also rely a lot on “Toon World” to stay effective, to the point that the vast majority will destroy themselves if the Spell leaves the field. To compensate such lethal flaws, Toons gradually balanced things with powerful effects to assist them, gaining tools that on their own can overcome many Decks. Even if they have a slow start, Toons shouldn’t be underestimated nowadays.

All Toons are counterparts of already existing and popular monsters and soon enough “Toon Dark Magician” made his debut. Like the original “Dark Magician”, this monster might not be the strongest of the bunch but compensates with some of the best effects in the build. Like many other Toons, “Toon Dark Magician” can direct attack if “Toon World” is active and the opponent doesn’t own any Toons, but he’s unable to attack the same turn is summoned. The real power of this monster comes when discarding a Toon card or “Manga Ryu-Ran”, as either will allow us to summon any Toon monster from the Deck (Except himself) regardless of their restrictions, or add a Toon Spell or Trap to our hand. This is a highly powerful ability placing “Toon Dark Magician” as one of the best monsters in the archetype, since at cost of a card almost the entire archetype will become available for any purpose and situation.

Although cannot summon his own copies, “Toon Dark Magician” is a interesting case as gains support from not only Toons but also from the original “Dark Magician” and other Spellcaster resources, making it possible to mix both themes arround this monster. A good example of their potential is “Magician’s Navigate” summoning both “Dark Magician” and “Toon Dark Magician” together. “Ebon High Magician” is a tough monster on his own, but if is defeated can bring out the Toon from the Deck as replacement. “Dark Renewal” on the other hand can either summon or revive “Toon Dark Magician” at cost of a monster of ours, yet punishing an opponent’s summon in the process. Obviously we cannot ignore its original archetype, with cards such as “Toon Table of Contents” adding him to our hand, “Toon Mask” summoning in from the Deck in response to the arrival of a tough enemy, and “Red-Eyes Toon Dragon” summoning him from the hand for free. But if you’re having troubles to summon him, various copies of “Toon Mermaid” arriving together will easily assist us for a Tribute Summon.

“Toon Dark Magician” behaves the same as most of his kind. If “Toon World” or “Toon Kingdom” are active on our field, his 2500 ATK will go through the opponent’s defenses to deal some solid damage (Unless they own a Toon). However, due he cannot attack the turn is summoned it can easily prepare the opponent against him during their turn. That’s where his unique effect comes into action, as can summon from our Deck “Red-Eyes Toon Dragon” for not only an additional summon from the Dragon’s effect, but also use them together into a Rank 7 Xyz Summon. This can become one of the best moves arround Toon monsters, as they get quick accesibility to powerful Xyz Monsters like “Number 11: Big Eye” and “Mecha Phantom Beast Dracossack”. Another great candidate to be summoned is “Toon Dark Magician Girl”, the only Toon able to attack the turn she’s summoned, becoming a reliable source of damage right from her arrival. The final alternative will be “Toon Ancient Gear Golem”, able to deal piercing damage with its high ATK in case “Toon World” is not active". Remember that “Toon Dark Magician” can ignore any restrictions for his summons, giving us a chance to shortcut summon members like “Toon Summoned Skull” and “Blue-Eyes Toon Dragon”.

While in most circumstances “Toon Dark Magician” will be busy summoning his allies, we shouldn’t ignore the ability to search for archetype’s Spells and Traps. The only exceptions are their most powerful cards “Comic Hand” and “Mimicat”, but besides that restriction any other Toon is available. That obviously counts both “Toon World” and “Toon Kingdom”, ready to become activated and unleash the full potential of our Toons. “Toon Table of Contents” is one of the greatest searching effects available, so we might spare a monster to add it to our hand for later use or simply thin our Deck. Both “Shadow Toon” and “Toon Rollback” can increase the damage caused by the archetype considerably, with the possibility of becoming finishing cards to defeat the opponent. Lastly we have our defenses to punish opponent actions with, including the mentioned “Toon Mask” summoning our best Toons, and “Toon Briefcase” returning any threats to their Deck.

“Toon Dark Magician” is without a doubt one of the best monsters among Toons. At cost of a single card, this monster can prepare all sorts of setups on his own. Specially working along “Red-Eyes Toon Dragon”, summoning several monsters together which includes Xyz Monsters. Not only that, but being a Dark Magician and Spellcaster monster gives him even more options to work outside his own archetype. And that’s also his main problem, as due being a high Level monster as well having a delay to attack it will rely on other effects to be summoned on the field before is too late. But once we surpass those hiccups, “Toon Dark Magician” will either keep gathering Toons and resources with his effect, or immediately prepare the arrival of some of the best Xyz Monsters available.

Personal Rating: A+

+ Can direct attack if “Toon World” is active and the opponent doesn’t have any Toons
+ Able to summon any Toon from our Deck except himself
+ Can search Toon Spells and Traps
+ Incredible sinergy along “Red-Eyes Toon Dragon”
+ Highly supported by his archetype as well Spellcasters

- Cannot attack the turn is brought to the field
- Relies on other cards to be summoned

Recovery Thoughts: Day 105 of 362

Your mind is designed to protect you from the uncertain, the uncomfortable and the scary. While this can protect you from potentially harmful situations, it can also stop you from pursuing the experiences and changes you need to grow as a person. Your mind will trap you inside of your comfort zone. At this point restricting is comfortable, purging is comfortable, shutting everyone out is comfortable. Eating that meal, keeping that food down, resting, and allowing yourself to receive care and be vulnerable are all scary because you haven’t done them in so long. This is when you have to fight your mind and break out of your comfort zone, because the life you live inside of it could end up being a lot shorter than the one you could live if you were to step out.

LITTLE PHASMA + MASTERLIST


Request: Can you write one where reader is Phasmas little sister and she goes to vist her and kylo ends up liking the reader and at first phasma is protective about her sister but eventually she sees that kylo truly loves her and approves the relationship?

A/N: Thank you @kyoiskami​ for the request! First theings first, I can’t wait till they reveal Phasmas name. Second of all, I had to guess her age because I don’t think they’ve announced that either…so…there’s that. Anyway, here’s some smug Kylo! Enjoy!

Word Count: 3.8K+

Warning: None!


It had been years since you last saw your older sister, ever since she had been recruited to the First Order and became a captain, it was a rarity to see her–let alone–visit her, but now that things had slowed down in the First Order due to the lost of their home base, you finally had a chance to see her. As much as you weren’t a big supporter of what the First Order stood for, you were the slightest of excited to be able to walk on the one and only Finalizer. Although visiting your sister should be the one thing you were looking forward to, you’d be lying if you said you weren’t anticipating the chance of running into their infamous commander.

Keep reading

Update on My Working Theory of The Location of Night Vale:

Alright, so after getting caught up, and finishing the novel, I can say with certainty that, not only was my original estimation for the location almost undoubtedly accurate, but using the new data from these sources, that I can narrow down the search even further.

Night Vale must be within a triangle that consists of fifty miles of the westernmost border of California and Arizona, Thirty odd miles of the southernmost diagonal tip of Nevada, and run parallel to the county lines of Southern California via the Mojave Desert, which all run at a certain parallel.

Carnival mentions the city of Modesto (word up to my home town) as being close enough that a wrong turn along the highway would lead you to Night Vale instead, and both King City and Soledad of Monterey County (as in Monterey beach and aquarium) are very close by, and play an integral part within the Novel. 

Using Maps, I’ve found a stretch of the Mojave desert that is still sparsely inhabited, but does not connect to any of the other major highways whatsoever.

Using that parallel I calculated, and my previous thoughts about it being near Coalinga, which I found runs roughly parallel between King City and Las Vegas, I found a patch that is just west of Death Valley National Park and just east of Ponderosa where the Highway dead ends that seems conspicuously blank, even when zoomed in.


That smattering of gray flecks east southeast of Visalia, where the road refuses to intersect with that other highway, is the general area I believe Night Vale to be in, as it runs the general parallel of King City, if the Man in the Tan Jacket had just driven east aimlessly until he arrived in Night Vale. Additionally, if the Carnival had been headed north to Modesto, and taken a wrong turn at Bakersfield, and headed west past Ponderosa, they would have ended up in the same area. Topographically, there are enough bluffs and vales to constitute both city names, cliffs and Ponderosa Pines enough to justify the existence of the ill-fated Pine Cliffs, and right smack dab in the Middle of the Mojave Desert.

I know the location of Night Vale is both in and out of normal existence, a liminal space at best, but if one were to go looking for the edges of that liminal space, this is where I’d start. It’s south enough that what few Krogers you find are called Ralph’s, follows a ley line, and it’s still in the part of California, where only a town this liberal and permissive yet paradoxically conservative and restrictive could exist.

Another point towards it being in California has to do with the Novel, and the emphasis on Jackie’s mom’s green lawn and how annoying it is to her neighbors, as we are Californians and always in a drought, and hate to see green lawns as ours suffer and wither. The obsession with avocados, and avocados being fake, doesn’t hurt either. That this region was also considered instrumental for things like mining and military weapons assembly doesn’t hurt either. I’ve heard about people looking for Uranium and Plutonium in those general areas of the desert.

I’m still open to other interpretations of the location, or theories of there being several ways to get to Night Vale, but seeing as how Joseph Fink is a once and always Californian, something nobody from California can ever escape, I’m going to say that his experiences have molded much of where Night Vale is going to be.

As it stands, I say it is northeast of Bakersfield, southeast of Visalia, roughly parallel with King City, Coalinga, and Las Vegas, and on a part of the map that is unusually blank for California.

aminiminyard  asked:

do neil getting hit on and being oblivious to it

thanks for submitting this!!

i hope i do as well as the other hcs for this kind of prompt without copying their ideas. and restricting myself to 5 points instead of random thoughts is kind of hard…

  • neil really doesn’t understand people sometimes, especially when it seems like they’re giving him free things for no reason?? and when they’re praising him for something really obvious?? and for things that don’t really matter???? he is confused.
    • andrew used to get bothered by this, but he knows that neil wouldn’t stray. plus, free goodies sometimes.
  • one time during a scrimmage against another school, one of the opposing players tries to hit on neil and says something along the lines of letting neil score. wink wink. neil is offended. what kind of disrespect is this. exy is not just a game blah blah. he visibly resists telling the player off and just gives him a disgusted look. meanwhile, the other foxes are laughing their asses off.
  • after andrew and neil get the cats, neil is the one that takes them to the vet’s for their check-ups. the receptionist there is unusually friendly, but neil doesn’t worry about that. he just wants to get his cats and go home. when neil finally leaves, the receptionist tells him that they hope to see neil again soon. neil doesn’t say anything, but mentally he’s thinking, what, you hope my cats will get hurt/sick or something??
    • later, when neil recounts the story andrew, andrew tells him to switch clinics. neil agrees.
  • years down the line, when andrew is at a great moment in his life and when he feels very secure in their relationship, sometimes he hits on neil. neil is usually oblivious, but andrew doesn’t entirely mind. that’s how neil is, and andrew feels very assured of that. and during the times that neil gets it, they have a weird banter that’s flirty to them but alarming to others.
  • (bonus kandreil) the only times neil knows for sure he’s getting hit on are by a drunken kevin, and the pick-up lines kevin uses are so terrible that andrew just laughs at them instead of helping neil carry kevin to bed.

(send me a prompt and i’ll do 5 hc points!)

@tweendoriru thats kinda what im saying- that namco overkills trying to reemphasize how adult idols are old by constantly doing things only ‘adults’ do: being age-conscious and drinking being the biggest two. like half of the idols 21+ are treated like “wine-moms” even if it isnt apart of their initial personality/hobbies

usually the only things adult idols seem to bond over is drinking and talking about their age. which is understandable to bond with topics your age group can understand (especially in a job where 20+ is considered old) but i think namco overwrites it because they just want to emphasize how “old” they are. like i pick Marina for an example because even if she is included in the “adult” bonding bubble from time to time, it doesnt feel like her character is being overly restricted to point out that she is “old”. like she fits a 26 year old because it doesnt feel like most of her character is BUILT around being 26 years old.

(i mean, it doesnt bother me that much- like nana and mizuki are top favs partially for how being an “old idol” idol plays into character but i think namco tries too hard to make some of the idols seem like a thousand years old)

i guess my tl;dr point is that i dont think namco should try to emphasize age for every adult idol unless they are literally going for idols like nana/mizuki where it actually plays into their character. but it’s anime idols and emphasizing age is like…an appeal point for ppl i guess

I’m all at once not surprised but also disappointed that Ms. Sara Bellum is being kept out of the Powerpuff Girls reboot on account of her not being “appropriate” because while there were definitely moments where the original cartoon lacked awareness of feminism (that… one villain in the episode Equal Fights mostly :\) she was not one of those moments.

Her concept was that her face was never seen. She was beautiful, tall, smart– but she lacked a basic identity that other characters took for granted. The point wasn’t that she was trivial or that it didn’t matter: it restricted the audience’s point of view to make more obvious how we see women like her in real life: from the neck down.

She’s like Jessica Rabbit in that sense. An iconic character designed to take advantage of and then spin around what we think about images of women back onto us. and other characters around her we see more clearly. She’s not ‘bad.’ She’s just drawn that way.

her design communicated clear information about what it’s like to be her working for the blundering Mayor,

it communicated clear information about her relationship with the three girls (especially when she came down to their level but was still obscured from the audience) 

and most of all it flatly addressed the audience about our habits when thinking about women in supporting jobs + roles in real life.

it was cheeky but also caused the audience to wonder about her, why they weren’t allowed to look at her face, and to confront themselves about it. Unless you’re totally lacking in self awareness and critical thought you probably get that forcing you to look at her in a certain perspective was trying to accomplish something with her character that otherwise would have been far too long or drawn-out to communicate effectively.

but apparently the new ppg show is lacking in that critical thought because! cutting her out of the show because she’s “inappropriate” just misses the whole point– not that she was designed only as a sexy body, but that she was designed to tell the audience something about how they look at sexy bodies, what is expected of sexy bodies, and indirectly what we expect from grown women in her position too.