hello i have received many asks about gifs and how i make them and how i color things so i finally decided to go for it and make this. clicky down below if you wanna see the underwhelming magic that goes into my mediocre gifs
@alejandra925 asked: Hi Kat! Congrats on the 2.5k followers! I have a RebelCaptain prompt/story request. I’d love a surprise marriage proposal or scavenger hunt proposal story for our beloved Jyn and Cassian.
Now, as it turns out, I am not a romantic person. Like, at all. I literally have spent so much time staring at a blank Word document with this prompt in mind, thinking of literally nothing to write. So, in short, this prompt is way late and I am so, so sorry about that. Hopefully you’ll enjoy what I managed to come up with! (Also, as an apology, it’s also a full 1,000 words!)
With this prompt, I am concluding the Thanks From Kat series!! Thank you to all of my followers and especially to those who sent me amazing prompts. You all are lovely and I’ve loved getting to know some of you through this :)
The alternate title for this fic is “The One In Which Kat Using Way Too Many Italics”
Do you have methods for back-forming a parent language from a daughter language? I'm finding that doing even small-scale conlanging (just, say, for character names for a one-off D&D adventure), I'm bogged down by feeling the need to develop a whole lineage of ancestor languages, *just in case* I need cousin-languages later.
Yeah, see here’s the thing with this. It’s very simple. If you’re talking about creating a naturalistic conlang or a family of conlangs, there’s two ways to go about:
Create a proto-language and evolve up to your daughter languages (the ones you’ll actually be using).
Create your daughter languages and try to reconstruct a proto-language.
One of these is easy (the first one), and the other is hard (the second one). One of these gets you a daughter language quickly (the second one), and other takes a long time (the first one). So you have to make your choice. Do you want the daughter language that you’re actually going to use right away, or do you want to have maximal flexibility when it comes to building out your language family? Most conlangers choose option 2. The result is daughter languages that don’t really have any historical depth, or fake historical depth (i.e. it’s there when it happens to work out, but when it doesn’t, it’s swept under the rug).
Now if you’ve gone the second route, there’s no real roadmap to getting a perfect result when reconstructing a proto-language, but it’s very simple to get a result. Just do all the same stuff you would ordinarily: Try to create an earlier sound system that evolved into your modern sound system, try to come up with some sort of grammar that produced your modern grammar, etc. There’s no guide for how to do this, because, essentially, you’re not supposed to. It’s also insanely difficult. Like say you just came up with some tense suffixes. You can go back and figure out words that those suffixes evolved from, but in so doing, you’ll be creating the grammar of the earlier language, which will have to exist the way you’re creating it. This may prove problematic when you go to other parts of the language and create other elements that have to exist a certain way and they’re in direct conflict. And at that point you’re stuck, unless you can figure out some even more convoluted reason for the contradictory parts to not be contradictory. It’s much easier to just have the grammar and move forward from it, but it requires planning and foresight.
What you’ll probably need to do in your situation is try to flesh out your proto-language before doing anything with the new daughter languages you’re hoping to create. That will help make the new daughters easier to create. You can also just totally ignore it and create something that feels right for you. Another option is to treat your existing language as the proto-language. So let’s say at year 0, there was X language. By year 1000, it had evolved into Y. Then two groups that spoke Y in your universe went to different areas. In one area, Y pretty much stayed the same, but in the other area it became Z. This way you can ignore the actual proto state (X) and just work with what you have.
As a final note, it’s much easier to start with a daughter and go back and create a proto-language if you’re not married to the current state of your daughter language. This way if you hit an inconsistency, you just change your daughter language. That can be tough, though, if you’ve already generated place names, etc. that your D&D group considers canon. In effect, you’ve “published” the language, because it has a group of users who expect it to be in some state N so long as they’re still in the same relative place and time (this is basically like my situation, where once it’s appeared on a show, it’s canon and I can’t change it). If you’re still in the planning stages of your campaign, though, consider relaxing your grip on the daughter language and being open to change. This will actually make it a lot easier to create your proto-language, and then when it’s done, you’ll be totally free to create other languages from it.
When it comes to this type of work it really is about tradeoffs. You have to decide if it’s worth delaying the creation of language you’re actually going to be using to make your job easier when it comes to other daughter languages, or if you just want that language now. Also whether or not you can simply memorize all the facts about your proto-language. If you can do that, you can go right into creating your daughter language (after all, if you’re not going to see it, then it’s just there for your work. If you can memorize all the sound changes and grammar changes, you don’t need to write anything down, which should save you some time). You just have to figure out what’s worth your time and what isn’t, and if the time saved is going to take away from your ultimate satisfaction with the project, or if it isn’t. No hard and fast rule about what you have to do.
((theres a lot going on right now but i felt the urge to post something anyways
im too depressed to be positive for you all consistently so thats my reason for the constant hiatus. im unhealthy and unhappy and feel like i may not live long if i dont get out of my current surroundings.
i do still want to finish answering your questions and continuing to take them, but its taking me a long time to do anything let alone take care of all of you
thanks for being here for so long, and thanks for making this fandom great when it was.
im sorry we all devolved into a joke about people wanting to fuck sans. it makes me sick tbh. this dumb pixel game brought together people and emotionally moved them and inspired them to be better people and now all people care about is how ridiculous it is to want to fuck a skeleton.))
I don't know if you take request, but I just saw your drawings of the 1950's car and I thought, how about a little blurb where Harry or Niall find those drawings. How would they react, fluff or smutt is all good to me.
Kyra, I’m sorry this has taken so long to answer but I hope the length will make up for the delay!
American Dreaming is a documentary film about the men and women who dreamed and designed the iconic American cars that defined the mid-century. From 1946 to 1973 design studios assembled at General Motors, Ford, Packard, Chrysler, Studebaker, Nash, and Hudson created the stylish automobiles Americans fell in love with. Talented artists from around the country answered the call from magazines like Popular Mechanics to “Become a Highly Paid Auto Stylist in Detroit!” Their drawings, and the resulting cars that were built in this period, suggested limitless possibilities and reflected the optimism America that could conquer space and bring prosperity to the entire world.
The vibrations of his phone woke Harry up from his comfortable position wrapped around you. He wasn’t big spoon very often but when he was you wanted to be wrapped up with him as long as possible. So when his phone jolted him awake you were not happy.
“Who the hell is ringing this early?” you grumbled.
So how do you feel about KC coming back as a regular in season 6?
Way to throw the hard questions at me, Anon!
All right… So my first impression was…
I feel like I should care more than I do, really, but I’m actually super apathetic about it.
Here’s the thing. I get that some people connect with Laurel and like her. I’m not one of them. This is absolutely separate from my opinions on Felicity and Olicity. I quit the show in early season one the first time I tried watching it, when it first aired, entirely for two reasons: 1) It was depressingly dark, 2) Laurel felt forced and self-centered to me. I get that everyone has their own perspectives and I’ve got no issues with those who enjoy her (so long as they aren’t amongst those making horrifying threats toward fans, actors and EPs).
To my eyes, Laurel was always best in one of three capacities - 1) lawyer-mode, 2) opposite Tommy, and 3) evil. I loved KC when she played Ruby on Supernatural years ago and I enjoyed her as Black Siren. The Black Siren role feels more like a recurring guest role than a series regular to me, though. Best case scenario, and the only one that really interests me at all, is the notion of Black Siren teaming up with Vigilante - who turns out to actually be Tommy - as a dark mirror sort of parallel to Oliver and Felicity. I can see a lot of really interesting ways that could unfold.
But, given Colin’s role on Chicago Med, that’s awfully unlikely. That said, it would make my month for sure and I’d be super pumped about season six.
My biggest concerns about her coming back are these:
It further negates the gravity of death on this show (something I’m willing to overlook for Moira and Tommy out of sheer love, but even then can admit it’s a problem).
It dilutes the point of the last entire season and the theme of legacies.
The lair is wildly overcrowded as it is and splitting screentime more is not something I’m looking forward to.
A redemption arc would be trite and overdone and feels instinctively to me like the route they’ll go with her.
I generally, personally, don’t enjoy her acting.
It feels like it legitimizes the violent threats sent by some people in that segment of the fandom after her character died. It feels like their efforts paid off. And that’s dangerous. Not even just on a show-level, but on a real-world level.
That’s basically it. Do I worry at all about it impacting any kind of rebuild for Oliver and Felicity? No. Absolutely not. Stepping back, looking at the narrative and character growth so far from a distance, realizing how far we are into the story, I have no doubts they’ll rebuild Olicity. Probably by the end of this season. With KC coming back, I hope they’re smart about it. I hope they keep her in a villain role without any attempt on her part at a redemption arc. I hope she’s used in a way that furthers the plot and leaves just enough mystery about her to be intriguing. I think there’s possibilities for her return to be done well. But, I’ve got to admit, I’m not really holding my breath.
I remember this one time some one was chatting with me and the conversation went down the, “I wanna give you a make over” route.
I told her, hell yes so long as anything done during the make over can be reversed over night. Do my nails, make up, clothes. Awesome.
Which inevitably lead to ‘let me do your eyebrows’. To which I laughed and said no, they’re majestic.
'Come on! Just a little bit! You’d look so pretty!’
'Nah, I like them like this, and I’m already pretty. Pretty hot.’
'But guys would like you more. Or girls.’
'Maybe. But if a guy or girl doesnt like me like this, then I don’t want to be dating them anyway’
And I just remember her getting the most perplexed look. She was flummoxed by the concept.
so something you guys probably haven’t heard about is that there have been a lot of Americans, possibly legal Americans and possibly immigrants who are not legally in America, walking across the Canadian border and trying to hide here
the American/Canadian border is far too long to be policed everywhere and so some people make it over, though from what I’ve heard it’s extremely difficult to be an undocumented person living in Canada because of the way our social security works and so I have no idea what these people end up doing or plan to do
anyway so I want you guys, especially those of you who thought voting was stupid and didn’t bother, to know that you have effectively made your problems our problems
you have people coming in from Mexico but we have people coming in from the UNITED STATES, the self-proclaimed freest country in the world
and now we’re put in a bad position because of course we have a moral obligation to let them in, right? but they’re also jumping the queue of the thousands of people who are already in line to get here legally so we’re as equally morally obligated to send them back. send them back TO THE UNITED STATES. what are we supposed to do? you don’t know. we don’t know. we look bad no matter what we do. Canada’s a big place but we don’t have the resources and infrastructure of America.
Your policies and your decisions do not solely affect you. People are coming to Canada from the United States to seek asylum. That should not be happening.
HEY HO! I've been a big fan of your ask blog for the biggest time now, and I've finally decided to go ahead and make my own. Just wanna let mun know how awesome they are for making this blog. <33 --Col/Luma
((OOC: I meant to answer this earlier when I first got it! I’m so glad you’ve liked my blog for so long, and I’m incredibly flattered to have inspired you to make your own! ;v; I WISH YOU LUCK ON YOUR ENDEAVORS AND I HOPE IT ALL GOES WELL FOR YOU!!!))
Disney’s Twelve Basic Principles of Animation claims that the most important principle of animation is squash and stretch. In essence, squash and stretch is there to give more exaggerated movement to characters or objects. It is quite literally, the squashing and stretching of objects. Squash and Stretch can be used to show more force on impact or even to help show anticipation as well as show acceleration. It’s a principle that can be found in every animation ranging from the stylised to the realistic. It helps make animations feel more natural and appealing, and squash and stretch is actually an integral part of reality.
this is just a tiny little detail but I really love how they made Viktor tell Yuuri his wants and desires during the course of the show because it shows a lot of character (and really displays the utmost care his VA put into Viktor’s voice)
it’s SO CASUAL
He says this as if it’s the easiest thing in the world, no big deal, almost a throwaway comment, but knowing how Viktor feels about Yuuri it’s OBVIOUS that this carries a lot more meaning than he lets on
it’s a very natural thing to do because you want to guard the depth of your emotions and fear rejection so you present what you actually want in a way that makes it seem not that important to you, to shield yourself from the eventual rejection and embarrassment that might follow in its wake
he does this again in episode 7
he says this WAY TOO CASUALLY, as if it’s just a random solution that popped into his head (and this is also a sign of how Viktor deals with issues through actions as opposed to words), but once again he just reveals his emotions in a way that puts him out of harm’s way if he’s rejected. VIKTOR’S LIKE “Yuuri you’re crying??? Ah okay I can kiss it better if you want no big deal just doing my job as coach hahaah right Yuuri”
your gay is showing
and the fact that he actually kisses Yuuri in the end of the episode just shows that he was entirely serious the whole time on a much deeper level than he lets on (it makes me both laugh and cry that he probably waited for this moment for MONTHS……the poor man, he’s so patient)
episode 9, same thing again
presented in a very lighthearted tone this time. During the first times he talks as if it’s of little importance to him, but now his words are more sincere but with this tone instead. Once again, no grand words, no outpouring emotions, just Viktor casually expressing the depth of what he feels for Yuuri and how he desires for their relationship to progress. At this point he has his boyfriend and he has his kisses, so now he just moves on to the next stage because well, Viktor Nikiforov is madly in love with Yuuri and wants the whole world to know
HE DOES THIS SO MANY TIMES
I’m just……so in love with the thought of Viktor, while brave enough to express his wishes, still not being able to do this in a way that would perhaps put him in an awkward spot. He’s obviously very pushy right at the beginning and as we know he cries himself to sleep in episode 2 after Yuuri rejects him
He always appears very confident and overall sure of himself so these things are so interesting to me because, while subtle, it reveals his insecurities and how much he longs for Yuuri but fears being turned down at the same time. Viktor is, until Yuuri comes into his life, ultimately a very lonely character and it makes sense that he would grasp for Yuuri and at the same time feel uncomfortable revealing just HOW MUCH he wants these things.
These subtle choices in dialogue and expressions and voice acting reveals so much to us and I love this kind of storytelling.
VIKTOR IS SUCH A FASCINATING CHARACTER!! I love him I’m so glad he found love and happiness and a future for himself with Yuuri by his side