sp1s

Ultra Basic Super Simplified M16A1 vs M16 A2 guide

In the spirit of my AK Visual ID guide, I’ve again stolen pics from Google images, AR15.com, and a couple of my own pics, to make my own super easy basic layman visual ID guide for the A1 and A2 style ARs.

This will only cover very basic visual differences and will not get into SP1, or M16 vs M16A1, or any other variant discussion.


There’s a TON of M16 variants as you can see.

We’ll expand on the above pic.

This is a typical A1 style rifle

Now, my personal A2 style build

Some similarities, a few differences.

The A1 stock is roughly 5/8 of an inch shorter than an A2 stock

The A1 handguards will typically be triangular shaped…

 ..vs the A2 style rounded handguards


Original A1 grips are also smooth

A2 grips have the finger ledge


Also note, A1 and A2 furniture are interchangeable on most 20 inch barreled rifles.

The primary visual difference lies in the receiver, specifically the fixed carry handle of both.


The A1 carry handle lacks an elevation knob and has a much simpler windage adjustment.


The A2 style has very distinct elevation and windage adjustment knobs



Super simplified. Ultra Basic. Doesn’t even begin to discuss slab sides and M16A4s.

Oh well. I got tired of seeing the A2 tag on an A1 and vice-versa.

Several Shades of Sadism: Chiaki Kira Walkthrough

invitation code: mf5ZE4
SSS WalkthroughsWalkthrough Masterpost

Read before you start:

  • All answers give you affection for Chiaki: either +1;+3; or +5 .If you click on “Change Screens” it will tell you the total affection you have on the top left corner. 
  • You will need a total of 100 Affection Points to get the Happy End.
  • There will be 3 Avatar Missions in the route. You can either use the Gold you earn in the game to buy the item for the Normal Route, or you can use Rewards Points to purchase the item for the Sweet Route. The Sweet Route includes CGs. Yes, you will need to spend real money and purchase Rewards Points. (Like most games, you can earn in-game money, in this case, Rewards Points, by using Tapjoy to install apps. Honestly, I think it’s a hassle and stay away from those, but that’s just me.)
  • Total Rewards Points needed for Sweet Routes (CGs): 14,000
     Total Gold needed for Normal Routes (No CGs): 14,000

Keep reading

Guide to Traits

The Union x update to KHUX brought with it a new system called Traits.  Basically this is another level of randomness, because guilt rolls and 3000 jewel pulls wasn’t enough. >_<  Any time you add a medal to another medal with the same ID, it will roll a trait (as well as put a guilt dot into it, as described here).  

A down arrow (the up arrow in the picture above) has been added to the bottom of the medal screen.  This shows the medal’s traits.  Guilt Tier 1, 2, and 3 get one trait, while Guilt Tier 4 and 5 get two traits.  If you roll another trait and you don’t have room for it on the medal, you can replace one of the current traits with the new one or choose to keep the ones currently on the medal.

So how many traits are there and which ones do you want?

Five traits affect the keyblade as a whole:

  • Max Gauges +2: Increases maximum gauges by two
  • HP +800: Increases maximum HP by 800
  • Poison Resist 20%: 20% less likely to be poisoned by an enemy
  • Sleep Resist 20%: 20% less likely to be put to sleep by an enemy
  • Paralysis Resist 20%: 20% less likely to be paralyzed by an enemy

Six traits affect only the medal in question:

  • Strength +1000: Increases Strength by 1000
  • Defense +2000: Increases Defense by 2000
  • Ground Enemy DEF -60%: Decreases defense of ground enemies by 60%
  • Aerial Enemy DEF -60%: Decreases defense of flying enemies by 60%
  • Damage in Raids +40%: Deals 40% more damage against raid bosses
  • Extra Attack: 40% Power: Allows the medal to be used twice, though the second one is at only 40% power

The absolute best ones you can get are Extra Attack and Str+1000.  For buff medals (let’s say Illustrated Kairi), having Extra Attack means doubling the effectiveness: +3 Str turns into +6 Str.  The downside is that it doubles the Special cost as well: 3 gauges turns into 6 gauges.  But with KH2 iKairi (Tieri) and Key Art #1, Special cost isn’t super important anymore.  

With damage medals, Extra Attack is a little less useful.  Damage is depreciated to 40% of its original damage, where buffs are not.  Here’s some math.  Eraqus at lv. 100 is 7245 Str x 4.58 multiplier x 2 (100% guilt) = 66,364.  x1.4 for Extra Attack is 92,910.  Str+1000 is 8245 x 4.58 x 2 = 75,524.  So your choice here would be 100% damage for 10 gauges, or 81.3% damage for 5 gauges.  Either 10% damage per gauge or 16.3% damage per gauge effectiveness.  Also the higher Strength does more damage against high level defense enemies.

But what about SP1?  Now you’re doing 92,910 for 2 Special!  Or you could use AB4 and Str+1000 and get 135,942 for 5.

The point here is that the more SP a medal cost, the less efficient Extra Attack is.  Of course, if you’re not doing any damage (Illustrated Belle & Beast is 5 cost, but its a buff medal), then SP1 and Extra Attack is the way to go!

I wish I could calculate the +800 Health vs. the +2000 Def, but I honestly think it’s too situational.  Defense is great up until a point, but it’s also worthless beyond that point.  Health is just a flat increase, which sounds better, unless you happen to be fighting one of those enemies with an attack that falls in the range of where +2000 Def would help you… if you had to choose between them, I’d probably take the +800 Health.

So some general rules on Traits:

  1. For Buff medals, always Extra Attack.  Def+2000, HP+800, and +2 Gauges are good secondaries.
  2. For damage medals that cost 3 or less gauges, always Extra Attack
  3. For damage medals that cost 4 or more gauges, Str+1000 is probably more realistic.
  4. For damage medals, -60% Def (Ground or Aerial) are great secondaries and are probably going to be necessary for high ranking Coliseum.
  5. For medals you never use, +2 Max Gauges can be helpful for Proud quest rules.
  6. For medals you never use, the Resists are worth having one of each.
  7. For your raiding medals, +40% raid damage is amazing AND it stacks so get two!!

On a final and very important note:
Fantasia Mickey B (Mickey & Brooms) DOES NOT give you a trait!

<3 KCM

                                      Stephane Lambiel Watchpost

Competing and doing an exhibition in 1997

1999/2000 & 2000/2001: SP (La Cumparsita) LP (Triton)

2001/2002: SP (Vuelvo Al Sur) LP (Quidam)

2002/2003: SP (Laissez-moi Me Griser) LP (Chocolat)

2003/2004: SP (I’m a Doun For Lack o’ Johnnie) LP1 (Gypsy Dance) LP2 (Zabuca/Loving Paris)

2004/2005: SP (Spanish Caravan) LP1 (The Truman Show) LP2 (King Arthur)

2005/2006: SP1 (Malaguena) SP2 (Dralion) LP (Four Seasons)

2006/2007: SP1 (Geissel Drama) SP2 (Blood Diamond) LP (Poeta)

2007/2008: SP (Carne Cruda) LP (Poeta)

2009/2010: SP (William Tell Overture) LP1 (Otono Porteno) LP2 (La Traviata)

Exhibitions (selected):

nikkilbook  asked:

I'd like to know how to effectively/efficiently braid together subplots such that the reader can get to know/get invested in the main players without me driving this story completely off the rails. Specifically, how to work in details about other plot threads when a character is present but not POV, how to let create a strong subplot without having to spend a ton of time in a character's POV, etc. Thanks!

My ‘multiple plots’ tag is [HERE].

Developing subplots is something that gives your story meat; subplots are often complications to the main plot, or distractions, stuff that your characters have to deal with in order to move on with the main plot, or they can be unexpected sources of help.

I’d like to know how to effectively/efficiently braid together subplots such that the reader can get to know/get invested in the main players without me driving this story completely off the rails.

The thing about subplots is that often they lead back to ‘the rails’, it can be a real treat to read a story where the main character gets swept along on some seemingly irrelevant side-quest while being aware that their main plot is ticking away without them and they need to get back to it, only for them to then discover that they’ve learned/ gained something vital from their involvement in the subplot that is going to help them in their main goal.

Of course, sometimes subplots are there to ‘derail’, and they can create conflict in that perhaps the character is leaving their current responsibilities in order to deal with a problem that seems very important, only to get back to their ‘main’ responsibility and discover that through their distraction Bad Things have happened.

It depends entirely what you want to do with the subplots that determines these kind of things.

how to work in details about other plot threads when a character is present but not POV, how to let create a strong subplot without having to spend a ton of time in a character’s POV

I’m going to guess that you’re working with one focalising (POV) character, and you’re writing in either first person or third person limited perspective, your story is coloured by what this character sees and hears and knows.

So say for instance, your Main Character is toiling away on Main Plot Point A (MPPA) and is waiting for really important help from Secondary Character, who is currently embroiled in Sub Plot 1. Without leaving MC’s POV, we can show very clearly the impact that SP1 is having on the main plot, by how SC’s absence at a critical moment affects MPPA.

- MC is waiting at the bus stop, they want very badly to get into town in order to meet up with Love Interest, but need SC to go along with them

- MC is highly aware that there’s a time limit, LI finishes work in an hour, so if they want to meet up it’ll have to be THIS BUS ONLY

- MC watches the bus roll up, stop, people get off and on, they’re looking around desperately for SC, who needs to bring -important object- or else there will be dire consequences

- MC watches the bus depart, a few minutes later SC shows up, hot and sweaty and out of breath, with -important object- clutched under one arm, asks if they’ve made it in time, says breathlessly that it was a struggle to get away from SP1, but they made it!

So in this example there are some clear objectives that the character feels need to be reached in order to keep going on the main plot – they need to meet up with SC, they need to catch a particular bus, and have a particular object with them in order to meet up with the LI.

With SC being late because of SP1, this means that the bus is missed (a temporal conflict), the important object is not available (a material conflict), and without SC bringing the important object in time, the MC’s plans are put off to your preferred degree of disaster (interpersonal conflict). These are all direct results of the Subplot, and the secondary character’s explanation of why they’re late can give as much or as little detail as to the whys and therefore the events of that subplot as necessary.

The other thing is ‘how much of my subplot do I need to show in order for it to work for the story?’

And the answer, as with so many things, is ‘it varies’.

A subplot can involve your main character actually physically detouring into something tangential to the main plot, it can involve them suddenly being met with a rush of problems or people to deal with who’ve just been involved with your secondary plot, or it can be their plans being upset by the outcomes of the subplot that they hadn’t been aware of until it started causing them issues.

It does often help to have at least one character show up who was personally involved in the subplot, to be able to pipe up at vital moments with information such as ‘that happened because the baddie did x!’, or to otherwise be able to provide contextual clues as to what happened in the subplot to be causing these effects on the main plot.

Examples:

There are some great subplots in the Harry Potter series, and that’s probably one of my favourite things about JKR’s writing, that she can lay in subtle hints and clues extremely far in advance and then have them become relevant as Harry learns something new and is able to put together the information he has.

For instance, it blew my mind as a kid when the Grim turned out to be Sirius Black – y’know, the guy who was mentioned by Hagrid in an offhanded line in the first book? If you read back over Harry Potter you’ll notice a lot of this sort of thing, Harry doesn’t know anything about the world he’s going into, and a lot of subplots are revealed by more knowledgable characters who are immersed in the wizarding world saying things like “well everyone knows that –” and dropping some information that they think is commonplace but which to Harry changes a lot.

A great deal of the Marauders’ backstory/ the Scabbers/ Peter Pettigrew subplots are revealed when Harry and friends eavesdrop on some of the teachers at the pub in town. Or by Hagrid slipping up and saying more than he’s supposed to. Or by Hermione deciding that she needs to tell them a vital piece of information that she’s known about and either has been told not to share or thought would be obvious.

Doctor Who, especially the first new season (9th Doctor and Rose) is an interesting one, because essentially the episodes are a bunch of adventures in subplots while the main plot (the Bad Wolf arc) happens around them while they’re mostly oblivious until the last few eps and the relevance of Bad Wolf becomes apparent.

The Lord of the Rings has a whole bunch of great subplots that intersect with the main plot in various degrees of importance and influence, especially after the party splits, because at that point while Frodo and Sam’s journey to Mordor is harrowing and dark and dangerous, it’s also … kind of boring? And the subplots involve things like leading nations into battle and defending strongholds and fighting industrialisation. Before the party splits you get gems like Tom Bombadil and Goldberry.

In short:

  • Subplots should be linked to your main plot, in that they bring new conflict, characters, information, backstory, etc. Subplots are part of the story, not unrelated things happening to fill time.
  • Subplots can involve your main character, or they can be related to the main character by others who were there, or they can just have a degree of impact on what is happening in the main plot.
  • Subplots can be explicitly shown or they can be implied through events and context.
  • Subplots can be laid in advance and then revealed as important when they become relevant or new information comes to light – the reader can ‘discover’ them at the same time as the character, or you can keep the reader on their toes by leaving enough information for them to figure it out before the main character realises what they’re walking into.
  • Well integrated subplots can go a long way to making the world of your story feel more ‘real’. Because it’s not only the main character and the main plot happening in the whole wide world, that is just one character and one plot that happen to be the focus of the story, while other plots and characters are busy doing their own thing just next door.