stop this is the greatest

Contentment is the greatest gain-
With it, we won’t want for much
Without it, nothing can be enough
—  Futility is looking for satisfaction in what can be lost-
So what exists that doesn’t fade, or eventually
-figuratively or actually-
turn to dust?
Search for more than material-
Discover what truly matters

On the subject of old events, does anyone else remember the Lock Capsule? What was even up with that?

If y’all don’t know what I’m referring to, let me explain. The Lock Capsule was a special event key item in HGSS and BW that was never used. Like not even in Japan. The idea was to have people send this item from HGSS to BW and it’d give them a TM (TM95, Snarl). Sounds straightforward, right? Nope. It was ridiculous. It was nothing but bad ideas and horrible planning.

Let’s pretend we’re an average player without a guide on how to do this whole thing. (Honestly, without a guide, we’re screwed by step 2, but go with me here.)

First of all, it’d have to be sent to HGSS as an event. But in HGSS, the item is absolutely useless - and cryptic. The info just says “A sturdy Capsule that can only be opened with a special key.” This alone would have players searching all over the Johto region looking for this “special key” … but there isn’t one. And there’s not a single clue in the game as to what it’s for, what it does, or how to use it. At all. Nothing. Nada. Null. Zilch.

Then we have BW. Which again for the most part doesn’t mention it at all - unless you have it. And getting it from HGSS to BW is even more absurd. You can’t use the PokeTransfer to send it up - since that only transfers Pokemon. You couldn’t give it to a Pokemon to hold because it was a key item. So, how would you get it there?

You have to use The Relocator, and I’m sure I’ve lost a few of you here. What’s The Relocator? It’s a very special feature of BW. Why don’t you know about it? Because the game fails to really mention that it even exists until you unlock it. And unless you know EXACTLY what you’re doing, there’s no way you can unlock it. You have to find an otherwise totally useless and cryptic NPC in Castelia talking ambiguously about a “special machine” he invented and tell him a specific phrase - “everyone happy, simple connection.” And let’s all be honest with ourselves: at this point, none of us are happy, and this is anything but a simple connection. So he can go take a long walk off a short cliff.

Alright, well, now maybe the game will tell us a little more about the Lock Capsule, or at least the Relocator? Hardly! He only says the Relocator is for “special pokemon and items,” and doesn’t tell you where to find it or how to use it. So again, we’re left clueless. What we actually gotta do is save and restart, and then select The Relocator on the main screen. Which is located at the very bottom of the pre-game menu, so unless you’re looking for it, you’ll probably never see it. As soon as you start it up, it - without any explanation - attempts to open DS wireless communication. At that point, it acts much like PokeTransfer - it tells you to grab your second DS with any 4th gen game inserted and go to Download Play. Except, unlike PokeTransfer, The Relocator can only transfer five every specific things: a shiny event Raikou, Entei, or Suicune, a 4th gen event Celebi, or the Lock Capsule. Oh, by the way, it doesn’t tell you any of that. If you have none of those, it will simply tell you nothing can be relocated. Even if you do have one of those, it doesn’t even tell you it relocated them, it just cryptically says the relocator will close.

Also, the aforementioned Raikou, Entei, Suicune, and Celebi (which are used for the Zoroark and Zorua cutscenes) could be transferred by the normal no-need-to-unlock-in-a-very-odd-and-unknowable-way PokeTransfer and still work fine for those cutscenes. (I wasn’t 100% sure on this, but since posting this I’ve had it verified by others.) Also because The Relocator doesn’t tell you exactly what can be relocated. there’s no way to know it can relocate the Lock Capsule, unless you’re Relocating with a game of HGSS that already has one. That’s it! That’s the only way!

Okay, let’s say you’ve now gotten to this point. You’ve relocated the Lock Capsule. Now what? Right, the item description says it can only be opened with a special key. Time for another key hunt! … or not! Because again, there’s no key! At all! Instead, you have to take it to another random, otherwise useless, completely no hints as to what he really does for you NPC in Castelia. The game, AGAIN, gives you no hints. At all. If you talked to the NPC before getting the Lock Capsule, he simply mentions he picks locks. That’s it. But even if you did talk to him before, you probably forgot all about him, because he’s just a useless NPC on a random floor of a building in the biggest city in Unova.

What’s your reward for all this? The TM for Snarl. And since the Lock Capsule was never released, no game of BW can legitimately have all TMs. Whoops! Also, because GameFreak never deletes items from their games, it’s still a dummied out, non-functional, unobtainable key item. Yeah. Even in Sun and Moon. It’s still there. It’s just hidden away.

So basically, they never did this event because it’d need to come with a highly detailed guide on how to use it. Amazing.

what if it seems like batman has safehouses all over the country because he’s a paranoid maniac always ready to go into hiding in iowa, but actually he just goes on a lot of business trips for his day job and when he sees a cute house he buys it and stays there. he grew up in a big mansion with a butler, a house with only three rooms is like camping for him. he thinks it’s fun. he gets to play house and eat cereal for dinner. the flash accidentally committed some light treason and needs to lay low for a while so batman sets him up at this little place in maine. flash is like “wow he really does plan for everything” but no, he just saw an old queen anne with green shingle siding and white accents and he couldn’t help himself. it had a wraparound porch and a spire. a spire. technically it wasn’t in his carefully alloted ‘whims’ budget but he sold an extra yacht to make room. “geeze bats i get that it’s a safehouse but couldn’t you have stocked the pantry with something besides kix and peanut butter?” flash asks. “they’re shelf stable,” batman says, as if that is why he bought those things, as if this is not just What He Does when alfred leaves him unsupervised.

“The secret of getting ahead is getting started.” – Mark Twain

“Do not wait to strike till the iron is hot; but make it hot by striking.” – William Butler Yeats

“It always seems impossible until it’s done.” – Nelson Mandela

“The best way for you to predict your future is to create it.” – Abraham Lincoln

“It does not matter how slowly you go as long as you do not stop.” – Confucius

“Our greatest weakness lies in giving up. The certain way to succeed is always to try just one more time.” – Thomas Edison

“Don’t watch the clock; do what it does. Keep going.” – Sam Levenson

“What you get by achieving your goals is not as important as what you become by achieving your goals.” – Zig Ziglar

“By failing to prepare, you are preparing to fail.” – Benjamin Franklin

“I am not afraid…I was born to do this.” – Joan of Arc

“The most effective way to do it, is to do it.” – Amelia Earhart

“We aim above the mark to hit the mark.” – Ralph Waldo Emerson

“Optimism is the faith that leads to achievement. Nothing can be done without hope and confidence.” – Helen Keller

“The way to get started is to quit talking and begin doing.“ – Walt Disney

“Consult not your fears but your hopes and your dreams. Think not about your frustrations, but about your unfulfilled potential. Concern yourself not with what you tried and failed in, but with what it is still possible for you to do.” – Pope John XXIII

“Start where you are. Use what you have. Do what you can.” – Arthur Ashe

“When you reach the end of your rope, tie a knot in it and hang on.” – Franklin D. Roosevelt

“What you do today can improve all your tomorrows.” – Ralph Marston

“Perserverance is failing 19 times and succeeding the 20th.” – Julie Andrews

“The harder the conflict, the more glorious the triumph.” – Thomas Paine

“I attribute my success to this–I never gave or took any excuse.” – Florence Nightingale

“Knowing is not enough; we must apply. Willing is not enough; we must do.” – Johann Wolfgang van Goethe

“Who seeks shall find.” – Sophocles

“Change your life today. Don’t gamble on the future, act now, without delay.” – Simone de Beauvoir

See Part 2 for more motivation.

Dear rest of the Spn Fandom,

What Destiel is NOT about.

1. Hating Sam/Jared
Okay, I have no idea where this one started, but honestly I don’t care what you ship if you hate on either of my tol cinnamon roll babies, YOU WILL BE FACING MY WRATH. ALL 5'2 OF IT.

2. Hating the women that they were with.
Personally, I love Jo and Lisa. Cassie was just there for an episode, so I don’t really have any opinions on here.
I don’t like Meg for other reasons (her character inconsistency was annoying and her voice got on all my nerves) but hating her just because she kissed Cas is pretty shallow.

3. Two hot men kissing.
Right. This. Look, if the only reason that you ship them is that it would be hot to see them kiss, I’d just like to tell you that YER A FUCKBUTT, HARRY. Other people can probably explain this better, but you’re fetishising a whole community and you need to stop. Now. And get off my blog while you’re at it.

4. Hating on their wives.
This is probably more of a Cockles thing than a Destiel one, but most of the Cockles shippers that I’ve encountered were all awesome people, so I’ll say it on their behalf, we don’t hate Danneel and Vicki, okay? Seriously, why would anybody, when they make Misha and Jensen so happy?

5. Making everything gay/The gay agenda
No. No. Say it with me, no. We do not ship them because they’re both men
We ship them because they have amazing chemistry and it makes sense that Dean and Cas be together. And it would obviously be the bisexual agenda, if it was an agenda. Which it’s not. At all. *Cackles in the distance*

• What Destiel is about

1. Unconditional Love
2. Dean finally realizing that he's​ not damaged and deserves love. Also realizimg that he’s not the perfect manly man soldier that John raised him to be, and that’s okay.
3. Cas understanding that he will always have a home with Dean (and Sam, by extension)
4. Two people who help each other to be better people.
5. Two people who constantly screw up, but forgive each other, because that’s what love is about.
6. Seeing people at their worst, and still loving them. (Dean forgiving Cas after he becomes God and Cas telling him that he deserves to be saved)
7. Unconditional love (I’m sorry, I’ll never be over the “I’d rather have you, cursed or not.”)
8. Both of them, giving up so much for each other.
9. Sticking up for each other

• Obviously I can’t speak for the entire fandom, but these are my views, and generally the views of people that I’ve encountered. Thanks for taking the time out to read it!

Sincerely,
A Destiheller

Listen… I tried drawing something different today, I really tried!! (and failed lmao)

I just can’t stop thinking about what an actual ray of sunshine gansey must have been as a kid, how carefree and happy and possibly chasing butterflies.

2

lmao like the only time i EVER see hard disney fans even mention ghibli and miyazaki in comparison to disney films is in light of disney’s own mistakes and laziness like damn y’all need to calm down

lemme teach you a lil’ somethin’ somethin’ about stylistic choices in animation and sheer laziness

STYLISTIC choices is about having the full capability of creating characters separate from the previous protagonists while at the same time tying them to the studio that produced them.

And that’s not even scratching the surface.

Considering that a good portion of Ghibli’s library consists of LEAD FEMALE PROTAGONISTS who are usually very young, they need to find a set balance between recognizable and unique.

Ghibli was founded on traditional art and the studio still holds many of those values with it. This is of course including hand-drawn animation in which there is no single model, only the same character drawn over and over again. Is this about CGI vs traditional? No, both can and have provided beautiful films and scenes but it’s not about which one deserves more recognition. It’s about the methods used and how the choices for each one vary. I only bring up the animation methods because it’s part of the reason as to WHY these characters are so simplistic in design.

Still though, they need each lead character to stick to the Ghibli/Miyazaki style to a certain extent. They need to share certain qualities to make them fall in line with the rest of Ghibli’s library.

I mean, they have their differences but they’re obviously Ghibli characters so okay they all have relatively small eyebrows (though considering that they are Japanese that ties in with their ethnicity but OKAY moving on), they all have the eye highlight thing going on, and they all have very non-pronounced noses. I suppose yeah those are all the same. They do shift but those characteristics are roughly the same.

Still though, that isn’t a problem nor is it blatant same-facing. All LAIKA characters have skewed noses, all Dreamworks characters have thin noses, and all Aardman characters have bulgy eyes. Does that mean they’re same-facing? No. It means they’re sticking to stylistic choices to keep themselves separate from the competition.

Don Bluth MADE the choice to stick to a style closely resembling Disney. You know what happened? A whole generation grew up thinking that Anastasia and Thumbelina were both DISNEY films, not Bluth and Fox animation.

There’s a reason why studios tend to go for their own set style.

But hey! Want even more evidence that it’s a stylistic choice?

Because THE VERY SAME CHOICES CAN BE SAID FOR THE DUDES

Save for Haku because he’s a fuckin’ dragon.

While gender is never really brought up in Ghibli films, masculinity and femininity are both neutral here, it’s safe to say that their designs and treatment are both equal. Ghibli isn’t out to make exclusively beautiful/handsome characters, they make them as simple as possible to keep them relatable and much more easier to manage.

The difference here is that Disney has always set out to make their MALES different while sticking their females to the same “doe eyed, small nose, thin lips” ideal. Yes, there is a set Disney style and it has always focused on those features and that necessarily isn’t a bad thing. It’s the Disney style. HOWEVER it seems to only apply to their females. Even worse is their marketing of said females.

External image

GOTTA KEEP THEM GURLS PURTY

The Disney style has shifted from time to time and it shows evidence that it CAN include more diverse female designs. Both Kida and Calhoun are wonderful examples of this. It’s not as if Disney hasn’t evolved or changed their views on female characters to a certain extent. Unfortunately, said shifts haven’t always worked out in our favor or headed in the right direction. It wasn’t until Tangled that Disney came out with it’s true “get richer quicker” scheme with their female leads.

watch as i shift into MAXIMUM PUNZEL-DRIVE

As of late it’s Disney’s sheer laziness when it comes to female design and their own avarice that has caused SUUUUCH a dramatic shift in how fans are taking the Disney style now. When Ghibli audiences and fans never look at a new movie and go “oh it’s Chihiro but tiny” or “oh it’s Chihiro but on a broom.” That is the set style, not a lazy copy-paste.

But hey, let’s bring in OTHER females to see how this works out. I mean, the Ghibli style is prevalent to ALL of their characters so surely they all the parents look exactly like their children.

Let’s look at these lovely lady leads and compare them to their parents.

Congrats, kids, you’re all adopted!

WEIRDLY ENOUGH all of the characters and their parents (if they have any) share same characteristics while at the same time remaining completely unique to each other. It’s almost as if they also take after their father and/or previous generations of their familly. Haha, genetics!

But okay, let’s be a little more fair with Disney.

Let’s look at two families with two daughters.

Mitosis or go home

There is having stylistic choices and there is being lazy.

There is creating a character with similarities to their parent and there is making a recolor of your lead character.

There is creating simple designs for a traditionally animated film and there is reusing the same model because it worked so well the first time.

There is being a small Tokyo-based studio with 300 employees and there is being a large American animation studio with 800+ employees.

THAT is why no one ever complains about Ghibli’s approach to character design and THAT is why Disney doesn’t even come close to Miyazaki.

Let’s finish this off with some MORE wonderful Ghibli characters (most of which being my personal favorites so they belong on here too.)

Now go watch more Ghibli.

So….I don’t know if anyone else has talked about this, but I think that Keith’s father left him. And though it is long, here is why:

When Keith hears his father’s voice, he’s shocked, but not completely horrified. The first words he says aren’t “I thought you were dead!” or anything similar, but instead

He even has the chance to ask how he might be alive (or like…anything similar) or what he’s doing there, but instead he goes right to, “What’s going on outside?” because that matters more to Keith than what his dad is doing back in their shack. And then his dad says:

“Don’t you want to catch up?” is not something you tell somebody when you’ve died, but when you’ve gone away for a while.

Keith’s response is “Of course I do,” but look at his expression. He doesn’t get it- and of course he wants to know what his dad has been doing, but he’s still confused and cautious.

Now, we already know that what these holograms do is pair Keith’s greatest hopes with his greatest fears. 

We’ve also seen it before- it showed him Shiro, but hologram Shiro told Keith that he should give up the knife, and that choosing to find out his own past was selfish. That doesn’t stop Keith, though: “I’ve made my choice.” He doesn’t care if Shiro thinks he’s being selfish. What Shiro says and does next, though, is what makes him stop:

And then Shiro starts to walk away. Only then does Keith actually stop. Only then does Keith decide that maybe it isn’t worth it. Keith actually calls out to Shiro, and then starts to run after him.

You can tell from his expression, and from the fact that he literally runs after Shiro to stop him that Keith is desperate. Why?

Because one of Keith’s greatest fears is being left by the ones closest to him.

Why would this be one of his greatest fears?

Because it has happened before.

He follows Shiro and finds himself standing in front of the door that another person he cared for walked out of.

And once again, one of his greatest hopes is paired with one of his greatest fears. He wants to know about his past- that’s one of his hopes, but why would his father be the one to show him that, unless

One of his greatest hopes is that his father will come back.

This also makes the line, “Don’t you want to catch up?” and the fact that Keith doesn’t even ask why his father is back even more important. This is a scenario plucked from Keith’s mind: it’s a fantasy. He doesn’t necessarily want to know why his father might be back- there doesn’t have to be a reason. He just wants him back, anyway.

His other greatest fear, though, is that the Galra will come to Earth, and destroy it. In the end, the Earth matters more to Keith than his own father and past do, and maybe part of that is because he knows that his father didn’t care enough about him to stay.

Keith still hesitates, though.

Walking out that door means turning his back on his father, and what he thinks might be the last chance he has to know anything about his past. But he walks out anyway.

He looks his father in the eye as he says this. He doesn’t apologize, he doesn’t justify himself, he just says goodbye and leaves. That doesn’t strike me as the farewell somebody who was close with his father would give them as they walk out. And look at his expression? He’s not sorry. Maybe he’s hurt and torn, but more importantly, resolved. He is leaving, and his father will not stop him.

And also- neither of them acted like they were particularly close, either. There were no reunion hugs, and the only one who even smiled was Keith’s father (albeit somewhat creepily, but that’s irrelevant). And Keith wants to see his father again, but that doesn’t mean he would be happy if it happened. They didn’t part on good terms, however it may have happened.

TLDR: Keith’s father didn’t die, but left Keith many years ago- and because of that, one of his greatest fears is that Shiro, the only other person he’s become very close to, will do the same.

funny story

In fifth grade, I started a flash mob. I was sitting on a bench and my friend was staring at me from the cafeteria. I kept looking away, but every time I looked back at her, she was still staring at me. So I stared back at her and stood up, then sat back down. She copied me. Then I did it again and she did it again. This went on for a solid three minutes. Then, other people started to join in slowly. Over the next five minutes, about a hundred kids were standing and sitting in unison. No one spoke a word and everyone was staring dead-eyed at each other. The teachers were so concerned and confused, and the gym teacher was yelling for everyone to stop, but no one would. It went on for fifteen minutes before everyone stopped. To this day, this is still the greatest thing I have done.