textures relationship

Soulmates & Twinflames - Soulmates are here for your soul’s growth, and through the Law of Attraction, you meet various soulmates in divine timing for the specific lessons to be learned.  If you don’t learn the intended lesson, you repeat the course, so-to-speak, with the next soulmate. A twin flame’s vibration is different. It is both the same and the polar opposite of yours, like the solid and the void existing at once to create the Zero Point.  I liken it to the heat and cold coming together to create the perfect climate for growth, like the fiery sun warming the cool earth to sustain life.


one piece anniversary

day 6 » relationships/interactions 

∟ luffy + his crew  

okay i was going to write an analysis but let’s be quick: luffy’s relationship with his crew is super important because he even though he has a different relationship with each of them, he treats them all equally and respectfully, which in turn makes their relationships that much more precious. please don’t tell me he values any crew member more than another, because he’s probably die the same way if any of them left. 

genderbent marichat for @lochnessie

anonymous asked:

Slightly stupid question about telltale games, when its all 'person will remember that' how exactly does it affect the story because like those big choices in each episode (as in ones shown on the end screen) are still the same in the sense of your ability to choose them so what part of the story does it really affect? Is it like in the sense of no matter what you choose it barely affects the story and what only really affects it is the end choices?

See your problem is that you’re not talking about “affecting the story” you’re talking about affecting the PLOT. The plot is the events that happen, while the story is the texture, characters, themes, relationships, etc. that take you from plot point to plot point.

Example: (Spoilers for the first season of Telltale’s The Walking Dead ahead)

The plot of the first season of The Walking Dead ends with Lee dying. That’s an immoveable plot point. But the story of how you get there can be very different - Is it with a Clementine who Lee taught to be a survivalist? Or one who he sheltered and protected and is now going to be left alone? If you’re only looking at the PLOT you might say “Oh, none of my choices matter because no matter what Lee dies.” But Lee has to die because it’s a redemption story, and him learning to live for something again after he thought his life was over at the start of the season. His death was written into the story from the beginning.

So, yeah, there are usually only a few big choices that affect the plot because a) we have do a story that we’re trying to share with the player and that means that we have to do a certain amount of pushing the player where they need to go to tell that story with us. And b) it would be really really really expensive to make something that branches every single time

So to come back to your original question, what all the more significant smaller choices (as you put it: “when its all ‘person will remember that’”) are affecting are the story and how it’s told. Characters treating you differently, thinking of you or the world around them in an altered way… it’s the texture and the storytelling that’s being tailored.

Hope I explained something in there. My fiancé Molly actually just gave a talk about exactly this at a conference in Norway that I’ll be sure to post here on the ol tumblr dot com once it goes up online.

i’m a snob but i’m not really an endorser of like… adaptions of fiction. if the director or whatever can make something new and wonderful out of the original, then sure that’s groovy. but adaptions always come with this implicit transference of material which i think is obviously false? there’s a reason there’s never been a serious attempt to “adapt” joyce’s ulysses or even a realist novel like rabbit run because the texture of the novel is as much a part of it as anything to do with plot or (horrible concept) characters. poetry has this saving grace of not being “adaptable” because of its relationship to texture and style and although i think movies are amazing and wonderful and made of magic adaptions rarely contain the same mysticism as their novels for a reason.

like the 2013 adaption of the great gatsby was terrible because it tried, in my opinion, to recreate the feeling of the novel in a way that was this really weird hybrid of 00s hip hop and the 1920s with this really bizarre and totally artificial love line between daisy and gatsby which was terrible not because of its failing verisimilitude but because the narrative set-up of their union was noticeably gawky and cheesy which the novel – thanks to fitzgerald’s really brilliant textured style which does formally reflect the pornographic wealth of the 1920s – is not. and that’s not something that i think can be conceivably replicated.

sometimesangryblackwoman  asked:

How about some Evil Charming (broTP or not) for the Sentence Prompt meme? "Are you sure about this?"

So I made this a sequel to Remnants, the EC drabble I posted for EC week. I hope you enjoy it, dear one. This universe has been eating me alive, lol!

It’s been a long time since she’s felt like this—warm, cared for, hall-full rather than hollow, like an actual woman rather than just a mayor and a mother. She snuggles into it, burrowing in, holding on, wondering just when this will crash and burn around them as has every other good thing in their lives.

“You’re thinking awfully loud this morning.”

She presses up from his chest and stares into gentle eyes she’d never dreamed would look at her like this, ones she never knew she needed to caress and tease her, until suddenly they did.

“I’m sorry.”

He tips her chin in his direction, kissing her lightly as a warm palm rubs her back.

“It’s too early to be apologizing, Regina,” he breathes. “We haven’t even gotten out of bed yet.”

She smiles, biting her lower lip as insecurities war with the primal need to grab on to life.

“You know what I’m capable of, David,” she murmurs, her index finger tracing circles on his chest. “I could have leveled the entire town this morning without ever having left my bedroom.”

He chuckles, flipping her on to her back and kissing her soundly, his kisses tasting more and more of contentment rather than desperation and loss.

“Remind me never to pick a fight with you before bed,” he mutters, burrowing his mouth into her neck, making her back arch deliciously into him. He’s been staying over sometimes, and it’s nice—it’s very nice, actually, and smacks of coziness, something neither of them had ever imagined possible when both of their worlds crumbled into ash.  He finds that spot just below her ear that does things to her, and she hisses, reaching down to stroke him leisurely until he drops his head to her chest.

“Shhh,” she admonishes as he lets out a low moan. “You’ll wake the kids.”

“Neal’s probably already awake playing with that Thomas Train Set you put in his room,” he laughs, moving his mouth down her jawline.  “And Nadia had a great set of lungs. She’ll let you know when she’s ready to get up.”

She starts at his easy manner in referring to the guest room as Neal’s, even though it had been her idea to turn the space into a playroom with a small futon that easily doubles as a toddler bed. And it is Neal’s at the moment, although she’d explained to Henry that Nadia was nearly a year old now, that she’d soon need a safe place to play and that the guestroom was simply gathering dust in its disuse. If her son had thought the trainset to be an odd addition, he’d wisely said nothing.

But she can’t help but wonder if he knows.

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