the most important object in the universe


“On April 21, 1967, the 100 millionth GM vehicle rolled off the line at the plant in Janesville — a blue two-door Caprice. There was a big ceremony, speeches; the lieutenant governor even showed up.

“Three days later, another car rolled off that same line. No one gave two craps about her. But they should have, because this 1967 Chevrolet Impala would turn out to be the most important car — no, the most important object — in pretty much the whole universe.”

Happy Birthday Baby! April 24th


SPN Challenge - Day 2: Favorite Episode? [2/5]: 11.4 - Baby

“On April 21, 1967, the hundredth millionth GM vehicle rolled off the line at the plant in Janesville.  Three days later, another car rolled off that same line.  This 1967 Chevrolet Impala would turn out to be the most important object in pretty much the whole universe.”

anonymous asked:

you realize twilight is like, objectively bad right?

You realize Twilight is arguably the most important piece of art in my entire life right?

Twilight is everything to me. It was the only thing that got me through my father’s brushes with death, alcoholism, my parents divorce, everything. I used to sit behind the tv, crying, and obsessively rereading the first book because that universe was the only place I felt safe.

Twilight was my entire identity. I had no friends, and very little concept of a future. The only thing that kept me from making some very dark decisions was Twilight. Whenever I would reach for something that would hurt me, i would grab my books instead.

I learned about love, as a concept, through Twilight. I learned how to deal with loss. I learned about family and trust and forgiveness and self esteem. Twilight was my second parent, when my mother was running herself ragged trying to keep the family afloat. 

Twilight forcibly pulled me back from toxic friendships and dangerous drug fueled paths in Ohio, keeping me home and writing instead of most likely overdosing like several of my childhood friends. Twilight taught me both how to write, and how to read. Through the fanfiction community of Twilight I found my entire identity as an artist for the first time, and I made some of my first real peers in that community.

I’ve memorized thousands of quotes from the series. At one point I could quote the entire meadow chapter, word for word, at the drop of a hat. Twilight was my coping mechanism, my self medication, and my anchor to reality. 

I met my best friend, and platonic soul mate through Twilight - @nikave. I created a career for myself by studying the life of my favorite actor from the films, Jackson Rathbone, and finding Interlochen. I only even /applied/ to Interlochen because he went there, and that entire institution changed my life. 

Twilight may not be “high art” to you, but it is far from objectively bad. Twilight is the most important piece of art in my life. There are other pieces of art that changed the course of my life (Wicked, Taylor Swift, Les Mis, etc) but I can confidently say that without Twilight, I likely wouldn’t have lived past 15.

  • Do not rely too much on Google Translate or any other translating device. I know most people, especially in Malaysia, owns a language translating device and, trust me, it does not help at all. Sometimes, it may confuse you as well. Solution – Use fun language apps for learning. I would definitely recommend Duolingo for learning, HelloTalk for being able to communicate with locals and Memrise, just for fun. You could also make friends with the locals. Which is way better to rely on them, rather than the devices. If not, just speak French with your friends or lecturer. Always speak the language you’re learning during classes, it helps you to improve and know your mistakes.
  • Pay extra attention in class. This should be applicable to all classes. Though, I suggest one should pay extra attention and focus in a language class. For all I know, the rules and uses I’ve learned for English and French, they have their differences. Some French words, can be similar to the English ones. But most can’t. Solution – Gather as much examples as possible. And understand the uses of it. If you’re not too sure, you could always meet up with your lecturer for more questions.
  • Always ask questions. If you do not understand, please ask. Do not keep it to yourself. It does not help you solve the equations, if you keep it balled up in your head. Eventually, you’ll forget. Solution – If you’re too shy to ask, you could always ask the lecturer after class. Or meet him/ her in their office.

Keep reading


Saint Greer Islands - BETA

A little gift from me to say thank-you to all you amazing people! I will say “Beta” as it will not be totally issue-free cause there is always something!

In 1806 a french freight ship got lost at sea and stumbled upon a set of islands. The captain gifted the islands to his three daughters Azalea, Violet and Lily. And so each islands reflects the personality of each sister; the aristocratic Azalea Island, the quiet and peaceful Violet Island, and the bubbly Lily Island. Nestled close to France, the three islands later became known as the Saint Greer Islands.

Waaay more picture HERE.

World Details:
- Medium world size
- Around 80 lots mostly 20x30 and 20x20 in size (see image, all lots are flat except those with a “*” which are partially over water)
- Includes some CC
- this world is EMPTY
- EP’s you WILL need: World Adventures, Pets, Island Paradise (WA is the most important, missing the other two will just mean some main objects are missing but not too tragic)
- EP’s you may need (or some random objects may not show): Seasons, Generations, Ambitions, Late Night, University Life
- EP’s you will probably not need (at least nothing major will be missing): Into the future, Showtime, Supernatural
-Known Issues: Most of the lots have weird white seams you can only see from certain angles, not sure why. Because the land is also so low, the snow doesnt really cover Violet Island so it looks weird, seems to be an EA issue so I would advise playing this world without snow/winter.
- Some lots you may want to use “testingcheatsenabled true” and then ctrol+shift+click the side of the lot you want to be the front and click “set as front of lot” :)

Download Details:
- Some of the CC has been recolored to fit this world, it WILL replace it in other worlds too (Lolalule’s orange flowers will be white, the himalayan poppies will be a paler blue) > If you wish these colors to show up, you need to replace the original files with these! (More info in the .txt)
- I have included both the sims3pack and the .world (for those who dislike .pack as much as me) > installation instructions are included in the .txt
- please read the .txt!!!!
- I have included the textures I used as sims 3 terrain textures in the CC too so you can “extend” the roads etc
- a “light” version has been added, this has less flowers and no meshed grass
- all flowers and plants used have been enabled as “Landmarks” under World Editor, so more can be added :)
I would love to see pictures of this world! So tag it with “Saint Greer Islands” :D

Thank you to @fagersims, @nilxis, @martinessimblr for their textures, and especially @fagersims, @alverdinesims and @heavensims for their help!

A HUGE thank-you to all my amazing testers, I could not have found all the issues without you guys! @mimisapje @meganrosesims @oprionet @plumb-barb @nonsimsical @pinklucyra @theseprettylittlepixels @tosimfinityandbeyond @candydandysims @theothersim @alverdinesims @berryique @heavensims

Download World Here!

Download Light Version Here!

Download Saint Greer Lighting Mod Here!

The lighting mod is an edit of @nilxis Uranesia Lighting Mod, but without the green sunrise and slightly different colors :D Full credit goes to Nilxis.

I would love to see your pictures of the world, so if you wanna, then tag them as “Saint Greer Islands” :D

And Happy Birthday to @simgotyourtongue and the Nonny who share mine! Hope you guys have a great day!

Happy 50th birthday Baby

On April 21st, 1967, the Hundred millionth GM vehicle rolled off the line at the plant in Janesville. Three days later, another car rolled off that same line. No one gave two craps about her, but they should’ve. Because this 1967 Chevrolet Impala would turn out to be the most important car…no, the most important object in pretty much the whole universe.

Originally posted by soluscheese

anonymous asked:

regarding your analysis of C&L: you mentioned that you don't connect with it as much because it is a more general account of grief, while ACL@M has it's own explicit narrative. comparing Twin Fantasy and Teens of Denial, could you say that your own art has moved in the direction of C&L? TF has a very clear narrative that is relatable in a much deeper way than ToD because it tells a specific, personal story. i love both albums, but your analysis aligns with my feelings about your project.

I’ve seen the term “relatability” thrown around a lot in conversations where people compare, usually in a disappointed tone of voice, ToD with TF. I can’t say I really know what it means. I wrote Denial in the same way that I’ve written every album I’ve made since Twin Fantasy: I’ve started with personal experiences, and attempted to tie them together with more universal sentiments, to create a work with a coherent conceptual arc that stands as something larger than myself. I’ve never written an album like ACL@M. Twin Fantasy was every bit an attempt to create something universal as Denial was; I specifically remember writing Bodys to be an anthem, something people could sing along to with no knowledge of me or my “story”. This was mixed with more diaristic elements elsewhere, obviously, but only inasmuch as it serviced the record as an independent object for it to be diaristic. I’ve never felt that the most important thing on a record is to “tell my story”. That’s not what art is about to me; that’s not how the art that is important to me has affected me. I think every record I’ve made does tell a story, but it is only mine in the sense that my name is on the credits. 

Denial is created in the exact same manner, to the exact same proposed end; it’s a diaristic work of art. Songs like “Drugs With Friends” are specific and personal in a way that I shouldn’t really have to point out. The album tells a story just as TF does, propelled by its musical and conceptual structure, and by repeated motifs and images. The mirroring of song titles, the splitting of sides into “Hometown Hero” and “Cosmic Hero”, the recurring image of being “split in two” - these are not random upcroppings any more than the images and patterns on Twin Fantasy are random. I structured them in a very specific way, to create a specific unfolding of meaning. 

The real difference between these two albums is content. Twin Fantasy is a romance; Teens of Denial is a bildungsroman. Most people will prefer a romance over a bildungsroman, as it speaks to a more essential aspect of humanity. I can’t protest this, and I feel the same way - I think romance is inherently a stronger genre, being (presumably) about two people instead of one. Denial is by no means one of my favorite records. I wrote it during a period in my life where I was not feeling a lot of love. Its tone and content reflect that. I made it because that’s what I do - records have always marked the various phases of my life, and I needed to get out of this one, so I needed to make a record. I think it is what it is, and it’s good for what it is, and other people without a lot of love in their lives might relate to it more strongly than anything else I could have created. If you can’t relate, then consider yourself lucky, and consider checking out one of my many other albums on other subjects.

I think, though, that the reason that a vague term like “relatability” has been selected as appropriate in driving this discourse is that the discourse is based more on how the album was promoted than what the album actually is, when you sit down and listen to it. When we’d wrapped up the record and I was discussing with our publicist what the best approach would be for promoting it, I sent her a track-by-track breakdown of the album, explaining the overarching narrative, and how each song fit in context. Ultimately, we decided to leave this aspect of the record unspoken in promotional material, and focus instead on the strength of the songs as individual works. Thus, the narrative that subsequently built up around the album was about its songs, their accessibility, their potential as works of mass consumption. I had assumed, perhaps blithely, that people who preferred concept records to pop songs, who sought meaning through the building of ideas through a record rather than an immediate emotional release provided by an explicit turn of phrase, would encounter the album on their own time, listen to it while reading the lyrics, and discover that it did, in fact, function on this level as well. I underestimated the power of promotional narrative to influence people’s beliefs about what a thing actually is. This is an idea that has always haunted me, because I don’t speak through press releases, I speak through my art. Most artists do. A press release is something designed to get people to look at art - it should, under no circumstances, be able to replace the art, to override its meaning through memetic repetition. (This is also a large part of what bothered me with C&L; I was tired of seeing people trying to interpret lines like “You checked your texts while I masturbated” under an unshakeable assumption that it must be about his mother’s death.) You must not allow the world to convince you to consume art like this. Art so rarely falls into your lap unannounced, but you must make the effort to pretend as such each time you enter a work; forget what you know about the artist, what you’ve heard other people say about the work, and try to experience it as direct communication. That is the only way you will be able to understand the art as it was intended to be understood.

What, The Devil? (Essay by High Preist Peter H Gilmore)

Satanism is not Devil worship. That comes as a shock to many who haven’t explored our philosophy and it is the prime misconception outsiders have regarding the Church of Satan. Our founder Anton Szandor LaVey asserted this stance from the beginning. Over the years, individuals with the need to feel embraced by a deity have claimed that Dr. LaVey somehow came to believe in a literal Satan. If we examine his work, it is clear that he never changed his mind about this, nor was belief in the Devil ever some secret “inner circle” practice of the Church of Satan.

We Satanists understand that both truth and fantasy are needed by the human animal. It is a step towards wisdom when one knows with certainty which is which. Man relies on symbolism and metaphor when building a personal conceptual framework for understanding the universe in which he lives. He has always invented his own gods using his carnal brain. From The Satanic Bible: “Man has always created his gods, rather than his gods creating him.” However, this act of creation is usually denied. History shows that the founders of religions claimed personal contact with the deity fabricated through their imaginations, and legions of followers bolstered that fiction. There is nothing wrong with fantasy, so long as an individual knows he is using this controlled self-delusion as a tool for dealing with existence. For we skeptical, pragmatic Satanists, it is wielded in the ritual chamber. Reliance on fantastic constructs becomes dangerous when the believers in spiritual religions dogmatically insist that their personal or collective fantasies are real in the world at large, that they are the only absolute truth, and then wait for the myth to guide them or try to force others to share this delusion. That has been the source for countless wars, as any student of history can see.

Dr. LaVey’s seminal book, The Satanic Bible published in 1969 lays out some basic principles:

The Satanist realizes that man, and the action and reaction of the universe, is responsible for everything, and doesn’t mislead himself into thinking that someone cares.

Is it not more sensible to worship a god that he, himself, has created, in accordance with his own emotional needs—one that best represents the very carnal and physical being that has the idea-power to invent a god in the first place?

From a 1986 interview with Walter Harrington of The Washington Post:

“Satan is a symbol, nothing more,” LaVey says. “Satan signifies our love of the worldly and our rejection of the pallid, ineffectual image of Christ on the cross.”

Accepting the axiomatic premise that no gods exist as independent supernatural entities means that Satanists are de facto atheists. We know that the objective universe is indifferent to us. Since our philosophy is self-centered, each Satanist sees himself as the most important person in his life. Each individual thus generates his own hierarchy of values and judges everything based on his own standards. Therefore, we Satanists appoint ourselves as the “Gods” in our subjective universes. That doesn’t mean we think we have the powers of a mythological deity, but it does mean that we revere the creative capacity in our species. So to distinguish ourselves from the atheists who simply reject God as non-existent, we call ourselves “I-theists,” with our own healthy ego as the center of our perspective. This is truly a blasphemous concept that flies in the face of just about every other religion, and it is why Satan serves us well as a symbol. He was described as the prideful one, refusing to bow to Jehovah. He is the one who questions authority, seeking liberty beyond the stultifying realm of Heaven. He is the figure championed by the likes of Mark Twain, Milton, and Byron as the independent critic who heroically stands on his own.

Dr. LaVey made his most detailed presentation of his concept for how Satan functions in his philosophy in the following monologue that appeared in Jack Fritscher’s book Popular Witchcraft, published in 1973.

I don’t feel that raising the devil in an anthropomorphic sense is quite as feasible as theologians or metaphysicians would like to think. I have felt His presence but only as an exteriorized extension of my own potential, as an alter-ego or evolved concept that I have been able to exteriorize. With a full awareness, I can communicate with this semblance, this creature, this demon, this personification that I see in the eyes of the symbol of Satan—the goat of Mendes—as I commune with it before the altar. None of these is anything more than a mirror image of that potential I perceive in myself.

I have this awareness that the objectification is in accord with my own ego. I’m not deluding myself that I’m calling something that is disassociated or exteriorized from myself the godhead. This Force is not a controlling factor that I have no control over. The Satanic principle is that man willfully controls his destiny; if he doesn’t, some other man—a lot smarter than he is—will. Satan is, therefore, an extension of one’s psyche or volitional essence, so that that extension can sometimes converse and give directives through the self in a way that thinking of the self as a single unit cannot. In this way it does help to depict in an externalized way the Devil per se. The purpose is to have something of an idolatrous, objective nature to commune with. However, man has connection, contact, control. This notion of an exteriorized God-Satan is not new.

The approach outlined here, of consciously creating an exteriorization of the self with which one communes solely in ritual, is a revolutionary religious concept of LaVey’s Satanism, and it is a “third side” approach which proves elusive to many to whom it does not come naturally. It is a psychological sleight-of-mind, not a form of faith. It establishes that to the Satanist in ritual, he is Satan.

To be fair, people attending workings of LaVey’s bombastic and theatrical rites might not be able to separate the shouting of “Hail Satan!” while in the ritual chamber with the disbelief in any external gods outside of the chamber. But then, Satanism isn’t meant for everybody. When asked if there is an upcoming volume Satanism for Dummies, we reply: “Satanism is NOT intended for dummies.” As he said in The Satanic Bible and often in interviews: “Satanism demands study—NOT worship.” The capacity to think is expected of Satanists. So LaVey expected those who embraced his philosophy to understand where to draw the line between the fantastic and the real. He proclaimed that he was a showman, and felt that his Satanists would not be rubes, mistaking the mummery for reality. As a carnie, he knew how to entertain, to draw attention so that he could then present more serious ideas. Some might sneer at his methodology, dismissing his deeper cogitations because of the circus-like elements. However, I believe a case can be made that all religions are in the “show business,” but the Church of Satan is the only one honest enough to admit it.

In an interview released on an LP called The Occult Explosion from 1973, Dr. LaVey explained how the Church of Satan deals with different concepts of Satan:

“Satan” is, to us, a symbol rather than an anthropomorphic being, although many members of the Church of Satan who are mystically inclined would prefer to think of Satan in a very real, anthropomorphic way. Of course, we do not discourage this, because we realize that to many individuals a picture, a well-wrought picture of their mentor or their tutelary divinity is very important for them to conceptualize ritualistically. However, Satan symbolically is the teacher: the informer of the whys and the wherefores of the world. And in answer to those who would label us “Devil worshippers” or be very quick to assume us to be Satan worshippers, I must say that Satan demands study, not worship, in its truest symbology.

We do not grovel; we do not get down on our knees, genuflect, and worship Satan. We do not plead, we do not implore that Satan give us what we wish. We feel that anyone who is going to be blessed by any god of his choice is going to have to show that god that he is capable of taking care of the blessings that are received.

Thus he advocates creating a god-symbol based on one’s own needs and aesthetic choices. Creative fantasy is employed for emotional fulfillment, experienced in the context of the ritual chamber. Satanists see Satan as their proper symbol to fulfill those needs, a magnification of the best within each of us.

Additionally, LaVey speculated on the idea that when attempting Greater Magic, it may be that the operator is tapping into a force that is part of nature to magnify his “Will.” This force is hidden, unknown, and thus “dark.” But LaVey did not view the force as a supernatural entity. In The Satanic Bible he originally explained “the Satanist simply accepts the definition (of God) which suits him best.” He closely follows that with the definition he uses:

To the Satanist “God”—by what-ever name he is called, or by no name at all—is seen as the balancing factor in nature, and not as being concerned with suffering. This powerful force which permeates and balances the universe is far too impersonal to care about the happiness or misery of flesh-and-blood creatures on this ball of dirt upon which we live.

LaVey clearly posits a disinterested, remote force—not a personality or entity—that balances the universe. He sees it as indifferent to life forms, much as any other force such as gravity would be. It is a mechanism, not a personage. It does not merit obeisance, appeasement, or worship. It can be named or not. It operates without awareness of conscious beings. He spoke of this to Burton Wolfe who wrote in the introduction to The Satanic Bible:

Of course LaVey pointed out to anyone who would listen that the Devil to him and his followers was not the stereotyped fellow cloaked in red garb, with horns, tail and pitchfork, but rather the dark forces in nature that human beings are just beginning to fathom. How did LaVey square that explanation with his own appearance at times in black cowl with horns? He replied: “People need ritual, with symbols such as those you find in baseball games or church services or wars, as vehicles for expending emotions they can’t release or even understand on their own.”

So LaVey accepted that there may be currently unexplained elements of the universe that are part of its fabric, but these are not supernatural. He suggests that Man’s inquiring mind may eventually come to understand how they function. The implications of these ideas offer great freedom. Since there is no actual deity watching over or mandating the behavior of our species, men are free to imagine whatever sort of God they choose to satisfy their own needs, however they should not forget that such fantasies are only that—nothing more.

In that same passage, he also addressed the prime reason for engaging in ritual, which he defined as Greater Magic: it serves as a means for releasing pent-up emotions that people may not even fully understand. Hence ritual has a psychological purpose; it is clearly not meant as a means for worship of some supernatural entity. Ritual is demonstrably part of human culture. LaVey knew that it served a value for people over the millennia, even if it was done for reasons that didn’t square with reality. It made people feel better than they did beforehand. So, as he continued in The Satanic Bible when addressing the search for a proper religion: “If he accepts himself, but recognizes that ritual and ceremony are the important devices that his invented religions have utilized to sustain his faith in a lie, then it is the SAME FORM OF RITUAL that will sustain his faith in the truth—the primitive pageantry that will give his awareness of his own majestic being added substance.” Thus the device of ritual, which he explained as “controlled self delusion,” can be of practical use for the well being of one’s state of mind. The truth referred to above is that all gods are an invention of the creative beast called Man.

To summarize a typical individual’s journey from observing reality to declaring himself a Satanist, let us list several assertions:

Nature encompasses all that exists. There is nothing supernatural in Nature.

The spiritual is an illusion. I am utterly carnal.

Reason is my tool for cognition making faith anathema. I question all things. I am a skeptic.

I do not accept false dichotomies, finding instead the “third side” which brings me closest to understanding the mysteries of existence.

The universe is neither benevolent nor malevolent; it is indifferent.

There are no Gods. I am an atheist.

There is no intrinsic purpose to life beyond biological imperatives. I thus determine my own life’s meaning.

I decide what is of value. I am my own highest value therefore I am my own God. I am an I-theist.

Good is that which benefits me and promotes that which I hold in esteem.

Evil is that which harms me and hinders that which I cherish.

I live to maximize the Good for myself and those I value. At all times I remain in control of my pursuit of pleasure. I am an Epicurean.

Merit determines my criteria for the judgment of myself and others. I judge and am prepared to be judged.

I seek a just outcome in my exchanges with those around me. I thus will do unto others as I would prefer they do unto me. However, if they treat me poorly, I shall return that behavior in like degree.

I grasp the human need for symbols as a means for distillation of complex thought structures.

The symbol that best exemplifies my nature as an aware beast is Satan, the avatar of carnality, justice, and self-determination.

I see myself reflected in the philosophy created by Anton Szandor LaVey.

I am proud to call myself a Satanist.

These ideas fundamental to Satanists serve as an earthy foundation that we find deeply liberating and a welcome acceptance of ourselves as human animals. For the type of person who feels the need for an external supernatural parental figure, the responsibility for self-determination explicit in this path would be terrifying. For the Satanist, belief in any actual God or Devil to which one would be beholden is repugnant and stultifying. We “agree to disagree” with those who are spiritually oriented concerning our different approaches to living, hence our advocacy of pluralism in society. We Satanists know that our way is not for everyone. We simply ask that others follow their own path and allow us to be as we are.

But please, all of you believers, understand that we are not simply your “flip side.” We are not Devil-worshippers. We are simply carnal self-worshippers looking to enjoy our lives to the fullest. May you find bliss in your serving of your chosen deity. We certainly will!

EXO Theory Pt. 5.75 - Parallel Universe

So, we had eclipse and now we have parallel universe. Bitch, I’m hyped up and ready to rumble with EXO for the rest of my life, this shit interesting. Let’s start analysing the crap outta this 20 second thing!

Theory Masterpost

Sequence of Events:

MAMA/History/What Is Love - Miracles in December - Romantic Universe - KoKoBop  - MAMA 2016 VCR - (Parallel Universe) - Lucky One - Overdose - Love Me Right - Wolf/Growl - Lotto - Coming Over  -  Pathcodes/Call Me Baby - Monster  - Sing For You  - For Life - Parallel Universe - The Eclipse???? - MAMA 2016 Performance

So, let’s start at the beginning of this teaser. We are introduced to EXO Planet Ep. 2641, which looks an awful lot like a comic book themed thing - likely the comic we see Suho reading. There’s a great theory about the significance of this number 2641 here, and I very much agree with it, and to expand on it, with regard to parallel universes, I’d like to assume that this Parallel Universe will be set at the time of this eclipse, so in the future, and actually, the Eclipse from the teaser last week is the eclipse from this point in 2019.

However, it’s important to remember that (although he’s no longer in EXO) we once had a Guardian who had the ability to bend time, and therefore space. So, time is non linear in this storyline, for the most part. If Tao were still here we could really explore this a whole lot more, but as such… we still have Kai! Anyway, I’ll come back to this point in a sec, I’m just kind of enforcing the point that although it’s in the future, as this is a different Universe… it doesn’t necessarily mean that in the usual timeline - which is why in the Sequence of Events above, Parallel Universe is in 2 points.

And back to the actual clip.  I think it’s kind of interesting what each member’s doing in this video.

We have Suho reading an EXO ‘The War’ comic (once more gaining new information, like in Overdose~), Sehun throwing one of those balls the members had in that bonus video, and in ‘The War’ postcards as well (this is clearly connecting these members to the ones with superpowers in the comic). Chanyeol staring into a cup is the least interesting.. I really have very little idea what this could be representing. D.O and Xiu are playing Jenga - very very clearly insinuating control, and of being the builders. Literally the builders of the dream world that the EXO Members are trapped in (remember, Xiu is the archive of information in this story, and Soo the eyes!)

Chen and Kai are also playing a game, but a video game. I think this is meaningful but honestly I don’t know how to really explain it at this point. I might come back to it in another part. The most important member to look at here though, is Baekhyun. We see Baek spinning a globe and then placing his hand underneath the light and holding the same hand back on the Earth. Excuse me, but is this not exactly the sequence of Light over the Earth, light being blocked out by an object (hand here), Light back over the Earth. An eclipse?

Hmm? And then, right after this moment, they all turn to the door. 

So, this is a parallel universe, a parallel set of EXO members, a parallel set of Guardians. Who are all together, not separated. Except for one member. Lay.

I put the first part of this idea after KoKoBop… seems obvious, but I have other reasons. Remember the flashing sepia toned memories I spoke about in Part 5? Well, there was something very important hidden in them, I thought.

Firstly, ignore the Baek one, but focus on the Kai one. It’s not just me that sees an 8 flash very quickly, only for one frame, is it? At the end of RomUni we see Kai drive off in the car at the end, as he is gaining some control of the situation they’re in. And, Lay is one of Kai’s counterparts, as seen in Lucky One. I have quite a bit to say about Kai in KKB tbh (and just generally… I’ll never finish writing down my full theory I really don’t think I will) but I do think he’s being quite rebellious during this MV. I think with this flashing 8 he’s telling their captors.. oh there was only 8 of us you needed, which is obviously not true… as witnessed by…

See that 9? Hmm, well, if you remember I said that D.O was likely very suspicious of Lay and Baek during RomUni because they were never tested like the rest of them. Well, tbh, I never knew exactly why these two weren’t tested, except to make the members doubt each other, or because perhaps Lay and Baek were like… on the edge of the dream like thing, and not fully captured? And tbh, this has answered so many questions regarding this! That’s exactly what happened; Baek and Lay were not fully captured at this point. And if that’s not suspicious to all-not-really-knowing-but-somewhat-knowing Soo what is? So he’s saying… actually not there are 9 of us assholes, where the hell’s Lay?

Knock knock, who’s there?

Well hello there, it’s a fucking eclipse in an eye. Where have I seen something stupidly similar before?

Oh but wait…that also looks familiar..?

Why do we keep getting close ups of Lay’s right eye? And why is there always an eclipse seen in them?? What’s going on? Well, what I reckon is that Lay is the one who comes in at this point of the Parallel Universe clip when everyone looks to the camera. (This doesn’t necessarily mean I think he’s in the comeback because I doubt it but anyway!). The reason for this is because of his absence in KKB storywise, the 8 and 9 thing above, and the fact we have seen Lay three freaking times now, with an eclipse mirrored in his eye! I think that Lay is very significant in the eclipse narrative. In the last post about the Eclipse teaser, I spoke about how I thought Baekhyun was a representative of the sun in an eclipse, as his power is light. We see a lot of imagery in Lose Control with Lay and the moon, the other half of the eclipse. I don’t think this is a coincidence, especially as Lay and Baek were original counterparts!

So here we have Baekhyun kind of act out a metaphorical eclipse, and then Lay comes in through the door. So how did he get to this parallel universe? Well, like I said a bit earlier, I don’t think he was properly trapped at the beginning. 

Well basically, the members in the Parallel Universe are the ones who are actually trapped physically.. .not the Guardians, the ones with powers. Except for Suho and Xiu (I went over this before!) the Guardians are only trapped in this dream state. which is why the Red Forces haven’t made their move yet.

However I think there’s more to this. I wrote the ParaUni in two separate places, because Lay has travelled there in two different spaces in time. Just after KKB and MAMA VCR, and just before the big 2019 Total Eclipse.

Lay is a pivotal figure, being a counterpart to both the Light/Heart of the Tree of Life, and the one who can bend time and space and travel between worlds and planes. THIS IS SO SUPER SIGNIFICANT! And it’s not even to mention that he can freaking heal things! Yixing’s so fucking important and I can’t believe it! He’s at both these points in time to both warn the trapped members who are likely oblivious, get kind of trapped himself (as witnessed by his huge role in Lucky One!), and to start in motion the events of the War. This is what I truly believe, and I hope the MV will kind of confirm this. 

I have so much to say about parallel universes and how they fit in with my overall theory but I wanna wait and see if this is confirmed or massively debunked with this upcoming comeback before I go on and on too much! But yes, I hope this made sense, this was very much a stream of consciousness writing thing so haha it might not!

anonymous asked:

How important is it to make something, and particularly to finish it, in your experience as a game gwompus? In comparison to starting projects / having ideas but not being able to complete something?

this is more important than anything else. people think of art as “ideas” but what they really mean is “the miracle of editing all the ideas in the universe down to the razor extrusion of a discrete object”.

most media isn’t good, it’s just finished. that’s what people pay for.

This Ain’t No Joke, Sweetheart - Chapter 2

SPN FanReality

~Let me tell you about my weekend…~

Beka ( @impala-dreamer​ ), Dean Winchester, Sam Winchester, Steph ( @torn-and-frayed​ ), Bill (my hubs) 

3,330 Words

Warnings: Nothing really. Language?, very mild show-type violence. Mentions of blood (crime scene).

A/N: Hope you’re enjoying the insanity. The weekend’s not nearly over yet. Hell, we didn’t even finish Friday yet…

Go To Chapter: One ~ Two ~ Three ~ Four ~ Five ~ Six ~ Seven ~ Eight

Chapter Two: Friday Night…

The Impala. The fucking Impala was parked in my carport. My carport. The wide strip of cracked gray cement that separated my pale blue house from the one to its left. The place where my husband parked our used Honda Minivan every night. Dean Winchester’s beloved 1967 Chevy Impala was parked in my carport. I nearly squealed as I followed the boys down my front steps towards it. The rain glistened on the hood, illuminated by the streetlights, and my heart skipped wildly in my chest.

I ran my fingers gently over the hood. It was real, solid, shiny. “Baby,” I whispered in quiet reverence. This was the Holy Grail, the heart of the show, their home away from home, the most important object in the history of the universe. The Impala.

“She’s beautiful, isn’t she?” Dean stood next to me, his eyes sweeping over the car’s frame just as lovingly as mine did.

“She is.”

“Hop in,” he said, pulling open the back door for me. A moment of pure joy and panic swept over me, but I did just as he said. I hopped right in.

Keep reading

anonymous asked:

WHY DO ANTIS come up with a mediocre argument why xxx ship is bad, but when you bring down that argument with literal facts, they either come up with a 'creative' way to tell me to fuck off or just use their oppression card? Speaking from experience...

Hah, yeah, this happens to me a lot too - after a bit of back & forth, I get blocked or otherwise.

The core issue is that antis have already decided the following:

  • they’re right
  • their feelings* are the most important truth 
  • anyone who disagrees with them is wrong about everything
  • facts that don’t line up with their feelings must be lies

And from these principles extends all their behavior.

They’re right: antis are right because they have to be right. being wrong is impossible for them, because to be an anti is to be right.

this sounds sarcastic, but it’s not. antis operate on black and white principles: if someone is right, they are 100% right: if they are wrong even once, they are 100% wrong for the rest of eternity, and about literally everything. Therefore, to be an anti, one must always be right, or they doom themselves to being forever wrong.

This absolute rightness is maintained by considering their own feelings to be more important than the feelings or thoughts of anyone else.

their feelings are the most important truth: like being a shipper for a particular ship, being an anti-shipper of a particular ship is a personal opinion reached by a combination of feelings, experiences, and the individual’s read on canon. Antis who insist that nobody is allowed to ship something they don’t like have decided that their personal feelings about that ship has the same value as a universal truth. Because they dislike a ship, that ship is objectively bad.  And if you’re looking for reasons for something to be objectively bad you can usually find them, because most things aren’t absolutely flawless.

In general I don’t think this is a conscious process; it looks more like ‘I don’t really like this ship. There must be a reason I don’t like this ship.’ From this feeling of dislike flows all other reasoning.

anyone who disagrees with them is wrong about everything: the way black and white morality works is: if you do one thing wrong once, you are forever tarnished and all your future actions will be tarnished by your error. You must never make a mistake to remain wholesome and good.

Antis consider themselves to be good, so they must never make a mistake. by the same principle, anyone who doesn’t agree with them (in particular on shipping) has done something bad, so their words can never hold value again.

This kind of thinking allows antis to dismiss anything their opponents say as lies, nonsense, or even malicious attempts to hurt them.

Facts that don’t line up with their feelings must be lies: their feelings are always correct because antis don’t make mistakes. So if a fact doesn’t line up with their understanding of the world, it must be false, no matter how well-sourced or solidly backed the fact itself may be.**

All facts presented to them are checked against their personal experiences and feelings, and if the fact is found to not match, it is discarded.

They also consider the source. If the person presenting the information is someone they consider to be ‘bad’ - such as a person who ships things they don’t approve of - then the information itself is worthless.

This is why antis use their own feelings as a trump card in an argument, then flounce: you may present them with good information, and if they don’t like what you’ve said they trump it with ‘well it doesn’t match what I think/you are problematic, so you’re still wrong.’

You thought you were having a debate about reality, but actually you were debating with their feelings. Understandably, they can’t help taking it quite personally.

Everything I’ve described above are things everyone does to some degree. Antishippers just tend to take it to the extreme more than others. 

*You specifically mentioned ‘us[ing] their oppression card’, not their feelings, but the ‘oppression card’ is how tumblr specifically determines how important your feelings are. If you are white, straight, and cis, your feelings don’t matter at all; if you experience oppression on a given axis, your feelings increase in value. (Everywhere except tumblr this scale is exactly reversed. Also tumblr pays lip service to this treatment but it doesn’t mean oppressed people actually get better treatment or increased consideration on tumblr.) 

**sometimes ‘facts’ aren’t as true as we think because the source that processed the raw data to get to the fact was biased. Assuming that all facts are actually biased lies is how you get to ‘the most important thing is how I feel b/c it’s the only thing I can rely on to be trustworthy’ thinking.

how to write college essays

Hey guys! This is Peng’s first post in the college prep advice series. I felt obligated to write this one as my first because, well, I’m a freshly pressed senior who was recently admitted to my dream school via early decision. And I feel that I was accepted mostly for my essay, so hey, why not help other students out as well? So without further ado, here is my advice on how to write the best college essay you can…
(NOTE: I am talking about the “Why __” essays. Other prompts may be too various for me to cover in one essay. Ask me and I might help you, though!)

INTRODUCTION: Why is it important?

College essays are often noted as the largest or one of the most reflective parts of a student’s college application (to an American university). People often say that while the numbers (the GPA, the SAT scores, etc.) reflect the “objective” sides of the prospective student, the “subjective” side is best represented through the student’s own writing. Through short answers and essays, you as a student must prove yourself not just a statistical fit but also a personality fit with the college.

In this aspect, it is first most important, before even starting your essay or even adding that college to your Common App list, is to think whether you are the right fit for the college. I’m not talking about stats–I’m talking about the studying environment, the location (city? countryside? suburban?), the demographics (are you overwhelmed when there is a very low percentage of your own race/ethnicity, or does it not matter?), offered majors, etc. Don’t just think about whether they have a good pre-med track, think about whether there are other majors or subjects you can switch to in the case that you might change your mind in college (this is important because many, many students change their minds. After all, a whole bunch can happen when you’re in a totally new environment with new people and a whole new level of learning).


PART 1: Play it smart. It’s a game.

Let’s face it–the college app process is a crapshoot. Don’t take it too seriously - they’re not judging you as a human being (in all honesty–it’s up to no one to judge you!). College is a business and they want to buy good products. So your job is to understand the motto of the “company” (the college’s motto) and then be able to present yourself as the product they want. I mean, think about it: the decision making process is nothing more than a group of people judging four years of your life (through a few numbers and a few written works) in order to see whether you’ll thrive in X college and make X college proud. It’s a human-run process that is prone to, well, human-like errors. So don’t get too tied up emotionally in the college app process (I’ll make a better post on this later). It’s okay to be stressed, but try not to go to the point where you think your life will be over if you don’t get in. That’s not a healthy attitude to maintain in the long run (even if you do get in). You need to detach yourself emotionally, evaluate the situation with only logic (what can I do to get in? - while also knowing it’s totally okay if you don’t), and then carry through with your plan.

Therefore, once you are sure that you want to apply to this college, it is then important to understand the college. By understanding, I’m not talking about knowing its history; I’m talking about knowing what the admissions officers (henceforth called AOs) want. Some colleges like the academically rigorous. Others like the academically passionate. Others still like those who aren’t top-notch “book smart” but have an undying curiosity in all realms of knowledge. Others yet search for those who can balance a tight schedule. Some might like those who are giving and compassionate and are willing to use their talents to help those in need. Whatever X college wants or claims to be their “pride,” you must show them through your essay. You have to give them what they want in order for them to want you.

Keep reading

Steven Universe : Wastes dozens of episodes on Steven coming to terms with her mother killing a person when that person was an evil dictator who enslaved and killed millions and was going to keep doing it .Steven criticizes and attacks her mother who died to give birth to him for not standing by and letting millions be used like objects and their rights be stomped by a self important Deocrat .All ends up being pointless because Rose Quartz did not kill her despite eye witnesses saying so and her most trusted friends corroboratin the one good thing Rose did besides giving birth to Steven .

Adventure Time : Spends only one episode on Finn not being capable of killing , which is treated as a problem that affects many and ends with our protagonist slaying a monster through stabbing it in the stomach .

Guess which is the superior show .

Type Four - The Romantic

Romantics believe you can regain the lost ideal love or perfect state by finding the love or situation that is unique, special and fulfilling. Consequently, Romantics are idealistic, deeply feeling, empathetic and authentic; they also can be dramatic, moody and sometimes self-absorbed.

Focus of attention - What is missing

Life lesson - To reclaim wholeness in the present moment by appreciating what is here and now, feeling the experience in their bodies rather than over-indulging in the story of what’s happening, and accepting yourself as you are without needing to be special or unique

Speaking style - Fours are expressive of feelings, personal, self-focused and have a flair for originality. Others may perceive Fours as overly expressive, unsatisfied with responses and emotionally intense.

What Type Fours tell us about themselves

  • I long for what’s missing, distant or unattainable – the ordinary pales in comparison.
  • My deep sense of abandonment translates into a belief that I will never be fulfilled.
  • I envy and idealize what others have that I don’t.
  • Authenticity and meaningful experiences are essential to me.
  • My suffering sets me apart from others.

Relating to Fours

  • Appreciate their emotional sensitivity, creativity and idealism.
  • Reveal your own feelings and reactions; avoid being overly rational.
  • When they are upset, don’t take everything they say too literally since they may be expressing a momentary feeling.
  • Return to the present and be positive while acknowledging their experience of what is missing.
  • Seek to understand and empathize without necessarily agreeing.

Fours often experience a sense of longing, melancholy or envy for what’s missing. They seek meaning and depth in relationships, work, or their quest for personal creativity. Many are artists who excel at expressing universal human emotions. While they are good at creating an image, it’s most important for them to be authentic. Individualists at heart, Fours need time alone. To heal and grow, they must balance sadness with the capacity for happiness and satisfaction.

Basic proposition - You will feel loved, whole and complete if you can find the ideal love or perfect circumstance.

Strengths - Creative, empathetic, idealistic, capable of emotional depth, compassion

Challenges - Moody, withdrawn, self-absorbed, over-sensitive, demanding, unsatisfied with what is

Defense mechanism
Introjection – unconsciously incorporating the characteristics of a person or object into one’s own psyche

Fours use introjection to avoid ordinariness and maintain a self-image of being authentic. Positive introjection helps overcome feelings of deficiency by seeking value from an idealized relationship or experience. Using negative introjection, Fours tend to blame themselves for whatever goes wrong in personal connections.

Awareness practice
Observe your habit of mind or focus of attention with as little judgment as possible. Ask yourself the following questions, while noticing your feelings and how your body responds:

  • How have I focused my attention and energy on what was missing?
  • In what ways do I experience a sense of longing or envy?
  • How have I diminished or disdained the ordinary or mundane?
  • Do I feel pride in being special or unique, or feel shame in being less than my ideal?
  • In what ways have I felt misunderstood?

Type Four’s journey is to realize that being whole and complete comes with acceptance and appreciation of what is here now, in the present moment – from the inside out, not from the outside in. Disappointments are part of the fabric of life, not an indication of deficiency of being.

Path of Integration

Mental: Melancholy > Idealism
Emotional: Envy > Equanimity

The aspect of awareness called the Inner Observer allows us to witness the internal patterns that drive outer behavior. The practice consists of focusing inwardly and becoming aware of the thoughts, sensations and other objects of attention that arise within us. As we become more present, our type patterns begin to relax and receptivity increases.

For Fours, take a moment to reflect on the following principles:

  • Wholeness already exists, here in the present moment.
  • Emotional intensity isn’t necessary for emotional fulfillment.
  • One’s value is inherent – it does not come from being special.
  • When we focus on what’s missing, we miss out on appreciating what we have.
  • Cultivating the happiness of others helps us overcome envy and longing.

As feeling types, Fours have an intense emotional life, which can lead to big ups and downs. They alternate between striving to win recognition from others and going deeply into their interior worlds. As romantic idealists, they seek a personal and meaningful connection to their work and others. But when things do not measure up, they easily become disappointed and tend to withdraw. On the other hand, when they are excited, anxious or full of feelings, they tend to “spill out” into their environment.

If you are a Four…

Your task is to establish balance with your emotions and your relationships, and to notice when you are amplifying your emotion with provocative or dramatic narratives. A focus on calm, steady breathing and listening to your body will help connect you to the vitality of your instincts. Expressive activities – dancing, singing, art, etc. – channel emotional energy while helping you stay grounded in your body.