well...the point was to show faithfulness

Sigiling Selfies: How to Anti-Taglock Pictures of Yourself

So @dontusemycauldron mentioned this to me at some point, and it took a few days for it to really sink in. They told me how some people put sigils on their photos to prevent people from using them as taglocks for things like cursing. And I went, “well holy shit, that is fucking clever,” and proceeded to do it with every single one of my selfies I’ve posted to Tumblr. Not because I’m concerned, but I like to put faith in preventative measures. 

I decided I was going to show you guys how to do it - at least with SAI, because that’s the program I tend to use for art things now (and I can’t find a good crack of Photoshop anymore). However, any art or digital media program that makes use of layers and transparencies can be used for this technique.

First off, you want your sigils. I made two personal ones, and I also made two for Tumblr use. However, I’m going to recommend that you create your own sigils with your own statements of intent, if you can.

“This photo is bound from being used as a taglock.” 

“This photo is not successfully used as a taglock for cursing.”

Ideally, you want digital sigils with transparent backgrounds, so you can avoid as much visual disturbance to your picture - you don’t want people to see or know there is anything over top of it, right?

Anyway, now on to the (SAI) tutorial!

Open your selfie and your sigils; you can switch between them along the bottom of the SAI window. Copy and paste the sigils onto your picture. I do this by clicking on the sigil’s canvas, hitting Ctrl+A and then Ctrl+C, then selecting the canvas with the selfie and hitting Ctrl+V. I can show the screen commands, however, for those that aren’t so tech savvy:

The “paste” option is also in the “edit” menu, as you can see. When you’ve done that, your selfie should look something like this:

Well, you know, you won’t look like me…but your sigils will have pasted in the top left corner of your picture. And they’re very obviously visible. BUT fortunately we’re not done with it yet. 

Arrange your sigils over top of the face part of the selfie, however you want. I didn’t specify before, but the icon that looks like the cross with the arrows on each end (highlighted in blue here) :

…that’s the move tool; click on that, then on each separate layer, and you can move the layer around as you wish.) You definitely wanna do this before you change any of the transparency of the sigils, while you can still see them. Ultimately it doesn’t matter how you arrange them, just as long as they are on your face. Mine look like this:

It almost makes a heart shape, lol. So, those familar with SAI know where to look to see the layers. Mine were on the left-hand side by default, I know that is something you can change, however. They look like this:

On the bottom you can see the separate layers - your picture, and the sigils each on their own layer. Above that, you can see the “mode” and “opacity” tools. Those are the ones we care about.

Experiment with the mode if you want - it isn’t required, but it can help. I like to put mine on “overlay,” because it adds to the visualization of the sigils seeping into the picture and blending in to it. You need to click on each separate sigil layer to apply the mode. That makes it look like this:

And with that we’re almost done! Finally, just change each of the sigil layer’s opacity to 1% by clicking on the opacity bar and dragging it almost all the way down. You want them to not be at zero because they still need to be on the pictures and not “off,” but if you put them at any higher than 1%, you can still see them, and you definitely do not want people being able to see the sigils. Once you’re done that the selfie look like this:

Can you even tell there are sigils over top of that? There are. Four sigils, now, actually, lol. And this is how the layers look over on the side in SAI:

As you can see, the mode has been set to overlay on both, and they are both at 1% opacity. From there, save your picture (file, save as), feeling free to specify in the title that one has been magic’d. Then, you can upload them without any worry!

Of course, this can be done with sigils for other purposes - I just made this post with the intention of preventing selfies being used as taglocks, because that’s what I did to mine today. However, you can easily apply any sort of glamours to your selfies, if you desire. 

I hope this helps anyone, or inspires anyone! Let me know if you have any more questions, or if I wasn’t so clear about things! This is my first time making a tutorial for any art program, I dunno if I did any good… But, yeah, just let me know if you have more questions or anything! :)

anonymous asked:

do you think ned loved catelyn? that was the impression i very much got from the books and the show. my friend disagrees though and says while cat clearly loves ned, ned doesn't love her as much as she does him in the books.

Ned loves Catelyn very much. He’s a family man through and through (well beyond the point of political utility), and his relationship with Catelyn is absolutely essential to that.

Cut for length.

Keep reading

When liberals ask “Well why don’t you debate white nationalists/the alt-right/neo-Nazis and prove to them their ideas aren’t true and show them the logical reasons why?” The reason is threefold:

1.) We already tried that they don’t listen

2.) They’ve proven time and time again that their propaganda and talking points aren’t about what’s necessarily true but purveying a message.

3.) They aren’t debating in good faith and have no care for the general rules of discourse.

Waiting as Obedience

Text: Ruth 3:14-18,
Proverbs 31:10-11,
Matthew 22:23-33

Have there been times in your life when you’ve felt a strong call by the Lord to pursue something? I have. I often start strong, feeling bold and excited, my heart ready and willing to obey. I can’t help but think, This is it! This is the moment life changes because I said yes!

Then, inevitably, a bend or a bump in the smooth, straight road I envisioned leaves me doubting. But wait. I said yes. I was obedient. So why is this still so hard?

Ruth has said all the right yeses in her story. She has been faithful to her mother-in-law Naomi in many ways, but especially so where Boaz is concerned. Ruth has truly put herself out there in trust, and it seems everything has been leading up to this moment.

What a surprise it must have been to be told simply to wait—and not for a certain amount of time, but indefinitely. (Indefinite waiting is the worst kind of waiting, if you ask me.) Ruth was instructed to wait until Boaz found the nearer kin, or redeemer, and ask if that man would marry Ruth, per the custom of their culture (Ruth 3:12-13). And who knew how long that would take or what would happen?

We aren’t told if this frustrated Ruth, but it frustrates me for her. This is the point where I’d likely throw in the towel, caught up in a thought spiral that goes something like this: Well, it’s all over now. I’ll be married to some man I’ve never met, these past few months will have been a total waste, and all I’ll have to show for it is a sore back and some barley. Perfect.

But Naomi—the same woman who once named herself “Bitter”—offered enough faith for the both of them. She encouraged Ruth, saying, “Wait, my daughter, until you learn how the matter turns out” (Ruth 3:18).

Wait, and then wait again. Isn’t this the way of life? Nowhere are we promised an easy time just because we obey or come to what we believe is a capital-A Answer. But our Father waits too—both with us and for us. His Word says that He longs to be gracious toward us and show us compassion and mercy (Isaiah 30:18). “His steadfast love endures forever,” through all things, all the time, just like the psalm says (Psalm 118).

This doesn’t mean that things will turn out exactly the way we think they should. But it does mean that God’s hand is always at work in our story, even when we can’t see it. Even when we’re waiting. God’s plan would have still gone ahead of Ruth, even if Boaz came back to say he couldn’t marry her. She would still have been God’s daughter, and His covenant promise to her would still have been true.

In your waiting place, cling to the hope that God will not leave our stories unfinished or unredeemed. They may not look how we expected but, as with Ruth and Naomi, our story is His story. We can wait with hope, and we can trust and obey with confidence. Thanks be to God.

- she reads truth

Kid: Mom? Dad? Remember my friend Patrick?

Emma: Yeah…

Kid: Well… he kind of asked me to go see a movie tonight… together. Can I go?

Emma: You mean like a date?

Kid: Yes?


Kid: Please? I really like him and I promise to be home at a reasonable time-

Killian: Well i’ve got no problem with you going if your mother says it’s alright.

Emma: Wait- seriously?

Killian: Aye. She can take care of herself and I trust her.

Kid: Mom?

Emma: Well… I suppose you’re old enough-

Killian: There’s just one request. If Patrick would do us the honour of introducing himself before you go? I’ve yet to meet the lad.

Kid: Dad… you’re not going to pull a grandpa, are you?

Killian: I’ll do nothing of the sort.

Kid: yes! Thankyouthankyou!!

*kid leaves*

Emma: Okay, what are you up to?

Killian: Nothing! Isn’t it better we show we trust her while knowing where she’s going and who with, rather than deny her to the point she’s sneaking out?

Emma: Hmm…

Killian: have a little faith in me, Emma.


Emma: Okay, he’s here. Remember to be nice?

Killian: I’ll be nothing but courteous. 

Emma: Patrick! Nice to see you again, come in.

Patrick: Hi Mrs Jones.

Emma: She’ll just be a minute. Patrick, this is Killian…

Killian: Pleasure to meet you, lad! I’ve heard quite a bit about you.

Patrick: Likewise, Mr Jones.

Killian: Take a seat. I’m sure she won’t be long. So you’re going to the movies?

Patrick: That’s right, sir.

Killian: Wonderful. Emma never lets me take her to the movies anymore. She says my running commentaries are disruptive.

*awkward laughter*

Emma: I’m gonna go see where she’s at.

*awkward silence*

Patrick: So… Mr Jones-

Killian: Let’s get one thing clear, Patrick. I am not your friend, nor am I a pushover. You know who I am, correct?

Patrick: Yes sir?

Killian: Good. Then you know what i’m capable of. Now I love my daughter, and I know she’s looking forward to tonight. So you’re going to be a gentleman, aren’t you, Patrick?

Patrick: Of course, sir. 

Killian: You’re going to treat her with respect, have her home at a reasonable hour, and you’re both going to have a wonderful time, aren’t you.

Patrick: y-yes sir.

Killian: Because i’d hate to think what could happen if she ever came home hurt or upset.

Patrick: Of course not, Mr Jones sir. 

Killian: Then i’m glad we’re on the same page. Oh, and one other thing… I prefer Captain.

*ladies enter*

Kid: Hey, you ready to go?

Patrick: Yeah! Erm… you look really pretty. Shall we go? Let’s go. Was really nice to meet you Mrs Jones…. and you Mr Jones- Captain, sir.

Killian: And you, lad.

Emma: Have a lovely time, you two.

*Silence as they leave*

Emma: Okay, what did you do to him?

Killian: Nothing! I actually quite like the boy. Charming fellow.

Emma: Killian Jones, you are a bare faced liar and the fact you think you can still astounds me. 

Ok I don’t for a second think he’d be this bad but it was funny in my head. And yes I never gave their kid a name because I couldn’t be bothered lol. Enjoy the dumb crack!

anonymous asked:

You haven't been as active lately as you use to? Is everything ok? Are you burnt out from this like many of us seem to be? I swear everyone is leaving lately or never on and I don't even blame people, not as fun as it use to be around here.

I am going through some personal problems.

This is a hard time for Larries, too. The stunts continue, there are no public interactions between the boys, and new music seems far away.

All these things cause speculation and fracture within the fandom. No matter what, they are stressful to some extent. It’s been a long time since we have seen them together, and some people have not liked the solo music as much as the 1D music. That’s their choice, and it’s okay.

For me, seeing the boys interact was a huge part of 1D. Their spontaneity and charm played off each other in a way that doing solo work just can’t. Trying to establish a solo career means representing oneself, which means silencing some of the silliness, sass, and snark of being in a boyband, and becoming “authentic” and “serious.” Fan interaction has decreased. The same narratives keep being repeated. Each boy is careful to stay on brand. Unfortunately, this also means their personas feel more corporate, less intimate and real.

The 1D boys still have a lot of charm, and their force of personality takes them far when they do appear. But a lot of fans were here for the band, and are hopeful for the band to come back after a hiatus. As time goes on, without any confirmation from the band, this number will fall, as has the enthusiasm of a lot of people.

I am still looking forward to the solo albums coming out. I think they all have potential to do really well. I’m very excited to hear Z2; I admire Zayn so much as an artist. NH1 is already great, and I think LT1 will be amazing. That snippet of Louis’ new song shows him going in a new direction– acoustic, confessional, intimate– it’s so beautiful. Hopefully I will be writing about the music as well.

I still believe Larry are together, fwiw. It’s not blind faith. I think there’s too much evidence of their actual relationship (even now), and everything points to their ongoing, strong support of each other. I’m not going to explain it in detail, and I’m not trying to convince anyone else, but that’s what I believe.

You know…when Bakugou revealed that he realised Midoriya’s power was actually All Might’s, I was shocked. And the fight that followed was absolutely fantastic.

But I think we missed what it really means.

Horikoshi-sensei took a plot point that I think forgot or didn’t think about in quite some time and addressed it.

And I applaud him for it, since there are many works(manga or not) that bring up subplots and never bring him that. They were there just to create quick tension/drama or to be an asspull.

And even if they are addressed, the author probably forgot about that subplot and resolves it in the lamest way possible.

But, Horikoshi didn’t do that.

He brought back this very important subplot and resolved it in such a way that created character development for Bakugou, presented an interesting twist (Bakugou knowing the story of OFA too) and a kick ass and emotional fight with a satisfacatory conclusion.

All of this shows that even if Horikoshi creates a plot point and doesn’t bring it back for a while, we don’t have to worry.

It will come back eventually and in full force.

My faith in Horikoshi-sensei grows when I think about this, and I hope he continues to keep up the good work.

Get well soon, Horikoshi-sensei! If anyone deserves a break it’s you, take all the time you need!

Contradictions in the creator quotes

I now stand firmly corrected in my misassumption that the big reveal would mean we would revisit the entire show in light of the ending and see an intricate plan. An emotional context we the audience were meant to miss. I was right. As were others. Problem was, it was a sister all along. Unfortunately the sister rugpull rather than a romance rug pull is the less convincing story arc. What we got instead was a finale that makes in retrospect much of what preceded it seem nonsensical at surface level if we accept the finale as the “solution” or the definitive story. How did we get that wrong? I was never a conspiracy fan. It relied on too much “it can only mean one thing” from mountains of data. When the narrative and the claims of creators lying as a benevolent secret keeping was all that was necessary to see a romantic endgame. I opted always for a simple solution. The simplest most probable answer. And that was heavily reliant on my trust in Mofftiss as good storytellers and good show runners. That was for me my biggest error.

If this was not “gay” but “trash”, how did it to get to be *this* trash?
How is it we were so wrong in predicting the endgame across various different theory camps of this fandom? What weaknesses on their part were we overlooking? Or not privy to? Or ignoring. Or not adequately assessing - so that coincidences were ironically a sign of laziness, or clever writing instead turns out to be poor writing - a series of tricks rather than a plan?

Because the end result is simultaneously infuriating and “Meh.” Two things that should not comfortably go together. A rug pull should leave you so impressed you don’t mind being infuriated. You applaud and shout, “oh you tricked me! Well done! How DID you do it?!” And yet, here we are.

Some fans are deciding to keep the faith - hoping for a final rug pull that will show they really were as good as we believed. I’m not there. I am opting to make a deduction and coming to a probable conclusion based on the data we have. No conspiracy. No cruel intentions. Just a series of unfortunate events.

For as much as I am loathe to say this, I think from an executive production point of view, the absence of someone like Steven Thompson means the absence of a critical third voice.
I don’t know why he left but he should have been replaced by *someone*. Mofftiss were clearly given far too much credit and license. Where was the necessary script editing to rein in their now glaringly patent self indulgent natures?
Keeping secrets to the degree they have, and being allowed to, has been proven a big executive error. Because no one was able to say hold on, how will this play out coherently? Virtually every single thing that frustrates the viewer from TEH on right through to the last frame of TFP could have been avoided if they had had a 3rd voice they listened to and who had the authority to thoroughly critique their plans. They were over indulged in all the wrong places.

TAB was a masterpiece but I suspect not for the reasons *they* think it was. They literally do not appear to have seen what it was they were writing. Or they did and defied the results on screen.
Every critique I have, or have seen, comes down in the end to that. Letting them keep secrets from their cast and crew was a glaring warning that there was no one with the authority or the necessary expertise on board to keep them in check and join up the dots.

Moffat and Gatiss have clearly been working without an outside writer’s voice who has authority that they would listen to. Since TEH it has been a problem that only compounds. The errors build on themselves.
It resulted in a finale that many critics and fans are unconvinced by for *multiple different* reasons. It was only at the end that we see just how much they were driving the show haphazardly and possibly the wrong direction.

There’s an analogy that comes to mind. One reason a manager is paid more than their secretary is that if the secretary makes a mistake their errors have less consequences in the grand scheme. You will likely notice their failings very quickly. The manager meanwhile has the ability to make errors that will not only have bigger impact but will not necessarily be immediately obvious. The more power you have the longer it will take for the true and full negative impact of your decisions to be realized. Because as a decision plays out it creates other decisions in a ripple effect that take time to play out. Of course you can offset this by critiquing the decisions before finalizing them, and thinking through what the consequences might be. If you don’t then what will happen? You can only trust the manager. You assume *they* have thought it through and assessed the potential flaws and risks and negative outcomes. That they have a plan to offset any negative consequences or prevent them from happening.
Making sound decisions demands either a high level of self-critique or a system that lets criticism in. To test your plan. To raise the issue of unintended consequences. Not with an intention of blocking success but to *ensure* it.

This show was, I fear, failing at that far earlier than anyone really knew and I don’t think TBTB see it even now. A clear warning flag that many of us picked up on at the time was AA not being told Mary was going to be revealed an assassin. That was an error that not only impacted her performance (think of her as a secretary who realizing an error she didn’t even mean to make or even knew she was making then has to then self-correct on the fly). but it crucially should have signaled a much bigger managerial error that would have a series of far more fundamental negative results. That secrecy meant that no one else got to say, um… are you sure about this plot line? Have you planned any of this out adequately and considered the long term consequences on the narrative? Because if you head down this path you may not be able to undo it. You can’t just make it up as you go. Think this all out. How will this all fit? What ongoing story are you serving here? Where do you want to land?

But the manager was trusted rather than questioned. The only negative consequence was thought to be its impact on Amanda. No biggie. She’s a professional. She can recalibrate to accommodate the performance errors she unwittingly made. Tiny errors that Mofftiss assumed were no big deal, having incorrectly assumed that it would be a better surprise reveal if she was acting blind of what was to come. But that meant she was serving a different story than them. She had no choice but to. It put emphases in potentially the wrong places. Her fellow actors are in turn then reacting to her acting choices and she is reacting to them. But that notion that if they don’t know anything, or, “just assume your character knows nothing because it doesn’t matter”, is not how acting works. They didn’t trust her. I suspect they were doing this all along to their actors. Not actually trusting their skills or adequately hearing their own unfolding insights from inside the characters. So that the cast were acting repeatedly on false sets of assumptions. So too probably were the directors and crew. As a result, what shows up on screen is not what they all think they are making. They all think they are making a slightly different show.

And the widest gap is between what Mofftiss had in their heads and what was on screen. Next down the pecking order is what Martin and Ben thought they were doing. In light of TFP there are acting choices and editing choices over which take of a scene to use (going by the commentaries) that suggest there was no 3rd party with the authority to hear their conversations and say, have you considered that the actors understand the characters better than you do? If that’s true, how might they see the path they are on? Do you realize that if you use this take you are placing an emphasis you should then follow through on.

And no one had the power to point it out and not be shrugged off. So in retrospect, there are scenes that now seem totally overplayed or emotionally on the wrong foot. And the problem is, which ones were out of character in light of TFP? Because I think that’s up for debate.

This was a show attempting to be very clever and yet apparently was very much NOT thought through. The fundamental fan error was assuming stuff could not possibly be coincidence. Others went further and assumed not just endgame narrative but an incredibly intricate conspiracy that they were hiding in plain sight so the fans could guess what the end game was.

But that was never the only option. The one thing that kept getting sidelined was the possibility that they thought they all knew what they were doing but didn’t. That their plans were flawed. And that it wasn’t that they were intentionally writing a narrative that fans could subtextually read. Rather the creators could not see it. Which produced a ton of unintended coincidences. They wrote it and acted it and designed around it and scored it and could not see the wood for the trees. Because what Mofftiss said ultimately ruled at the end.
And that is paradoxically *why* the love story works. Why there are so many coincidences. Because the story we read fitted the rules of storytelling even while Mofftiss tried to defy those very rules. To insist they weren’t telling it.
They simply ignored what many others could see - the story they were telling in spite of themselves. They assumed their intent was more powerful a force. And in that burned the heart out of their own show. So that the finale focused on Sherlock and Eurus in a self indulgent Bond meets gothic horror genre fantasy when in fact this was always meant to be about Sherlock and John. Even platonically, they failed in TFP to deliver on that adequately. They shoved it to the side so it was virtually a subplot. The wrote the wrong kind of ending for a story they were all unconsciously writing, acting, directing, designing, scoring. The very heart of ACD’s stories. The bond between the 2 heroes. A love story, even if one that was limited in its physical or sexual expression.

They tried to refocus at the end on John and Sherlock and in their fast cut blink and you miss it montage they made yet another massive error. A huge one.
They gave Mary the voice that rightly belonged to go back to John - the Boswell, the blogger, the original storyteller. So he could explain what he and Sherlock are. They did it in TAB. Sherlock understood that in TAB. That John’s public narrative is not the truth. That there is an emotional story the public doesn’t see. An emotional Sherlock the Strand reading or blog reading public doesn’t see. They should have let Sherlock’s intuition and unconscious insight be proven right in real life in the 21st century. They should have replayed that aspect of TAB in the real world. Instead, confusingly, they did the exact opposite - so much so John couldn’t tell if Sherlock was faking his own self destruction.
He couldn’t tell the story if he tried. He needed a second opinion. A big clue that they had made a mistake - the same mistake that led them to introduce Mary’s DVD messages:

Mary was never the storyteller. But they tried to make her one. It was a very flawed decision. One of so many. All interlinked. And all ultimately as result of not thinking it through. They stopped serving the core story and served themselves on a personal fan boy level. They tried to be clever and completely missed the emotional context which they claimed was what this show was supposed to all be about. At a surface textual level. And a brief montage of the future feels like a rushed and inadequate pay off to that original intent. With the wrong narrator - with Mary as our intermediary - we are now inexplicably kept more at a distance from them than we were at the start. After going through hell with them.

I suspect that around TRF they began to lose the plot. They began to think details don’t matter. Even though they then discovered fans were weaving intricate explanations for how sherlock lived they persisted in letting details go. Waving it all off to please themselves and evade scrutiny. Mistake.
All the contradictions in cast and crew commentaries and interviews point to that. And fans, me included, assumed they were smarter than that. We kept trying correct the story to make it make sense by assuming they must be telling a different story. Problem was we didn’t give enough air time to imagining a trash ending and looking for clues of what it might be. We wrote far too generous meta. We gave them way more credit than they were due. They really weren’t the storytellers we thought they were. They were just fan boys amusing themselves for a rug pull that was in the end not very interesting or as original as they think. And certainly not groundbreaking.
Rather than correcting what everyone else got wrong, they hatched up an inadequate plan and made poor decisions. Everyone else put far too much trust in them as writers. And it all culminated in an ending that throws up huge retrospective questions about swathes of what preceded it. It potentially breaks the story so that a rewatch will not make sense.

I see little or no reason to come to any other conclusion. It fits all the rules of probability. They just weren’t good enough writers. They put ego before the heart of the narrative and were indulged by too many others.

There may be other probable conclusions. But the least generous is the most sense making one to my mind right now. It requires no leaps of logic.

Castiel, Prince of Hell. It’s catchy. It rhymes.

I warned y’all that this speculation might piss people off, so I’ll just go ahead and throw it up there in the title so that way you can skip it if you so choose.

We know we’re in for a hell of a cliffhanger this year. (”You guys are going to hate me.” - Mark Pellegrino. Or something like that.) I mean, we always are, because that’s what the show does… but how about more of one than usual? 

Could Cas be next season’s Big Bad, as a Prince of Hell?

Yeah, yeah – I know. Many of you are just gonna smile politely, nod, and whisper to each other about that one lady yelling about glowing eyes again. (I do yell about eyeballs a lot. Have I mentioned that I like glowing eyes today? Well, if you didn’t know - I dig glowing eyeballs. That said, there’s way more to this than glowing eyeballs.)

But hear me out if you have the patience, because I have a bunch of words here explaining why I’m seeing this (even though I’m gonna say there’s like… a 7.3% chance of this actually happening, just because I like pulling totally random stats out of my butt). I already know @mittensmorgul​ does NOT see this happening at all. But if/when it doesn’t happen, maybe somebody will be inspired to write an awesome canon-divergent fic over the summer.

So, if you’re interested, surge on ahead.

Keep reading


foreshadowing in the buffyverse (part 2)
dawn’s arrival in to the world and buffy’s exit from it

This is one of the more well known examples of foreshadowing in the show but also the most intricate. Dawn’s presence is first hinted at in 3x22 (“Miss Muffet”) by Faith and is then referred to as such again by one of Glory’s victims in 5x2. The 730 stands for the number of days in two years. Two years pass exactly between this episode and 5x22 (withing the show) when Dawn is destined to die (hence the countdown). This number shows up on Buffy’s clock in 4x22, however Tara points out that it is “completely wrong” as one year has passed and now only one year remains of the “countdown”. Faith mentions “little sis” in a dream in 4x15. Both these scenes take place in Buffy’s bedroom which is the first place the audience ever sees Dawn. And Tara’s warning (originally intended to be delivered by Faith for continuity) “be back before Dawn” is given in the previous episode to Dawn’s first appearance. Faith is also responsible for foreshadowing the time of Buffy’s death. During the bodyswap of 4x16, Faith uses a credit card (either Buffy or Joyce’s), with the expiration date of May 2001. Buffy’s death takes place in the same month of the same year and this episode (5x22) aired on May 22 2001, almost 730 days (so roughly two years) after 3x22 first aired on television.

In Two Meanings

@undergroundsky​ pointed out to me that the Chapter Title “Two Meanings” and the image of the first page correlate. 

The page shows two dandelions growing in what otherwise is a barren place. Dandelions have two contrasting meanings: faithful love, and separation.

That alone is fitting for a chapter in which a marriage ceremony takes place right before what is either a departure, or a major attack on Goat that may very well separate both Kaneki and Touka.

Building on that though, rather than referring to Touka and Kaneki the image and words of contrasting meanings can refer to all of the events of the chapter. As in the presentation Tokyo Ghoul, similiarly themed events tend to be grouped in the same chapter. 

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chipsourien  asked:

Hey tink, I was thinking, we saw in the last videos about season 13 (I think it was the sneak peek video) that Dean talked about Jack as someone they needed over someone they loved, so do you think it'll be relevant to Castiel's character arc of feeling like a tool and like Dean stays with him because he needs him? Like he'll see the difference between only being needed and being loved?

I think this is definitely going to be a theme for season 13 :)

There are too many quotes for me to list them all that address this topic, needless to say they’re mostly things like

I don’t need you, I love you.
I don’t need you to fix me, I need to you love me while I fix myself.
etc etc etc

There are going to be so many people trying to use Jack, pulling him in different directions and needing him to further their own ends (Lucifer, Asmodeus, even Sam and Dean just want to use him to get Mary back to start with, no-one yet that we know and is alive actually cares about Jack himself and that’s going to be a struggle and a theme).

So Jack has to go on a journey of self discovery, embodying all the themes of TFW (Sam re Lucifer, Dean re his father, Cas re who he is) and the show overall (found family v blood family, free will, choices, love etc).

Plus who could possibly come back from the dead, who was framed as Jack’s found father (plus with the light/dark Lucifer/Cas theme) and even more so with all the mirroring in the sneak peek? Who following on his own themes for the next season could possibly be the one to ask Jack what he wants, who he is, what he desires

Who has always struggled with forced faith & duty v free will & chosen faith? Who had unwavering misplaced faith in God, then tentative and well placed faith in Dean, then faith in no-one, through it all no faith in himself (except that one time he did have kinda misplaced faith in himself and it all ended terribly so it reinforced that this was bad and he’s struggled with it ever since).

Originally posted by mishacolins

Originally posted by cupcakesam

Spiralling into a pit of despair, textually shown as having all the symptoms of PTSD and clinical depression, then finally out of sheer desperation found faith in Jack once he saw the vision of paradise (bad Cas, silly Cas, you should have known this was wrong but your depression was so entrenched you clung at anything you could) and now really he should emerge from this rebirth without this crippling depression, to find faith in himself.

Anyway, asking Jack these probing life questions and thus mirror-projecting these themes onto himself in the process is part of what I hope will help his narrative moving forwards, finding well placed and realistic faith in himself at last instead of blind faith in someone or something else.

Jack at some point is going to need to make a choice, or multiple choices really, probably a bad choice then a good choice. Will he follow the blood/destiny/dark option or the found family/free will/light option?

*ponders, ponders some more and wonders how blatant it needs to be already*

Jack could choose to go dark side and if this is the case it should mean that the show is going on for a little longer, because otherwise Jack literally embodies all the themes of the show and TFW in particular for their happy endgame if/when he chooses the light. It’s kinda like if he chooses the dark then he’s the Anakin and the Luke plot comes later, he’s the in between, but really…that doesn’t work for me with the way it’s been framed so far.

Given that Lucifer is the “bringer of light” I can’t help feel it is more likely that Jack will choose the light and they’ll really go to town on the whole Jack embodies all the positive themes of the show thing. But then again as I say, it all comes down to the length of time the show will go on for as it’s not a finite story, we just don’t know how long it will continue and if it does it needs more drama and for the spiral to go down again in order to come up in the actual end.

Either way though Jack embodies all these themes, some of us have said it since 12x19 and there’s no denying it now with the spoilers.

(Sorry I’m just kind of bitter about how much wank myself and my friends got when we said all this after 12x19/23 aired and suddenly now it’s supported by the sneak peek it’s like this is news and we haven’t been passive aggressively wanked on for months for saying it earlier).

Anyway, @amwritingmeta said something that I was thinking but put it much more succinctly, that ties in with your question, that through the grieving process Dean and the audience should learn that:

Dean doesn’t NEED Cas, he LOVES and WANTS him.

In Dean losing Cas he/we will see that he can keep going, he can live without him, but is he really living, is he happy? Need and Want are two different things and this is going to be key to how we see Dean grieve in season 13.

We should see anger, pain, depression, hopefully a really dark moment in 03,  but we should also see him coming out the other side after this, being kind of OK by the end before Cas comes back in 06. Because he doesn’t need him to survive, but he does love and want him, which I think is a much healthier message. 

(This is also why I can’t help but laugh at the anti comments I get like “oh but Dean is drinking beer with Jack and Sam, not like when he traded his soul for Sam/OD’d for him”, like there is a comparison here, because literally the whole point is that well A. Dean should have moved past this horrifically toxic behaviour towards Sam now so if he was in the same position he wouldn’t anyway and B. his love for Cas is HEALTHY in a way that that toxic parent Dean/Sam relationship obviously was NOT so Hell yes it’s a good thing and we don’t want Dean to be selling his soul for Cas, not at all! We do not want the ship above Dean’s well being and own character arc! The whole point is that their relationship is healthy and leads them both to be in a BETTER place, not dragging them down into a toxic place. It’s healthy ship v toxic ship, plus you know, actually written into the show, but whatever, that’s semantics apparently).

I’d love for Dean at some point after Cas’ return to say that he doesn’t actually need Cas (cue Cas looking sad) but that he wants him around, that he’s just better, happier, when he is (cue Cas looking utterly ridiculously happy himself)… it doesn’t even have to be an I love you scene yet, just this distinction… but let’s see :)

Eurus is ammo when we wanted amo

Just a few thoughts because I’m lazy, hoping it’s not all been said before.)

Consider this concept: Eurus is everything that’s keeping John from Sherlock.

It’s been pointed out by several people that Eurus sounds a lot like Eros, and that we’ve got a precedent for that in tst, where ammo is confused with amo. Instead of love, S4 gave us Eurus, the east wind that seeks out the unworthy and plucks them from the Earth. (That’s a bit harsh tbh.)

Each of the roles Eurus plays shows us a different part of the problem:

John’s therapist:
Here we have a representation for many of John’s psychological problems, first and foremost probably his inability to communicate.

The bus lady:
If you watch the first scene in which the bus lady appears, you’ll notice that John first sees her when he looks up after texting Sherlock. Sherlock has invited John on a case and John is smiling, the bus lady could well represent the temptation that is Sherlock. But John is married now, so he’d be cheating – and this is just on top of all the other reasons that have so far kept him from Sherlock.

The most obvious John mirror in history. She shows him as he was when he first met Sherlock, and what happens to his state of mind when he’s lonely.

Faith’s note:
A high-ranking police officer, a member of the judiciary, someone who’s on the board of a big broadcaster. I’m not the first to point out that these three stand in for the basic pillars of our society. Laws against homosexuality aren’t too far in the past, marriage for all is a very recent thing only; certainly John would have grown up seeing that part of his sexuality criminalised and villainised. On TV, anything but heterosexuality was invisible for a long, long time, only depicted through metaphors or clichés (think obviously gay villains with thin beards etc). Even now it’s far from usual.

If we see Culverton as a John mirror, we get him telling them his secret: “I need to kill someone.” And if that doesn’t make it clear how much John despises his desire for men, I don’t know what does. He tells them this, but they don’t remember it. It’d be a huge problem for him if they did remember, but they don’t even try to. Except for Faith, that is. She struggles to hold on to her thoughts, at least for long enough to write them down.

Eurus herself:
My first associations here are twofold: Mycroft and Mary. She’s a woman standing between John and Sherlock, so she’s Mary. She’s Sherlock’s sibling, so she’s Mycroft, telling Sherlock emotions are bad bad bad. John might also view Mycroft that way. However, we could go in a different direction that would also be in keeping with John pov: his sister Harry, whose relationships with women have set a negative precedent. She’s an alcoholic and wasn’t able to find lasting happiness in her relationship with another woman. This might be part of John’s subconscious problems.

Tl;dr: Each of Eurus’ incarnations shows one part of John’s problems that are keeping him and Sherlock apart, including society, historical problems concerning homosexuality, family, and psychological problems.


“… Is ‘mercy’ so powerful…? Even if you gain no LV? I don’t want to be weak, Frisk. I don’t us to be hurt. No more, not anymore. Show me your way, then. Prove to me… that you can win the game with mercy.”

~ Previous | First ~

Aaaaand cue REDEMPTION RUN, where Chara learns the meaning of M E R C Y and their soul can rest in peace, rather than being corrupted, and you atone for your sins by making everyone happy. Be a good kid, okay?

Phew, well, this was an adventure :D Hope you all enjoyed the comic!

Headcanons/explanations under the cut~

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Reading your opponent (like a picture book)

Habits in combat, everyone has them. Whether you do Karate, Judo, Jiu Jitsu or some other awesome martial art, everyone shows what they are doing, before they are doing it.

Unless you have become really well practiced, the past 25+ years

Humans are gregarious primates. This means that they mostly live in big groups and enjoy being social with each other. Being in that social environment all the time means that people interact with each other, all the time. In a speaker based society like most of the West (where the speaker is responsible to express how they feel) this means that we always give away how we feel in this exact moment:

  • Slumped shoulders, head down? Not a happy camper.
  • Children who dance and play around? Happy!
  • Frowned face and a stern face? Oof..

Skipping the lecture, what does that have to do with fighting?


Everyone during sparring (or a form of it) is busy with both mind and body simultaneously. The thing is, those two cannot be completely separated. So when the body is going to make a move, the brain already thought of it.

The brain is always first and subconsciously, your body will give off a signal that something’s going to happen.

This can translate itself in many forms:

  • Eyes widening
  • Pulling back the front defending arm
  • Flaring nostrils 
  • Crawling in closer to the opponent
  • Licking the lips or pursing them
  • Frowning or blinking multiple times
  • Even pulling back a little, to go forward again

Originally posted by cat-skill

You could say that everyone has their own little ‘ticks’. They are signs of an attack coming, and they will give you out to the opponent if they are skilled themselves.

Maybe you are thinking now: “uhm I’ve been practicing for a few years, I’ve never noticed that.”


Did you ever look for them? Did you ever train yourself in looking and the art of Metsuke (the art of observing)?
When you have practiced it enough you will be able to use ‘mokushin’ which we can literally translate to ‘your mind’s eye’. You will be able to read the poor sucker that is your opponent and make sure nothing gets by you.
Mind you though, this takes years of practice. There won’t be a magical light bulb moment that say “a-ha! That’s it!” No. But the more you can use it, the more you will be aware of the fact that you can.

So what’s your tick?

Do you know what you do? Probably not. Someone else has to point it out for you.
I had no idea why I was so predictable until somebody showed me. This revealed an ‘oooooh….’ - moment and I was able to work on my obsessive need to to crawl in (for almost exactly every time: 3 steps) the opponents’ space. Apparently my face was a big traitor in the beginning as well…

With help from my Sensei and one of my faithful sparring partners, I was able to work on it (and I still am working on it, every week). Now my face is calm and my predictable state is gone. 

Something I can recommend is to make videos of yourselves. You can study yourself and your opponent and analyze what you are doing.

How to be less predictable

Okay now that I have introduced you to ‘Metsuke’, it’s time to lose your punching bag status. Sure you can read the opponent and react to them, but so can they.

Originally posted by blazepress

If you are predictable you might just be a punching bag.
(saves us the trouble of chasing after you)

Here are some tips to start you off with:

  • Don’t just stand there, be dynamic in your movements.
    The way contenders in kumite competitions do it might be a big overdone for the dojo but at least they are a hard target to hit!
  • Keep your guard UP. Especially if your opponent is taller than you.
  • Keep your guard forward. Keeping your arms close to you means you’re inviting them for a hug, a painful one.
  • Have a stance.
    Don’t stretch your legs but keep them bent. They allow you to move, which refers to my first point.
  • Don’t show your BACK.
    Now I’ve sparred with quite a few people who were active in the tournament scene. I never had easier opponents. Why?

Let’s go back to the first picture:

If the blue dots are potential targets, I’d have a fun time. Their backs are wide open! Their legs are on one line which makes it easy to sweep and the one in aka (red) has a low guard. Mind you, these are competitors in the Team Kumite Competition 2014 World Karate Championships. Their lightning fast reflexes will probably save them. 


If you took the previous points in, well done. There is one more thing that I see bothers pretty much every coloured belt, and sometimes even black belts:

There is no variety in their attacks.

When you practiced for a little while and you found a combo that works for you, you will do it. All. The. Time.

I had one, or two:

(Surikomi) Mawashi geri – tobikomizuki – Gyakuzuki
(round house kick – front punch – back punch)


I mean, there’s nothing wrong with this, but fact is that everyone knows what’s coming after two attacks.
You have so many options to choose from, why stick with this? Because they work? Well for now maybe, but never for long. You have so much to combine:

  • Punches
  • Kicks
  • Movements
  • Attacking and reaction TIMING
  • Sweeps
  • Strikes
  • Locks

Okay the last ones might be only for the higher belts (it’s different from dojo to dojo), but the first three are already available from the first week you start practicing! 

Mix it up, don’t be boring. Even with the most basic things you’ve learned you can make many combinations. This will make you harder to read and less of a target because… 

You make sure you will be a surprise during the whole fight!

Originally posted by firatdere

I am not sure who would read this but I just need to let some things out. You know what’s frustrating? It’s when fans are the ones who doubt DAY6. It happens all the time. Whenever they do something, I noticed that there are always people asking, “oh what if this doesn’t become successful? How are they going to be “successful” if they don’t appear on variety shows?” Recently, I’ve seen someone mention disbandment or jype stopping investing in them. It just does not make sense to me.

They are less than two years old. Some things in life take time to fully blossom so we cannot expect DAY6 to hit it off the bat. I know that fame would be good but being known for their music, I believe will make day6 happy more than anything. People have mentioned that some stan “personality over music”. Yes, sure, but not everyone does. As long as there are people who are willing to listen to them and watch them perform, that’s great. Think about coldplay, for example. Do their fans all over the world wait for them to appear on “variety shows”? I don’t think so. Seeing their personalities is a great thing but if people want to stan a group more for their how they act than their music, maybe day6 isn’t the one. The boys have great personalities but at this point, I don’t think that is their best selling factor.

I wish we would have more faith in them that they will do well even if it’s a slow process. Slow is good, it helps with their longevity. It’s better than to be a group that got famous quickly but couldn’t maintain momentum as they went on. As for jype’s investment, it involves a lot of experimentation cause they’re not the typical idol group. Why would they stop investing on something that they built for so long and has so much potential? 

I hope we could just watch day6 with so much positivity cause they really deserve more cheers and less doubting from us. They will fall and fail at times of course, that’s part of growth, but that doesn’t mean they will not rise. It’d be fantastic if we can stop measuring day6 compared to other groups. We can instead, measure how much they’ve grown because boy, they’re maturing so fast. Anyway, I’m done. thanks lol

So if you lost at life, I’ll help make you a winner
If you’re and down out, I’ll point you up and in
And if you need the proof, just look at me, you sinner!
I am the king of sin

Jack as Jonas Nightingale works ok just listen pleas e

Nope, not this time!

So we lost Pitch, Sleepy Hollow, Underground, and Cristela (not gonna mention characters that are played by WOC). Not gonna lose Still Star Crossed. 

So if you guys have Twitter, PLEASE hashtag #SaveStillStarCrossed and @ it ABC, Netflix, and etc if you can because this is some bull at this point. 

(I highly recommend to @ Shonda Rhimes as well because SERIOUSLY you have a black woman lead show that is clearly being shafted by the network and you’re not speaking up about it?!?! I’m hopefully missing something here.)

Look I get the show was expensive, but at this point it looks like ABC was thinking “Fuck it, we’ll do nothing and make is choppy so it fails”. 

Wrong show to have little faith in, because when you have a period piece that has cast MAINLY made up of WOC actresses that are not playing maids, slaves, sidekicks, “other woman”, and etc, best believe WOC viewers will fight for this show.  

Lemme just share this with everyone

Spoiler warning for DGS1-2. You’d probably expect spoilers on my blog anyway, but this is just to be careful.

When I was first introduced to Susato, I knew the shipping with Ryuunosuke was inevitable. The two make a pretty cute couple indeed. And besides, we have Phoenix, so Ryu obviously married a fine wife at some point in his adulthood.

However, all that changed in the aftermath of DGS1-2, when Susato passes Asougi’s blade Karuma to Ryu. There are a few points to note from that scene.

For one, she refers to Asougi as “Kazuma-sama”. Now, the sama part is a given, since she refers to everyone outside family in that polite way. However, she specifically refers to him by first name. In Meiji Japan, this is a huge sign. First names are reserved to family members or soon-to-be family members.

Most likely, they were lovers. I can’t confirm if they were engaged as well, but that possibility may exist too.

Since then, I’ve grown really fond of AsoSusa. But where does that leave poor Ryu? He can’t be abandoned. Asougi cares too much for him.

I could go into how Asougi may have considered him for a threeway, but that’s probably pushing it a bit. Instead, I’ll move on to his sword - his actual blade, Karuma.

While it is named in a very noble way, there is more to it than just making him look cool (or wealthy). In Buddhist tradition, the cycle of karma is not simply “getting what one deserves”, but also the entire cycle of life, death, and rebirth.

Asougi may have passed away, but the spirit lives on eternally. Ryu does comment on it, suggesting several times that his spirit resides in that blade. However, that’s not quite exactly it.

For a good chunk of that case, Susato distrusted Ryu, first meeting him as a stowaway and murder suspect. Of course she couldn’t leave the beautiful blade in Ryu’s possession. However, by the end, she recognized him for whom he truly is; his own person and not just someone hitching off of Asougi.

By imparting Karuma to him, not only was she granting him Asougi’s honor and memory, she was granting him what is now rightfully his. After all, in that moment, Ryu became Asougi.

Obviously, he’s not the same guy (not nearly as cool and competent), but it was clear to Susato that he is definitely the one to inherit Asougi’s will and dreams; none other.

And while she might not have felt the same level of affection for him as she did for Asougi, faithful love is something that gradually builds over time. Whether or not a canon pairing comes from this will probably never be answered, but it has been heavily implied… unless something happens and Susato is married off to another family instead.

Well, that topic is beyond the scope of this theory, so w/e. The point is, Asougi does live on and he does show in DGS2 - just not in the way you would normally expect.

I hope this theory helps enlighten people on the more subtle touches of the drama of The Adventure of the Unbreakable Speckled Band. Thanks for reading.

anonymous asked:

"ompletely depending on whether my hunch is right and they really are winding down the narrative" don't we already already know that that's not the case? They said the show isn't ending and many years left. Or is this refering to something else can you "wind down the narrative" without ending the show?

Hello lovely Nonny!

Okay, so, when it comes to what they’re saying I think they know and we know that anything can happen. And we know that they know that we know that we should take whatever they say with fistfuls of salt. And they know that we know… oh, my God, why did I start doing that? That’s just confusing. 

They say they want to keep going for years? I say awesome

I say I am in it for the long haul. No matter fucking what I will stand by my faith in the fact that these writers know what they’re doing. So they want to drag this sonofabitch out until doom’s day? FUCK. YES. Bring-it-on. 

But that said, it’s also my absolute faith in them knowing what they’re doing that sort of underlines my belief that they’ve built this peak they’re breaching with the S12 finale and that they’ve built it for a reason.

12x22 and 12x23 provided a huge turning point for the narrative.

Each of our three main characters - and Dean may be our protagonist, but the narrative still circles three main characters - are standing on thresholds here:

Originally posted by 4-ever-destiel

  • The brodependency has lapsed because Dean put his faith in Sam’s individual abilities to lead.
  • Sam has stepped out of Dean’s shadow, out of the role of “follower” and into the role of Leader.
  • Cas is… well, very dead. But is poised for rebirth, for transformation.

And why is this important?? WHAT THE FUCK DOES THIS MATTER?

Happy you ask. (you asked) (shut up)

The narrative up until 12x22 has been focused on what?

Well, mostly the focal point has been the brodependency, and with good reason, right? The show is about the brothers Winchester.

But let us never forget this —> Dean’s character growth is linked - without question - to his feelings for Cas. 

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