ye shoppe

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This Jellyfish gentleman goes by the name Jelfonzo, and he runs Ye Olde Cloth Shoppe. And check out his origin story: one day he just split off of Jelonzo in Inkopolis Plaza, and there he was! I think that makes him Jelonzo’s son? He apparently learned to speak Inkling from an ancient text of some sort, so his speech sounds a bit outdated (to say the least). But don’t let that fool you. When it comes to fashion, this dapper dude is always up on the hottest trends.

Ye Magick Shoppe for 5E

By Dracomortua:

Your players’ ship arrives at the docks at last. They go up to the first stevedore or whombler they see and say: ‘Excuse me there, hard working fellow - but where is the local magic shop?’:

Suddenly this all takes a sharp turn and the DM goes 'Out Of Character’: “What? Magic shop?” You kindly explain that there isn’t such a thing. Says so right there in the DMG, see? It is impossible for one to exist in a 5e D&D world. Period.

Your sassy players do not give up. Someone points out such shops exist here in reality on Earth, despite having no provable magic. There are even different kinds (lots sell incense and religious stuff, some selling bits o’ stone, people may want to stare at your crystal balls and it just goes wild from there). They point out a variant human’s feat can give any commoner a bunch of cantrips and one first level spell. So why doesn’t anyone own anything enchanted?

This guide gives you RaW self-defense. You can have as many magic shops as you like without breaking any rules. The trick is to put items in them that are interesting, fun and even useful despite the fact that almost nothing is an uncommon or rare magic item.

Keep reading

The Icelandic Language still uses the letters Þ and Ð, which used to be in the English alphabet too but which fell into disuse and were eventually left out altogether. Their pronunciation is the sound made by the “th” in “this” and “that” respectively.

Incidentally, the Þ was not included in early English printing press types. As a substitute they used y, which looks somewhat similar. Thus was the popular misconception born that English people used to say “ye” as in “ye old shoppe.”

tomorrow is m'last day at hell job (finally).. then i get my roots/hair fixed and end the 🍮🌻 era (for now).. and have the weekend off.. where i will rest and probably go take pics of 🐄🐏🐑🌳🌾🌼 (hopefully)… then i start @ ye olde 🍫 shoppe (that’s not its name i jst like saying “ye olde”).. good month start perhaps? *knocks on 🌳* (wood comes from trees)

anonymous asked:

Hello! What does the pronoun 'ye' mean? Is it the same as 'you'?

‘Ye’ is the same as ‘you’ but only in certain circumstances. It’s the nominative personal pronoun for the plural ‘you’ or formal single person ‘you’. Here’s the table of conjugations which is probably easier to understand: 

Nominative means that it’s the pronoun that is the subject of the sentence. So if we take the example sentence ‘I like Shakespeare’, ‘I’ is the nominative pronoun. All of the following would be correct:

  • We like Shakespeare
  • Thou likest Shakespeare
  • He/she/it likes Shakespeare
  • They like Shakespeare

But also

  • You like Shakespeare
  • Ye like Shakespeare

Both of which can refer to either a single person (formal in early modern English) or multiple people.

There are also sentences like ‘I’m pedantic, aren’t I?’ where the nominative pronoun can come (again) at the end of a sentence. It would be correct to use ye in this context too: ‘Ye are pedantic, aren’t ye?’

If you’re an advanced or a native speaker of English you probably know that 

  • Me like Shakespeare
  • Us like Shakespeare
  • Him/her/it like Shakespeare
  • Them like Shakespeare

Are all incorrect. These are the oblique pronouns and can only be used in sentences where the pronoun is not the subject but is being affected by a subject and a verb. So in the sentence ‘Hamlet wants me to go to a nunnery’, ‘me’ is the oblique pronoun being affected by the subject (Hamlet) and the verb (to go). The following sentences would be correct:

  • Hamlet wants you to go to a nunnery
  • Hamlet wants us to go to a nunnery
  • Hamlet wants thee to go to a nunnery
  • Hamlet wants him/her/it to go to a nunnery
  • Hamlet wants them to go to a nunnery

In this instance, you cannot use ‘ye’.

It’s worth mentioning that the use of ‘ye’ in phrases like ‘Ye olde shoppe’ is actually a kind of mistake based on the fact that printing presses didn’t have a thorn (Þ) symbol and (confusingly) ended up replacing them with a y. It’s not wrong to write it as such, but the pronunciation should actually be a ‘th’ sound, not a ‘y’, so it should sound like ‘The olde shoppe’

yumi-chanwriter  asked:

I seem to struggle with the beginning of my story: on the one hand my characters only live a normal life in the beginning so it's important to show it because it's quite different from our life. On the other hand I'm scared that I give too much information and that the readers will get confused. Any help?

I have a post [HERE] that might help you with this.

Essentially, you need to balance establishing ‘normality’ for the character with getting things rolling with the plot. If you spend too much time with the details of how your character gets breakfast and goes to work at Ye Olde Mage Shoppe every day, then you’ll lose readers who are wondering when the story is supposed to start.

I tend to think that one of the more effective ways of establishing the status quo is to show it in the moment of disruption – understandably, your character is going to be shocked when a marauding dragon destroys the bridge they cross every day and prevents them from getting to the Shoppe in time. So write about the consequences of the interruption and how it has taken the character away from what they expected to be doing.

The other thing to remember is that readers are generally pretty clever, and if you provide context for the way your characters act, and think, and feel, and if you provide hints and clues about what ‘normal’ looks like for your character, then they’ll pick it up and go with it easily.

Something that can be difficult to get a handle on early on as a writer is that you don’t need to explain every single tiny detail of a world for the readers to go with it. 

There are a couple of things that make this work:

1. The readers will fill in details from their own assumptions until they are told otherwise. You say your character walks in a field under a summer sky, your reader will picture a blue sky, a green field. You specify that the sky is purple and the field is orange, their mental image will adjust.

Difficulties will arise if the difference between the readers’ base assumption and the realities of the fiction are not addressed early enough in the story. Say if you get to chapter 26, the protagonist is lamenting the loss of their home and the field where they used to walk under the summer sky – oh that orange field, they sob, and that purple sky – and the reader goes … wait a second? Was it always those colours? Did I miss something?

Just make sure that any outstanding details are incorporated into the story from the outset – Protagonist strode from the riverside up to the field, dry orange grasses rustling around their knees, and turned their face up to bask in the sunlight beaming from the brilliant purple sky. (A great book for this kind of scene setting is Kameron Hurley’s The Mirror Empire, which has a great deal of well incorporated ‘weird’ worldbuilding, though it is pretty violent and sometimes gory, so beware!)

2. You might have heard the expression ‘suspension of disbelief’ before. That happens here. You say a dragon swoops down off the mountain and starts terrorising a village? Most readers won’t go: Bah! Everyone knows dragons aren’t real! I’m not reading any more of this! They’ll go: Oh wow, dragons, that’s cool! I wonder what kind of dragons they are!

In picking up a book of fiction, readers are prepared to read about things that aren’t consistent with reality. They’re there, ready and waiting to eat up all this strange stuff, and to explore the strange realities of the fictional world you’re building for them.

Of course, suspension of disbelief varies from person to person, and every reader has their own point at which the disbelief can’t be held back any longer. This can be any number of reasons: 

  • If Batman is so rich, why doesn’t he use his money to reform Gotham instead of dressing up and bashing people? 
  • This plot revolves around amnesia, but that’s not how amnesia works! 
  • Okay so I get that this character loves that other character but it seems unreasonable that they don’t understand that killing your pet raccoon isn’t a loving gesture … 

And many, many more. I once stopped reading a novel after a page because the narration contained a factually incorrect statement about Hannibal Lecter. We’ve all got our points of no return.

So how do you avoid breaking suspension of disbelief? Well, a great number of the script family blogs are here so that you can gather the knowledge to do just that – being as factually correct in a fantastical situation or setting as possible will make those fantastical elements feel more real and believable.

  • Give information as it becomes relevant: don’t just list off facts about the world because you have them, bring them up when they add to what the reader is observing about the world and the people in it. Dragons come from the mountains isn’t relevant if your protagonist isn’t being affected by that fact. But if the dragons from the mountains are an issue that they worry about every day, that helps inform the readers of what the character’s life is like.
  • Make sure information you give is consistent.
  • Ensure that your characters actions and reactions are consistent with their knowledge of their world. A character afraid of dragons in the mountains probably won’t just decide to pop up to the mountains for a picnic one day.
  • You can have characters be wrong about their understanding of the world, because characters can’t know everything perfectly – your character sees the dragons coming down from the mountains as aggressive, but later discovers that they’re being forced from their caves by fungal infections that are very painful and makes it difficult for them to seek medical help without inadvertently squashing whole villages.

Don’t worry about trying to show EVERYTHING in your character’s normal life, because that will get boring pretty quickly. Make out a list of the things that are important right now in terms of what is being interrupted by the beginning of the plot. Think about what your characters are missing, or the burdens they find themselves free of. What is expected and what is unexpected. 

I hope this helps!

Hi there, your friendly blogger Mason here!

At the moment I’m fundraising to cover the costs of my gender confirmation surgery, if you’re able to donate, please click [HERE] to give me a helping hand!

If you’re not able to donate, I would be really grateful if you would reblog [THIS POST] so that more people will be able to see the fundraiser.

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Reference shots of the four new storefronts in Inkopolis Square. In order, we have Ye Olde Clothe Shoppe, Shella Fresh, Headspace, and the new Ammo Knights location! These stores make up a portion of Inkopolis Square known as the Galleria, and Splatoon 2 will allow you to instantly warp to any store so long as you’re in the Square (though the walk isn’t that far as it stands).

Now, for a couple of quick Easter eggs around the Square:

This one isn’t particularly hidden, but Crusty Sean’s food truck has a sun screen in the windshield using promotional art from the Squid Sisters Live concerts that took place in the real world! This implies one of two things: either the Squid Sisters Live concerts reflected a different tour in the Splatoon universe, or Callie and Marie have canonically traveled from the Inkling world to our own - which would make them both time travelers, coincidentally.

This one is a more subtle - and perhaps more ominous - detail, but if you look through the grates of the Salmon Run entryway, you’ll notice a massive fishing lure hanging in the back of the room. Could it be that, beyond the egg-hunting events of Salmon Run, GrizzCo. is also using ordinary fishing methods to catch Salmonids?

WICCA: COVEN vs SOLITARY PRACTICE

It’s an argument that comes up frequently in the Pagan community, particularly among those who identify as Wiccans. There’s one school of thought that says “only a witch can make a witch,” which means you must be initiated and part of a coven – typically a lineaged one – before you can claim to be Wiccan, Pagan, or any other variety thereof. There’s another camp that says anyone can be a witch or Pagan, and what matters more than initiation and coven connections is what’s in your heart and soul. Will people ever agree on these things? It’s pretty unlikely.

However, as you begin your studies of Wicca and other forms of Paganism, you may at some point be offered the opportunity to join a group. You may also find that you really prefer working alone. Let’s take a look at some of the pros and cons of covens vs. solitary practice, so that when the time comes for you to make a decision, you can do so with some knowledge under your belt.

WORKING AS A SOLITARY

Many people begin their Pagan studies by working as a solitary. This happens for a number of reasons, but the most common one is that quite simply, most people develop an interest in Paganism long before they meet a coven they’re interested in joining. There are benefits to working alone, to be sure, but it also has its drawbacks.

Advantages

  • You can make your own rules, and follow your own set of ethics.
  • You can worship at your convenience, rather than following a schedule involving several people.
  • You’re free to work with anyone you like, even if they’re a member of another tradition.
  • You’re not under any obligation to anyone but yourself and your deities.

Disadvantages

  • You may find yourself eventually limited in the type and quantity of knowledge you obtain.
  • It’s often hard for solitaries to network with other Pagans and Wiccans.
  • Sometimes, it’s just nice to hang out with other people that believe as you do.
  • If you’re looking to grow and learn spiritually, you may feel at some point you’d like a mentor or teacher, which you don’t have as a solitary.

WORKING IN A GROUP

Many Pagans and Wiccans find that they enjoy group practice. There is a certain energy that can be experienced in a group that you just don’t experience as a solitary practitioner, and there are plenty of benefits to being in a coven. On the other hand, when you work with a coven or group, there’s a whole new set of dynamics involved, which can create its own set of problems.

Advantages

  • Working in a group gives you the benefit of learning from people who may have more experience and knowledge than you.
  • When you’re part of a group, you have more opportunities to network and meet others in the greater Pagan community.
  • Coven work typically is more structured and formal, and rituals are usually more elaborate, which some people find beneficial to their studies.
  • A coven usually has a pre-determined course of study, so rather than just randomly reading books, you’ll find yourself following specific lesson plans as you move towards various degrees of initiation.

Disadvantages

  • Coven work typically has to be scheduled ahead of time, making sure everyone is available.
  • If someone is on a power trip, a coven has the potential to be a miserable experience for everyone else involved.
  • When you’re part of a coven, there are numerous relationships going on, so there can be issues if one person decides to cause problems.
  • If you join an existing coven, chances are good that they’re already set in their ways, and may not be willing to make accommodations to meet your needs.

Whether or not you decide to practice as a solitary or as part of a coven is a personal decision, choose the path that is the right one for you. 

FINDING A GROUP

First of all, you need to understand that there are many different types of groups. You’re not going to fit in with every one of them, and you’re not going to feel comfortable in every one of them. They’re not all going to feel comfortable with you.

That’s part of life, and it’s part of the seeking process. Some groups may have a dynamic that just doesn’t work for you – if you’re a male Wiccan on a Celtic path, then an all-female Greek Reconstructionist group is not the place for you.

How do you find a coven in your area? We all have fantasies of being out and about, probably at the local Ren Faire or Ye Local Olde Witchy Shoppe, and we bump into a wise-looking soul with a giant pentacle around her neck, who promptly invites us to join her coven of the Ancient Ones.

It’s not going to happen.

However, what you can and should do is network with other Pagans. Get out to the places they congregate – bookstores, psychic fairs, SCA events, coffee shops, Yoga classes – and meet some people.

Eventually someone may mention to you that they are part of a coven, and if they feel you would be a good fit, they might eventually get around to asking their High Priestess (HPs) if they can invite you to an open meeting.

Because many Pagans and Wiccans are still “in the broom closet”, most covens, temples or groves do not advertise their presence. Networking is the key here – and you may have to spend some time making it known that you’re looking for a group to join. This process is often referred to as “seeking,” and after spreading the word that you’re a Seeker, you may be approached by a local group.

You can also meet fellow Pagans and Wiccans through networking websites, such as Tumblr, Witchvox, and Facebook– but be sure to take precautions when meeting someone in person that you’ve gotten in touch with online.

BASIC NETWORKING TIPS

Some covens are limited to males or females only, others are specifically for gay Pagans, and some are for families and married couples and exclude single members. A coven you’re interested in may already have what they consider their ideal number – sometimes thirteen but frequently less – and they may tell you to wait until someone leaves before you can join. Accept this, and move on. Don’t take it personally. Ideally, you’ll be able to find a coven in which you can get along with all the existing members, and you won’t have a clash of personalities or philosophies.

Also, realize that a coven is like a small family. Many Wiccans are closer to their coven-mates than they are to their own siblings. Just because you’ve found a coven doesn’t necessarily mean you are guaranteed acceptance. Coven membership is a two-way street. Wiccan covens do not actively recruit new members, and no matter how uber-witchy you think you may be, if one member of the coven has a problem with you – justified or not – it could keep you from becoming a member.

Take the time to ask questions when appropriate, and you can make an informed decision in the event that membership is offered to you.

The Hollies, Evolution
(Parlophone PMC7022)
Released: June 1967
Chart Position: #13

Side A: “Then the Heartaches Begin" • “Stop Right There" • "Water on the Brain" • “Lullaby to Tim” • "Have You Ever Loved Somebody?“ • "You Need Love”
Side B: “Rain on the Window" • "Heading for a Fall" • "Ye Olde Toffee Shoppe" • "When Your Light’s Turned On" • "Leave Me" • "The Games We Play"

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Are you a tabletop-loving nerd? Good news! Ye Olde Nerd Shoppe has all kinds of goodies for your gaming needs! Come over and take a look! We have items in a variety of price ranges, and we’re adding more all the time to ensure there’s something for everyone!

Polyhedral Dice Holder

Dice Tower

Dungeons & Dragons Alignment Dice