#Part two can be made and it depends on a certain answer

[kaciebello]

Delivery fees

Slytherin boys x Hufflepuff! reader (use of she/her, no use of y/n)

Masterlist

Delivery Express ✿

Summary: The reader sees an opportunity to run an untapped market in Hogwarts. Business opportunities arise and brands need to be made.

warnings: mention cigarettes, nothing else really

Authors note: English is not my first language, so I apologize for any mistakes beforehand. I want to spread this into a one-shot series. Proofread by me and me only :(

Previously: Don’t shoot the messenger

Next part: Left on delivered

Word count: 1262

Notes to deliver - 14

The group of boys was relaxing in the courtyard, some sitting on the uncomfortable stone benches, one individual was leaning against a tree that provided them shade and two more sat on the floor forming a semi-circle of their friend group. Nobody dares to approach the ‘ dangerous’ group of individuals for their own sake. Well, nobody but a certain Hufflepuff girl with a bright yellow bow in her hair.

Who, coincidentally, was making her way over to them. As fast as she appeared she sat down and made herself comfortable between her friend's legs who was sitting on a bench. A string of greetings could be heard from the group but the girl paid them no mind. She had business to take care of.

“ Hello, Sunshine. All good?” Asked Lorenzo leaning over the girl nested between his legs hoping to catch a glimpse of her face. She shook her head and dug out her trust notebook from her bag. “ I can't come up with a name.” she just says and ignores the stares the group gives her. Lorenzo gives up and just plays with the bow in her hair. 

“ Name for what?” Asks The boy leaning on the tree, Theodor. Now too, sitting down at the base of it. She looks up from her notebook with a sigh. “Isn't it obvious? My delivery business. I can’t go nameless for long.”  Nods and hums of agreement sound from the boys yet no suggestion in sight so she continues. “ I was going to name it Badger Express, but my muggle friends informed me that something called Panda Express exists and that they deliver Chinese food. I simply can not rival that.” She whines and crosses something out of her notebook.

“ You talk to muggles?” Asked Draco, seemingly offended by even being in the existence of the word. To his dismay no answer just a pencil is thrown his way. “Royal Mail is also taken, so that's that one crossed out.”  A huff makes them all turn their heads to Blaise, making his eyes widen with all the attention. “ Hogwarts express?” He suggests with a sheepish shoulder shrug. “ You mean like the train that takes us here and back every year?” argues Mattheo on behalf of the girl. “ What else was I supposed to say?” Snaps back Blaise. “ A better idea” whispers Draco and some heads turn to him immediately. A laugh can be heard leaving Theodor as a playful argument breaks out between the boys. 

The girl just sighed and turned her head up to look at Lorenzo. “ Your friends lack creativity love, we shall find you new ones.” Lorenzo just nods wordlessly after observing them himself. “ I think badger delivery could work nicely.” He suggests, the girl just nods, as this is as good as it’s gonna get from any of them.

“ The name does not matter right now. I have gotten complaints about the charge.” She announces effectively stopping the fight as all the heads turn to her. Confusion on their faces and pure despair of hers. “ How much do you charge?” Asks Mattheo opening his cigarette packet and passing it over to Theodor. 

“ 5 galleons.”

“Pocket change.” Ignoring his remark and declining the cigarette Theo was offering to her. “ I think I am going to charge depending on what they want. Because if I have to deliver one more love note dosed in amortentia my head will burst” She wonders aloud, not looking for an answer from them. Her hand searches for a pencil that now rests behind Malfoy's ear and immediately gives up when she notices its place.” What does it smell like to you?” Asks her Theodor as if they were girls at a sleepover doing facemasks and sharing who their crushes are. “Wouldn't you like to know.” She answers her eyes narrowing at the boy.

“ I bet I can guess who it smells like.” Says Mattheo with way more confidence than needed. A sigh leaves her, fully aware she can no longer stop teenage boy shenanigans. Wild-named queues are thrown into the circle as it looks more like a game of Guess Who at this point. “ I guess it's one of us.” Answers Blaise who, in the meantime, managed to pull out a book and actually read some words. ‘ This tomfoolery…’ she whispered and leaned into her friend sitting behind her.

Silence falls upon the group, the sun decides to peek from behind the could blanket and expose them to direct sunlight for a few seconds. Lorenzo declines a cigarette from Matthew as he continues to play with the girl's hair. A little ‘aha’ from her breaks the silence and they all turn to her like lazy cats disturbed from their sunbathing.

“I can ask the twins if they wanna partner up!” She says with excitement, almost jumping from her spot with it. “ The twins?” Asks Blaise. “ Weasely Twins.” Scoff can be heard from the blond of the group before he lays down to soak up more of the sun, seeming not aware of what sunburn is. “ No think about it, I can distribute their little trinkets and get some money from it! It's a brilliant idea!” The girl gets up and brushes her skirt with newfound determination. Few eyes followed her, some didn't even bother to pick up their gaze from a book or opening their eyes. 

Taking a few steps to the blond she snatches her pencil back before he even registers a shadow is now covering him. Packing her bags she hears her friend. “ Why are you even doing this?” He asks with genuine curiosity.

“Money.”

“Why?”

“ Merlin, not everyone comes from old wizard money, Berkshire.”

“ You do tho.” Silence falls upon them again as the girl has no valid answer to the argument. Deciding to pack her bags instead when a few notes fall out of her bag. “ You have something for us there, mail girl?” Asks Mattheo with a raised eyebrow and points to the notes. Frantic nods are her answer as she picks them up and starts distributing the right notes. “ Each of you have one, well, not you Theodor you have two, for some reason.” She says. “ Maybe I am just that popular with the ladies. “ I don't know man, one was really pissed when she gave it to me.” His smile flatters a bit before returning to the smirk he normally wears.

Her friend forms a pout on his face and grabs her wrist from his sitting position. “ Nothing for me?” He asks. “ Boy, you told me not to deliver you anything, the only notes you're getting from me are the ones I take in potions.” A smile spreads on his face and he lets go.

“Oi, sunshine. Do you think I can get those potions notes too-” “Oh Is that Fred and George? I've got to go, bye!” She grabs her stuff and hurries to the ginger twin boys that heard her calling. An offended scoff can be heard from Blaise before the group remembers that they actually have potions homework and all scurry like mice in a hurry.

Notes to deliver - 9

#hogwarts school of witchcraft and wizardry #hogwarts au #slytherin #slytherpuff #hufflepuff #slytherin boys #lorenzo berkshire #blaise zabini #matheo riddle #mattheo riddle #theodore nott #draco malfoy #x reader #theodore nott x reader #slytherin boys x reader #slytherin boys x you #draco malfoy x reader #mattheoxreader #mattheo riddle x reader #mattheo riddle x you #blaise zabini x reader #blaise zabini x you #lorenzo berkshire x reader #lorenzo berkshire x you #draco malfoy x you #theodore nott x you #hufflepuff reader #fluff #Hermes like ass #harry potter fanfic

[undeadcannibal]

Could you maybe do 141+ Alejandro finding out their 'citizen' partner was actually an ex-mercenary?

Summary: How Task Force 141 and Alejandro would react to finding out their ‘civilian’ partner is an ex mercenary.

Genre: Headcanons, request(s) Characters featured: Price, Ghost, Soap, Gaz, and Alejandro.

Warnings: None!

A/N: Hopefully I didn’t make this like, sadder than wanted lol. It just sorta happened. Regardless, thank you so much for the request, I hope y’all enjoy! ( Gif credit: xxx )

Price―

He’s embarrassed it takes him so long to notice the signs, but when he does, he doesn’t say a word.

He’ll act normal the entire time, playing the part of your lovely partner until he’s got enough information. The proof that he needs before calling you out on it.

When he’s certain of your past, he’s waiting till he’s home to call you out on it. May or may not have the team on stand by as well just in case he needs backup and morale support.

He’ll at least try and hear you out first, ask you many questions as to why you hid it, turning the situation into a sort of soft interrogation with how he goes about things in time.

He wants to believe you have a good reason, so rest assured you better have a damn good one as to why you hid what you hid from him.

Caught between wanting to know every detail of what you did and why, but also worries that he might not like the answer he receives.

Soap―

At first, he tries to convince himself he’s just being paranoid. Imagining things that aren’t true.

Over time, he’s certain that there’s too many instances for them all to be coincidental.

Doesn’t approach the situation alone, definitely trusts Ghost to hear him out, asking him for his opinion on the matter.

The two go about the situation together, but once he’s sure that you were definitely an ex ‘merc’, he’s taking it very seriously.

At first, he’d be livid but slowly come to realize that maybe he should hear you out. He really wants to give you the benefit of the doubt, believe you’ve done what you did for a good reason.

Much like Price, he’ll have a long talk with you before making any rash decisions or jumping to conclusions.

Has many, many questions about what you got up to for a paycheck and why exactly. Especially since he’s heard rumors about how ruthless some can be after some time in the ‘business’.

Gaz―

Much like Soap, I can see him being a bit in denial until there’s too many instances to deny anymore.

However, instead of consulting Ghost, he’s going straight to Price. He trusts him - confides in him - and asks him what he should do regarding the situation.

After Price gives him his opinion on the matter, he’s leaving to be alone to think for a long while on it.

Once he’s made up his mind, he’ll try and act normal, but it’s clear something is bothering him.

If you ask about it before he confronts you, he’ll be upfront about what he’s thinking and how he’s feeling, asking you many questions about why you hid it from him, etc.

Depending on the outcome, it may or may not be a deal breaker for him. He’s unsure what to think, how to feel about your relationship. Just confused and paranoid all around, poor man.

Like Alejandro, he hopes it’s all in the past, and for good reason, too.

Ghost―

Oh, once he notices the signs, he’s feeling all sorts of things: he’s livid, conflicted, and very untrustworthy of you after.

Stewing on the information by his lonesome for longer than he should, he hesitates with bringing it to the team’s attention. Feels ashamed he didn’t know sooner.

Once he’s got information regarding your background, he’s immediately heading home to confront you about your past.

Feels a heavy weight on his heart as the two of you discuss everything. He’s not letting you leave till you’ve told him every detail as to why you hid it from him.

Depending on how the confrontation goes, it could possibly be a deal breaker for him. He doesn’t trust and love easily, so best believe it’ll take some time for him to come back around to you once again. He won’t be entirely cold, but you’ll definitely have to earn his trust back afterwards.

Wants to assume you’ve done what you did for good reasons but can’t say unless he knows what your past work was.

Alejandro―

Much like Ghost, due to personal reasons, once he sniffs out any sort of hints that you're an ex merc, he’s doing his best not to immediately assume the worst right away.

He really wants to hear you out but will struggle with confronting you.

After he’s found every little bit of information of your past that he can, he’s hesitating on making a scene right away.

Confides and wants to know Rudy’s honest opinion no matter how harsh he might think it will be.

Really, unless you’re upfront with him after he finally brings it up with you, he’ll worry about your past depending on what kind of work you’ve done for pay. Hopes to God that you’ve certain limitations you refuse to go against.

#call of duty x reader #ghost x reader #john price x reader #soap x reader #gaz x reader #alejandro vargas x reader #task force 141 x reader #cod headcanons #headcanons #requests #my writing #the-faceless-bride #thefacelessbride

[zaebucca]

About scale, process, palette and canvas: a few considerations on pixel art as a medium

User moredogproblems answered an interesting and legitimate question by another, DiscountEarly125, regarding my work and canvas size. He also perfectly isolated two central concepts of pixel art, which are scale and process. Canvas size, which was the theme of DiscountEarly125's specific request, is more of a dependent variable to those two aforementioned concepts, rather than a starting point. I hope the following considerations I shared may help or prompt some other ideas, but this is what I could come up with 15-ish years of experience with pixel art (and a few more years of art and media studies). I was quite in the mood of writing down these few thoughts that have been floating for a while. I apologize as this may also result in a confusing wall of text, but it is all part of a my work and research, and I would love to polish all the material, hopefully with some thoughts, insights from other colleagues, as well as pictures and materials!

A. Scale and canvas size It is true that the bigger the canvas, the more distance one may visually create from pixel art, but I personally think this is to be possibly considered a matter of perceiving pixels, rather than a fundative problem of the medium. In fact I concur with the idea of "process makes the medium" rather than identifying pixel art as how (evidently) pixeled the result feels. The general picture, or the sum of pixels, though, is a really important matter to the medium nonetheless! Pixels themselves work in relation one with another, so it's their overall result that gives context and makes the subject recognizable. This relationship between pixels links back to all the art fundamentals that each artist is taught, from color theory to shape and composition - and so on. So, the canvas size debate usually boils down to a matter of scale or necessity of your subjects. As long as the dimension (canvas) of your subject (as in: a drawing of an apple, a character sprite, a mockup environment) allows you to operate, control and keep an eye on the quantity (number/area of pixels together) and quality (color, shaping of multiple pixels, texturing obtained through color and shapes) of isolated single pixels or pixeled areas, you're in the pixel art universe. The other way around to define the matter of scaling: in order to be operating pixel art fundamentals and techniques, your subject has to be on a scale that allows you to apply principles of pixel art within the space of your canvas and your personal style. These very same principles, or basics, can be applied with different results and extent to bigger and smaller canvases alike, each with their own specific difficulties and variables. It is important to adapt your scale when learning, and trying classic canvases per subject like "16x16px" (standard tile or character sprite unit, tied to older consoles and screen ratios, it's a bit complicated there) is always a nice idea - they also tend to be industry benchmarks and necessities so in case you'd like to consider a professional output, that's very useful.

Scale also applies to the array of colors, and there lies the concept of palette: a number of single hexadecimal hues we are using for each single pixel. Any single pixel can have one hexadecimal color only.

Consequentially it is absolutely true that either a huge canvas or a palette too broad may prevent a viewer from perceiving immediately the "nature" of your medium, namely seeing square pixels, recognizing a certain amount of color - or more thoroughly recognizing that you made some choices for each subject on a pixel level. What could possibly happen on a huge canvas (without zooming in) is that you can't really grasp the pixels, but just the "overall picture" - and that may not differ too much from digital, raster art, which is of course also based on pixels. Therein appearently lies a sort of threshold that is really hard to pin down for us pixel artists, as it depends on screen size, visualization methods, distance, filters and lots of other inherently subjective parts.

This kinda is my case sometimes: I make big environments (possibly too big, and too detailed in each part I tell myself) that are a sum of many lesser parts: both tilesets and sprites that relate (but not strictly adhere) to a basic space unit that is 16x16pixels. You can indeed consider scale in a broader sense as a subdivision or magnification issue, much alike squinting your eyes to focus on a picture's overall contrast or, conversely, analyzing its fundamental parts with a magnifying glass, and then a microscope - an analogy as follows:

a. the picture as a whole is like a colorful rock that you can analyze by magnifying its grain. b. the characters, geographical elements and textures, works like the different substances that compose the rock and give its visible characteristics grain and complexity, c. single pixels constitute the very atoms of those previously recognized substances.

I mean "atom" in the traditional, classical meaning of indivisible, fundative object. That's a "quantized" part of information, which for pixel art is ultimately color (or a binary value, like yes/no black/white). If you were, for example, to crop some parts of my work - let's say 160x144 pixels (a gameboy screen resolution in pixels) you would see the substances that are characters and elements of nature, and when you zoom in again, every atom becomes visible as a single entity of color. There are 29 different type of "atoms" in Ruin Valley as in different, singularly hexadecimal colors that work together in different combinations and shapes to create different substances and characters. 18 of them are used for the different qualities of the environment, and 11 more for extra hues for characters and other elements to pop out a bit.

It's really interesting to see how many pixel artists push this "threshold" of pixel art canvases to the extremely small or the extremely big, whereas, notably, palettes are less open to growth: it is indeed my opinion that pixel art tends to quantize color (quality) over than dimension (quantity). Palettes, notably, do not grow exponentially, but tend to a lower, fixed, controlled amount of individual values instead. This usually gives the artist the true possibility and toolkit through which is possible to think about/with pixels. In other words: color (or its absence) is the founding unit and identity of pixel art as a digital medium.

B. Pixels as process or pixels as objective? Pixels themselves (as strange as that may sound!) are not to be considered an objective of pixel art, I think, but the founding matter of its research as a medium instead. I think that making pixel art is not just devoting oneself to show those jagged, squarey areas or blunt edges that we all know and love: this is just one of the possible aesthetics that pixel art conveys or adopts - especially on small canvases. Pixel art is not about denouncing itself as pixels, but, rather, embracing the square, atomic unit to build an ensemble that conveys a content or a style. That's the important part of the discourse that emancipated pixel art into being a medium, and not just an aesthetic choice or style of representation. Again: process makes this medium. Speaking of that, I consider pixel art as part of a broader family of "quantized art", namely media that operate on/with "indivisible, founding bricks and unities" that can assume a certain quality (color, mainly) within a certain quantity (palette, canvas size) and in relation to its surroundings to describe something. This puts pixel art, with its specifics and with a certain degree of semplification, among other mediums such as cross-stitch, bead art, construction sets, textile art (on a warp and weft basis), (micro-)mosaics and others.

A classic threshold example of process vs objective: oekaki art. Oekaki art - which I love and also happen to make from time to time - doesn't really work or "think" specifically on a pixel base: it doesn't place pixels per se, but uses pixel-based areas and textures on bigger canvases with a certain degree of freedom, like one would normally do with brushes on raster digital art programs (adobe ps, gimp, clip studio and so on) in order to convey an aesthetic with fewer colors and a certain line style and texturing. That way, oekaki uses and knows pixels in a deep way, but doesn't see them primarily in a quantized way. As a result the "overall picture" shows pixels to a certain extent, and it's possible to recognize distinct pixels for each part, but the objective is not an analysis and use of pixel and quantized information, but the use of an aesthetic based upon accessibility of resources, their control and a certain rendering style.

A huge part of pixel art is its absolute accessibility: everyone with a fairly outdated computer or screen and a basic drawing program can study the medium. To be fair, it's indeed considering accessiblity that I highly support an inclusive approach to the term "pixel art" and I think traditional oekaki is a close, beautiful relative that builds upon the rules and techniques of pixel art and pixel rendering, yet keeping its identity as its very own medium - somehow like a dress may be built around/upon textile design. Anyway, boundaries are meant to be crossed and I think there definitely are lots of oekaki and pixel-based art that meet traditional pixel art mid-way - or further. I also think the "is it pixel art?" discourse possibly ensuing - and generally speaking any media belonging purist ontology - is a treacherous, slippery terrain leading to excesses, and this is not my focus today, neither am I able to tackle that subject extensively at the moment.

C. Conclusions and a few good exercises Everything above may be farfetched or too complicated as a starting point. I tried to write all down as orderly as possible. The point of this (possibly discouraging) analysis and the reasoning between scale and process is that (pixel) art is about trying different canvases, and reasoning on one's subject and objective, rather than limiting oneself to presets sizes or styles. It's important to choose something that resonates with us and, in doing so, thinking about other, more interesting limitations: that's the discourse about quantity of space and quality in color. Limiting is the best possible exercise and one I wholeheartedly encourage: by doing so we are progressively delving deeper on the basics, as we learn the fundamental relationships between shapes and colors that we can achieve through pixels. A few good exercises that I too implemented in my own workflow come to mind: 1. Trying different canvases (or sizes) for the same subject (sprite, character art, illustration or so on). This helps a lot finding a comfortable size to apply pixel techniques, as well as getting a hold over fundamentals such as aliasing, linework, conventional representation and so on. 2. Trying different palettes for the same subject, both by varying colors themselves (therefore learning about values and contrast and readability, as well as atmosphere and mood!) or singular hues and their components, in order to discover possible relationship between them. Have fun! 3. Reducing the width of the palette progressively for the same subject: reducing the number of singular colors forces a reasoning on shapes, rapresentation. You may go from 1-bit art (just black/white) to 3 colors, 4, 8 and so on. We'll not talk about transparency as a singular color there, but if you happen to be interested in retro art, transparency counts to the palette size. This exercise is very useful in rendering, and possibly tricky. And definitely fun. :') 4. Choosing an objective and usage of our work: for example trying to learn about old pixel art limitations for games, in order to reason within specifics. Get inspired by traditional games (spriters-resource is your best friend here, in case you have a specific retrogame you're thinking of)! I will probably talk about limitations and style on another post. 5. Four eyes (and other multiples) are better than two: try to talk with people and friends and other artists you trust and feel comfortable with to get their point of view. This can be scary, I know, especially at the beginning. You're not forced to, of course, but if you do (in a safespace) there's lots you can learn about concepts such as readability, subject recognition, rendering and composition. Our eyes and brains get accustomed to something, and pixel art being a rather analytic medium made of synergies, subtle changes, limitations and conventions is especially tricky on the artist's eyes on the long term. Either way, the important thing about pixel art is understanding that this medium is about recognizing and enjoying the process rather than the eventual aesthetic and in order to do so the best choice is to start simple, small, with few colors and techniques at a time! Have fun and hit me up with your progress and considerations. :')

#pixelart #art resource #pixelartist #how to #reference #art tips #learning #insights #pixel illustration

[dailyhatsune]

hi! not exactly a request but i do wanna ask, whats your process when you're rendering more paint like art? (if that makes sense, English isnt my first language so apologies hdskhsjdbd) i really love how you use the colors and im curious how you do it :0

i’ve been meaning to answer this one for a while so here’s how i painted miku in today’s post (put under the read more because yeah prepare for a long post

i’d also like to preface this by saying that i never follow a set way of doing things, so in terms of what my personal process is like, these are only broad strokes of what i do! sometimes i’ll combine or skip parts entirely, depending on how i feel. also, this is not a tutorial, just how i do things, so please don’t treat it like one :’D this will read like the ‘how to draw an owl’ picture if you do

first, like every artist, i sketch. more specifically, i’m getting an idea of what i want to paint later on. this could be how a scene is set up or in this case, how a character is posed. here i’m not concerned about details or getting everything perfectly, i’m only planning how the thing will be composed. maybe a lot of canvas size changing, or adjusting what miku’s doing (note how busted miku’s right hand looks from all the transforming!) however, i still have to be concerned with how clear the sketch will be to future me, because the sketch won’t be any good if i can’t read what miku’s doing

after that, i lay down a flat gray under the sketch, mainly focusing on giving miku a clear silhouette. this is also a good time to make adjustments to the composition on the fly if i suddenly feel like something can be improved upon, like shortening miku’s left arm from the sketch!

after painting a flat silhouette, i start shading in grayscale, focusing only on lighting. i usually do it in two passes, one for the lightest and darkest tones i’ll use (not black and white) and then a second for midtones to blend them better with the base gray but i forgot to screenshot the result of the first pass 🗿 nevertheless, here is where i can start adding some amount of details. i’m not including any extra accessories yet, just focusing on the base design of the outfit and the character herself (for anyone wanting to draw characters from That Gacha Game, this is how i personally make the process more bearable for myself.) i still use the dark gray to separate where certain details (like the facial features and fingers) begin and end, mainly to make colouring more bearable later.

now here’s where i get the Good Colours. it’s a cheat lol. i put a gradient map layer over the grayscale painting so that there’s a little bit of color to start. some gradient maps can be applied as is, some need the layer settings adjusted to make it look good. this one, for example, is a (free) gradient map set from the csp assets store that needs you to set the layer opacity to 20% and to set the blending mode to color to achieve this result. in general, i tend to pick which gradient map i want to use based on vibes, or basically whether i want the work to be warmer or cooler, colour-wise. but this does do quite a bit of lifting for the colors in my stuff.

and then, finally, i add the colours. i add flat base colours in an overlay layer. at this stage, i’ve made the character silhouette clear enough that i don’t need to refer to the sketch anymore for what miku looks like. also, the gradient map layer does its magic by making the shading a bit more vibrant than it would’ve been without it. after that i paint over with a new layer to add details like the lace.

and then i put some extra shading on top. basically this is where the ‘better lighting’ happens. again, this isn’t a tutorial, so i’m not here to say what each part of the lighting is, but i’ve labeled which layers do which job. in other works where the lighting within a scene is more defined (from a window, from a small crack in the walls, etc) the glow dodge layer may be more opaque and sharper, but since this isn’t a work with that, the lighting was applied using an airbrush. the linear burn layer is also there to make the whole thing darker so the glow dodge doesn’t end up oversaturating miku. i also usually match the lights to the vibe i want, and use a complementary color for the shadows. so here you can see i have warm colors on the glow dodge layer, but light purple on both the linear burn and multiply layer.

and that’s it for the character—here’s a gif showing how each layer adds to miku! (sorry it’s so toasty)

as for the background, depending on the complexity, it may go through a similar process, or if i can settle with flat image backgrounds, i just go for that. it’s ok to use external image materials. i didn’t have a background in mind for this miku in specific, so i got some default csp materials and threw together something

and that’s about a rough overview of what my process for more finished works looks like! again, art is a fluid process so i never specifically stick to certain steps all the time, and you shouldn’t either. i can probably answer why i’d pick this colour over another in one particular work, but it’s something that kinda has to be learned on a grander scale. i think everyone can already feel what colors work with what atmosphere or what setting, even if they can’t immediately explain why. colors and composition do take some level of experimentation to find what works best!

#hatsune miku #vocaloid #piapro studio #doodle #ask #partypoizzon

[gay-dorito-dust]

you can write a fic where wednesday misses the reader? i love your writing and story

It was almost laughable, if not, pathetic for Wednesday as she witnesses co-dependency happen in real time before her eyes whenever she joined you and Enid in the quad. The way that the students would quickly manoeuvre their way around each other to their respective groups, as though in attempts to evades chance encounter with the inevitable solitude they’d all one day face upon their death beds. They feared the innermost voices of their consciousness and it’s council that it almost made Wednesday smile. Almost.

Wednesday was known to be anything other then obsessively needy and clingy, however as of recent she had found herself developing symptoms of co-dependency; How tragic. She would find her eyes actively search the swarm of students for you, her soul would sing falsetto unprovoked when she did meet your eyes, feeling the warmth as it rushed through her and her entirety at the implication of being within your presence once more, physical contact included or just sitting in comfortable silence. She would brood within the dark crevices of her room until the day she would hear the knock on her door, followed by the meticulous melody that was your voice calling out to greet her.

Enid and Thing watched from the vibrant and colourful spectrum of the shared dorm as Wednesday would stare longingly out of the wide window as rain splattered against it’s pane like translucent blood. “Is…is she moping or just being her usual self, I can never tell.” Enid said to the disembodied hand who did the equivalent of a shoulder shrug with his fingers. “You don’t know? Aren’t you like her relative or something?” Enid received a series of frantic tapping and another shrug. “Well your useful.” Enid sighed as Thing gave her a thumbs up.

Enid knew what was up with Wednesday but just didn’t want to say it so openly, knowing it was only going to get shut down by the Addams. You had been away for awhile now running a tutoring class on behalf of the teachers for those students who were behind on lessons or finding certain subjects difficult to grasp. This unfortunately meant that your time with Wednesday were cut short throughout the duration of the week except for the weekends; Today was Friday. Enid did herself and Wednesday a solid and looked at the time and saw that by this time you would’ve finished the session and were most probably on your journey here.

“What time is it?” Wednesday asked, not once taking her eyes off of the massive widow in front of her. “4:30pm.” Enid replied and Wednesday sighed, closing her eyes before opening them again to discreetly look over her shoulder and at the door for a good couple of seconds before returning to look out the window solemnly. Time was an accursed entity to Wednesday, it forced you both part for longitudes periods throughout the duration of the week; only to bring you back together for two measly days? Pathetic.

If Wednesday had it her way she’d be sitting next to you during these tutoring sessions, running a stricter regime in making sure that the necessary information would stay stuck in their thick skulls, instead of coming back daily to waste even more of your time that could’ve easily been spent with her! However the teachers asked you personally to see to that, not her and for that Wednesday damned those teachers for their conspicuous plan in separating you apart from one another. Their misery shall be slow and torturous, Wednesday would make sure of that.

Whilst Wednesday was contemplating her gratuitous revenge plans, a knock sounded from the front door and Enid got up to answer it; knowingly of who was on the other side as a smile was brought up by to her lips as she turned to look at her dorm mate. “Wednesday,” she sang, catching her attention as she raised her brows unamused at her, “guess who.” Enid then opened the door to reveal you stood in the doorway. “Heya my poison powder.” You said as you entered the dorm, crossing the room to hold Wednesday in your arms tightly as you felt her stiffen in your hold before melting.

“What kept you so long, you left me waiting. Again.” Wednesday said bluntly but you could tell that she was happy to have you with her once again that you didn’t her seemingly cold words to heart. “Would you believe me if I said that Ajax stoned himself again but in the hallway this time, so I had to move him to safety elsewhere?” You inquired playfully whilst gauging her unimpressed stare. “Didn’t think so.” You say softly as you pressed a kiss between her brows, taking note of how she seemingly pressed herself further into your touch, burning her head under your chin and into your neck as though she were a cat.

#wednesday addams fanfic #wednesday addams x reader #Wednesday Addams imagines #Wednesday Addams imagine #Wednesday Addams fic #Wednesday Addams x you #Wednesday imagines #Wednesday imagine #Wednesday x you #Wednesday fic #Wednesday fanfic #wednesday x reader

[indieyuugure]

Officially asking your timeline for the 2012 series!

Feel free to answer in two parts if that's easier (and/or less confusing) considering the first three seasons are less convoluted than the last two.

Thanks!

Yeah! Of course here you go:

So this is assuming that the Turtles’ birthday is in the spring, I could of course be wrong, but it seems unlikely it’s a different time.

Okay so first thing you probably notice is that the time line doesn’t start in 2012, it starts in 2011. It’s weird but according to Rocksteady’s résumé, they joined the foot clan in 2013, but they do that in season 3, which should be about 3 years later.

There’s also a few other things, including the fact that Kraang Prime states I believe in season 3 that it has been 2 years since their first invasion. I’m not as certain on that one as someone told me about that, if you have an episode number that’d be great.

If you can prove me wrong on this really weird error I would be genuinely delighted.

So I guess starting with season 1 and 2’s distance, there’s a line between Casey and Raph during the episode The Invasion Part 1 where Casey states it’s been 1 year since the last invasion: (source: turtlepedia.fandom.com)

So that means that season 1 and 2 have to span 2 years. Mikey also states there was a month gap between the first and second season heard in The Mutation Situation: (as in season 2 episode 1, not my comic)

After season 2, stuff starts getting a bit weird. Assuming we ignore the animation error that there is no snow on the ground and the trees have green leaves in early December in Massachusetts, then it’s definitely true that 3 months have passed since December so now it’s March, which makes sense for there to be no snow.

There’s another really odd error in The Croaking, where Michelangelo introduces himself as being 15 years old, when actually he’s 16 almost (or is, depending on their birthday) 17. I figure though that’s probably an error with the script writers and not related to the actual timeline.

Then of course there’s the time travel dilemma. At the end of season 3 it ends with the planet being blown up and they travel back in time an amount that Donnie claims to be 6 months given the Earth’s position in comparison to the sun.

However, there are a few issues to this. One being that in the episode Trans-Dimensional Turtles(season 4, ep 10) the turtles go back in time. The time is unclear until the end when a Kraathatrogon pops out of a portal that is the same one that they threw into a portal back in the episode The Manhattan Project(episode 13, s2)way back in season 2. Unfortunately this means that either A) all of season 2 and 3 covers 6 months, which is definitely not true, or B) Donnie was wrong about how long they were actually in Space.

Now the tricky part is the question “Well if Donnie was wrong, then how long were they ACTUALLY in space.” Now I made the guess that maybe it’s more like 1 and a half years because that way Donnie was still right, he didn’t realize how many times the Earth had made a full circle, so it’s more plausible.

I have some issues with how he guessed 6 months, because they are right next to the Earth, but the Earth has an elliptical orbit around the sun, so 6 months would be half a circle, so unless they were also following the earth in it’s orbit, it would actually need to be 1 or 2 years—one or two full circles to the same position—but whatever I guess. Diagram of what I mean:

The other issue is that yes, now we have a point of reference in the first timeline, but where was that in the Space timeline. There’s not a clear answer, but given that there are 14 episodes in the space arc, The Manhattan Project taking place at episode 10, and the fact that the turtles bemoan the fact that the last few episodes are actually incredibly far spaced because of travel time, I’m going to assume it’s somewhere between the first 1/3 and middle of their time in space.

(In this diagram it’s more like 1.667 years, but whatever)

So after that you have season 4 which is even harder to pinpoint the length of be about half of it is the space arc, now, you could say that the remainder 2013 is also the rest of season 4, however another question arises with Rocksteady’s résumé where he states that he stopped working for the Foot in 2016, though I’m not sure when he’s considering their work for the foot to have ended (if you have an episode that’d be great) so I’m not really sure.

So unfortunately, everything after the end of the Space arc I have no clue on, though it seems you were mostly interested in the first half.

I basically have no clue for season 5, but most of it is silly “what-ifs” so I doubt most of it has a time line placement.

So yeah, that’s my wacky timeline research, please nit-pick as much as you can. My goal is to create an official timeline so if you have more stuff to add to this that might clarify things, or prove things differently, I’m all ears!

Hopefully that made any amount of sense, feel free to ask more questions :]

#tmnt #q&a #timeline #timeline nonesense #tmnt 2012

[capybaraonabicycle]

How many holes does a straw have?

@i-send-you-random-asks

(asking you specifically cause i think you'd have an interesting answer)

Ohhh, yes, this is my question! Thank you, dear!

Short answer:

That depends on your definition of 'hole'. Topology says 1.

Long answer:

Since this depends on your definition of hole, I can think of 5 answers that can be rationalised and make some flavour of sense:

(@marvellouspinecone helped me with some of these a while back and might have additional info, so I am going to credit her here.)

0 holes

You can define a hole as something that makes an object broken, or at least as something you have to put into a finished object AFTER construction. This could be something like a tear in the fabric or a hole you have drilled into the 'wall' of the straw. Ergo, a functioning straw does not have any holes. It looks exactly as it was designed to be.

1 hole

This is the math answer. As said in the infamous post, a straw is 'topologically equivalent' to a torus. To be precise, it is homotopic to a torus.

First question: What is a torus?

Answer: Basically a donut. It looks like this:

[ID: image of a torus. It looks like a donut with a checkered surface. end ID]

Second question: What does 'homotopic' mean?

Answer: This is where it gets math-y technical, but in a way it means that we can continuously transform either of the objects into the other - in a nice way.

Imagine, our straw was made of super-clay: we can't rip it or glue it together at any point, but we can pull and push it together however we like, even changing its density. So we could stretch some parts to become very big and shrink others a lot. We can also bend and twist it a little.

So, we take our straw and we push it together in the direction of its length until the very long straw becomes short like a ring. And then we pull on the 'walls' to make them nice and fat and round. Tada! We have made a donut!

(We can do this in the other direction, too, pull the torus (donut) out long and then make the walls thin - then we get a straw.)

The thing about such homotopies is, they preserve the number of holes an object has. Hence, the straw has exactly as many holes as the torus (donut)!

Third question: How many holes does a torus have?

Answer: In topology, we have something called the Euler characteristic. It is a number that gets assigned to surfaces based on their properties (you can calculate it via triangulation but let's not go there.) A sphere (ball) has Euler characteristic 2. Each hole in a surface lowers the Euler characteristic by 2. The torus (is an orientable surface and) has Euler characteristic 0, so it has one hole.

(If you'd like to have the more exact explanation, it is attaching handles to a surface that reduce the Euler characteristic by 2 and add a hole. And a torus is homotopic to a sphere with one handle attached.)

Thus, a straw has one hole.

2 holes

If we define a hole as an indentation in an object that allows us (or something else) to enter a certain distance into the object, a straw has two holes. One on the top and one on the bottom.

This definition actually makes sense, since we call holes we dig into the Earth 'holes'. In the mathematic sense, they aren't, they're indentations that can (with the super clay idea) be flattened out. But with these holes we don't care about whether it will lead somewhere or just have a floor somewhere at the bottom, you can go in, so it's a hole.

If we forget about the fact that the straw leads 'one hole into the other', so like, if we were very small (or the straw very big) and we would merely walk across the outside and look into the holes, we would find two holes on the straw, one on the bottom, one on the top. If we don't enter, we wouldn't even know they were connected.

With this definition you have to be a little bit careful about when you start calling something a hole. I would reckon there needs to be a certain percentage-relation between depth of hole vs circumference of entrance to hole before you call it such. And maybe also something about size and shape and sharpness of edge - like, you wouldn't call a valley a hole, probably? But like, the straw fulfils the requirements of this hole easily, and twice.

3 holes

Okay, this one is merely for fun and play, don't get mad at me. But, say we define a hole kinda like above, as an entrance to the inside of an object. And we further define hole as any way through an object. Then we end up with something I like to call a 'hole-interval' through the straw.

So, we have one hole (rim at the top) to get into the straw, one hole (the straw, basically) to get through the straw and a third whole (rim at the bottom) to get out of the straw.

This is nonsense, obviously, but I like it, because there is a very nice mathematical feeling to it, resembling a closed interval. A closed interval [a, b] is just one object, but it has three parts that are often regarded independently of the others: the open interval (a, b) in the middle and the edge points {a} and {b}. For example, if you were to test the continuity of a function, you would often regard these three cases separately. So, in a way, there is beauty in regarding the 'three holes' of the straw as separate as well.

Infinitely many holes

This one is kinda nonsense as well, but I like the implications. If we define a hole as any instance of an object that is part of a tunnel through the object - I am using the word 'tunnel' here because actually, that tunnel would be the one hole in this case but for the sake of the definition, it can't be - then a straw is an infinite number of holes, stacked on top of each other. It is important to notice here that a hole cannot possibly have any depth in this case, just like the top and bottom holes in the last case.

This leads to two likely interpretations:

A) We have a hole at any real number (if we consider the straw as an interval along its length again). Then the straw would be made from uncountably infinitely many holes - which I think is an awesome concept.

B) We have a hole at any rational number. This would only give us a countably infinite number of holes in the straw and since Q is dense in R (don't worry about what that means), it would LOOK like the whole straw is made of holes, when in reality most of the straw would actually NOT HAVE ANY holes in it. Now isn't that the best thing you have heard all day?

And the best part : By this definition, not only would any straw be made of infinitely many holes, but any object with a hole in it would have infinitely many holes in it. Remember, for this to make sense, we needed to have holes with 0 depth. But any hole in reality has some depth. Punch a hole into a piece of paper: BAM infinitely many holes stacked on top of each other! :D

What have we learnt?

The most likely answers are 1 hole or 2 holes, depending on whether you take a more mathematical or more language-oriented approach. I think those were the two opinions most vocal in the original post as well.

But if you want to have fun, you can come up with very nice concepts and definitions to count holes by that give you a range of correct answers. Just make sure to think of the implications :)

#Thank you for this question <3 #I think you can tell I had a blast #On a related note: me and my friends were talking about the euler characteristic of the Earth the other day #Bc in meteorology you often consider the Earth as a torus #But with all the tunnel systems it is more likely to be an n-torus with n the number of holes and n being a VERY large number #Instead of - what you would initially guess perhaps - a sphere #math

[malenjoyer]

sorry if this has been answered before, but what is your lineart process? like how do you do it/color it/anything else fancy i hope that makes sense 😭

Hi! So, it really depends on which works you're referring to.

I tried to do a general video recording (flashing tw, feel free to slow it down if you can. Idk how)

When you break it down to the basics, you can see that certain areas have a slightly different line weight. For example:

Here it is again without touch up (left) and with touch ups (right)

The big misconception I had during the peak of art advice era floating around is that for an art piece to be interesting, it has to have line weight everywhere. I would end up adding thickness to areas that didn't need it without understanding why we use line weight.

It has to make sense. (Unless you don't care which is also okay!)

Normally, I think how they teach you in foundational art is that it follows this logic:

add thicker lines on the opposing side you think the light would come from:

link explaining the concept better than me

Unconsciously, I work the same way but since 80% of my art has been self-taught through trial and error, so I don't know how to explain it as good. You can see I apply this concept here if we were to apply a light source.

Suddenly, it doesn't seem like I made areas thicker for no reason.

A lot of the times in my art where there is sudden line thickness that might not follow this logic above, it's usually because I want to emphasize dimension more than it technically needs. Once you understand foundations, you can break it however you want to. Note: If it doesn't work for you, it doesn't have to have line weight if you don't care for it or it doesn't fit within your style. As people who do art, sometimes we like parts of other people's art but it doesn't work for our own workflows at all. The tough pill to swallow is that we may like how other people do art, but it's not comfortable for us.

If you wanted an explanation for why sometimes my sketch lines have two colors:

In the Harley one, I did something similar where I left bits of my sketch in the final piece: (my sketch was actually entirely in red and blue lines)

I hope this helps...

#long post #maleinbox #sorry the visuals are blurry.. i didnt save the file </3

[kess-in-the-perthchimzone]

In defense of Kang

Deep breath. I know it probably won’t help if you already hated him but I’m going to tackle it.

This line is horrible. It’s inexcusable. I am writing this also still angry at Kang.

But Kang does not truly mean this. He is deeply grieving. Call it bargaining, call it anger, I don’t know exactly what stage this is, but he is not thinking rationally.

He’s already in this episode been reminded of his mom whose death fundamentally changed him as a person — left him hopeless for many years. Now, when he’s finally thought he might be able to connect with his dad again, he’s been told his dad may never wake up.

He’s also broken up with his boyfriend who he loves deeply, who he just slept with for the very first time, who he bases a significant portion of his self esteem on. I fully recognize this is on his initiative— he is the one who told Sailom to go — but Sailom didn’t fight for them either. He walked away, he didn’t knock on the door. I say this not to justify Kang’s actions but to explain how easily in his low state this can warp — Sailom never needed me the way I do him, look how simple it was for him to pack up and go, look how he hasn’t tried to get in touch even once.

Kang in part has to embrace the narrative that Sailom was never fully invested in their relationship for his own mental stability. Because we see later that the moment he admits to himself the truth of what he did to Sailom by throwing him out, he completely breaks. He can’t handle knowing he did something so horrible to the person he cares about most in the world. He’s saying those awful things to Grandma Ging to keep himself from drowning.

She is saying ���what if Saifah is innocent?”. He is at his very core saying, Saifah can’t be innocent because then I threw Sailom out over nothing.

It doesn’t help that usually Kang regulates his emotions WITH SAILOM. He had become ‘dangerously’ (no pun intended) dependent on Sailom and is now spiraling without him there.

No matter what Kang says aloud, at the end of the day, he answered this call. And he came to rescue Sailom.

He starts crying here first. He is sobbing so hard he is shaking because he knows he was wrong. He knows he hurt Sailom. He knows he was just as cruel if not more so than the debtors.

He is a 17 year old boy who is struggling with a traumatic event and the fear of becoming an orphan. He handles it in the worst possible way, by pushing away the person best positioned to help him, but that is grief. It never manifests the way it should.

It’s covered up by the music, but I’m very certain in that room that he is whispering things like “I’m sorry” and “I love you” to Sailom over and over again.

He made mistakes but he knows he made them. He was wounded and lashed out in protection, and now he has two episodes to make up for it.

#kanghansailom #dangerous romance #dangerous romance the series #kess babbles about dangerous romance

[oxittocin]

I was wondering if you could write

How robin would react to aftercare from a gn reader after first time like a hot bath or a massage just to help her sore body parts if it's not too much to ask of course....

soft (nico robin x reader)

nico robin masterlist

thank you for the request, my friend. here's my take on this - i hope you find it satisfactory. i am just a nico robin simp and i am not a writer by any means so please accept my humble offerings :]

cw: suggestive (mdni!), gn!reader

Love is a funny word that evokes a spectrum of emotions, depending on its adjective. Love can be sweet, secure, overbearing, suffocating, dark, temporal, lasting, kind, chaste, lustful, conflicted, permanent - anything, everything, or nothing at all.

You’ve experienced plenty in this lifetime. Whirlwind romances that make your heart run wild and free, taking risks with a kind of reckless abandon that only youths can afford. Or perhaps even sweet dates under cherry blossom trees and spring, like splitting a banana milkshake and sharing a cone of ice-cream. Maybe you’ve even had a few one-night stands, drunk on the taste of liquor and sin on a faceless stranger’s tongue. One or two committed partnerships, even, months spent mapping out a future, only to see it go down the drain.

You thought you’d seen everything love and life had to offer, until you met her.

How could you even begin to describe her? Words fail you before you could even form a coherent thought. Nothing you say, write or think could ever do her justice.

She, who carries the weight of the world on her shoulders. She, who continues to live on resolutely, in spite of the injustice that life had done unto her. She, whose will to survive seems to only grow stronger, in response to the tragedies life inflicts on her. A woman, whose life is shaped by the roughness of destiny and fate. Still, her softness is what shines through.

Soft smile when she says the spookiest thing. Soft gaze that she reserves mostly for Chopper, but you catch her sneaking a couple at you secretly too. Soft skin that you can’t help noticing, whenever she leans against you, head on your shoulder while she’s buried in yet another book. Soft touches that leave a burning and yearning on your skin whenever she brushes past you, or touches your hand.

It makes you want to love her softly. Tenderly, gently, kindly, lovingly, purely, compassionately.

——————————————

Loving her softly.

Bringing her a warm cup of tea before bed every night without fail. Lazy kisses by the deck as the breeze carries with it an air of serenity. Holding her hand under the dining table, rubbing comforting circles around her knuckles absentmindedly, as though it was the most natural thing in the world.

Loving her softly was the only way you knew how to.

She had asked you once if you were afraid of her, and what being with her entailed.

“The World Government, the organisations I betrayed and the mistakes I’d made. The whole weight of my existence. Are you certain you are fine with me?” She asked, slight desperation in her voice begging you to reconsider your choices. Her typically calm demeanor started to crack as she pushed you for an answer. This must mean a lot to her, you thought.

“It’s never been a problem for me.” You responded simply.

“Why?” She asked, unconvinced that you fully understood the gravity of the situation you were getting yourself into.

“You’re so easy to love.” You say with a shrug, “That alone makes everything else easy, too.”

She tilted her head away from you before you could catch a glimpse of her expression. You waited for a response, but her silence tells you that it was a moot point. You contemplated whether it would be a reassuring gesture to slip your hand into hers, but you decided against it. If she needs time, then you’ll gladly wait. An hour, a week, a month or a year, it doesn’t really matter. Wait you shall.

——————————————

Making love, softly, too.

Brushing your thumb against her cheek as your body coaxes pleased moans out of her lips. Delicate kisses, running your mouth along her curves as you paid attention to every inch of her beautiful skin. Fingers that trace up and down her back, tenderly tingling her senses, reminding her of your presence that has since taken over her life. Slow, steady rocking against her hips as her palm grips tightly around your wrists, as if begging you not to leave her after this was over. You take her hand, gently interlocking your fingers with hers - a silent promise that you wouldn’t leave in the morning.

The pinnacle of love is vulnerability. To bare your soul for another to see, shedding layers of clothes, shame, ego to present yourself in total unadulterated being. It’s scary because it transcends lust, into the dangerous realm of intimacy. It’s the same way she always insists on pulling you into a hot bath after the night’s activities. Burying her face in the crook of your neck, small splashes in the water as she attaches herself closer towards you. With her eyes closed, breathing steadily against your chest, she looked so at peace. It must mean a lot for a Devil’s Fruit user to be in a bath, completely unguarded around you. Reaching out gently to knead the knots in her shoulder, you feel a warm glow on your cheeks and you’re not sure if it’s from the skin-to-skin contact or the steam from the bath. She sighed, breath tickling your neck as she lets out a pleased groan.

“You always insist on taking a bath together after.” You remarked.

“I do.” She responded simply, slightest hint of a grin gracing her features.

“It’s intimate.” You pointed out.

She nodded, planting a tender kiss on your forehead.

The intimacy made you feel alive. Human, even - scared, confused, loved, anxious, grateful - all at the same time. You wonder if it’s the same way for her, but you never dared to speak your thoughts into existence. In case, just in case, she doesn’t feel it like you do.

There is nothing inherently remarkable about being naked or sleeping with someone else. After all, sex can happen between two strangers without even a thread of attachment.

This, though, is nothing ordinary.

You feel it in your gut. The butterflies in your stomach tell you so.

——————————————

With love, comes expectations. Love is ultimately a commitment and there are duties that one cannot run away from. In this case, blow drying her hair after a hot bath.

To be fair, she could probably have it managed herself with a simple flick of her wrists - summoning one arm to get the hairdryer, another to comb through her hair, another to get the towel - you get the gist. She insists you do it for her, and you pretend to complain, scoffing and telling her she’s lucky she’s cute enough to make demands from you. Secretly, it’s one of your favorite parts of the night.

Fingers running through her hair as you meticulously held the hairdryer a safe distance away from her scalp, careful not to accidentally burn her. She sits still and upright, patiently letting you work your magic on her. You lightly drag your fingernails against her scalp and the back of her neck. You feel her body jerk slightly, shiver running down her spine. You bit your tongue to stifle a chuckle, thinking about how cute it was that she’s so sensitive. The scent of her floral shampoo overwhelms the room. Lavender, you think.

It is the small moments like these that make you so painfully aware of how insignificant everything was.

The storms that rage beyond the Thousand Sunny, the seas teeming with unthinkable lifeforms, the skies that hold islands so vast. So tiny and unimportant are our lives in the grand scheme of things.

Still, in the limited time that you have to exist, there is no where else you’d rather be than here with her, hairdryer in your hand.

#nico robin #nico robin x reader #one piece x reader #nico robin x y/n #nico robin x you #one piece robin #one piece #x reader #talking shit

[hood-ex]

You’re like the Dick Grayson encyclopedia of tumblr to me, so here is a question (no need to answer if you don’t want to lol). I’ve been thinking a lot of Dick’s many TBIs due to one of my classes… anyways, do you know when Dick’s significant TBI’s happened? Like what comics specifically? (Also, this is just for anyone, but you can answer if you’d like: does DC every say what part of Dick’s brain got injured during his TBIs?)

Idk one of my classes has talked a lot about specific brain functions and what could happen if certain areas are injured, and I obviously thought of my head trauma king. Got me thinking about the consequences Dick could have or should have faced with his TBIs 🤔

Dick's been clobbered in the head with a variety of things an ungodly amount of times. I even once made a post about different times Dick got clobbered in the head with like a baseball bat, golf club, etc. And then other people piled on more examples so lol yeah, I suppose some of those would be considered... less significant TBI's.

His most recent significant TBI did show which area of his brain got injured:

Nightwing (Vol. 4) #50

According to Dick, he lost bone, blood, brain tissue, and cerebrospinal fluid, and he also suffered from severe vascular swelling. He talked about how one of the effects of this was having a jump in consciousness. Like he wouldn’t understand how he ended up somewhere. - Nightwing (Vol. 4) #50

Right after the incident, he also couldn’t talk or feed himself (which isn't the case in Nightwing Annual #2 but whatever). - Nightwing (Vol. 4) #54

Dick's been shot in the head another time in Batman and Robin (Vol. 1) #15. Dr. Hurt fractured the back of Dick's skull to cause a hematoma. The intended effect was to have blood absorbed in the cerebrospinal fluid which would give Dick permanent neurological damage. So, basically, he wanted to turn Dick into a vegetable. Here's the placement of the bullet in case you were curious:

Batman and Robin (Vol. 1) #15

From here on out, it depends on what you'd classify as a major TBI. I mean, he once got clobbered on the top of his head with an extremely heavy looking mallet. He ended up blacking out from it for an extended period of time, so I'd personally count this as something on the more extreme side.

Nightwing (Vol. 3) #16

And speaking of blacking out, Dick blacked out four times in the current Nightwing run because he kept getting hit in the head (this takes place after Dick gets shot in the head by KGBeast—except the flashback one—sooo... his brain is probably feeling extra soupy now 😌):

Nightwing (Vol. 4) #92

Nightwing (Vol. 4) #81

Nightwing (Vol. 4) #81

Nightwing (Vol. 4) #101

In Robin: Year One #2-3, Dick had bandages around his head and might have taken a shot to the head from Two-Face's bat (though, luckily, Two-Face didn't get to deliver the final blow to Dick's head that would have killed him instantly). It seems like other internal injuries were more prominent as well as the fact that Dick's throat started to swell so badly that Alfred had to intubate him. Nevertheless, Dick nearly died from the severe beating, and the head injury might have increased his chance of dying.

Robin: Year One #3

In Superman/Batman #55, Bruce got Superman’s powers and he ended up losing control of himself. He broke Dick’s jaw, knocked some of his teeth out, and caused other fractures to Dick’s body (it doesn't specify where the fractures are but Dick's head possibly might be fractured considering the bandages). Bruce warned Dick that one more hit would kill him (very RYO-esque, no 😌?).

Superman/Batman #55

And, again, we could probably go on and on with him getting hit in the head and blacking out over this and that, so I'll end it here.

#woke up from a nap w a headache and these are all i can think of rn but if anyone else can think of a major tbi then go ahead and list it #Dick Grayson #TBI #head injuries #anon

[mysticstronomy]

CAN WE LAND ON THE JUPITER??

Blog#338

Saturday, October 7th, 2023

Welcome back,

Is it possible to stand on the surface of Jupiter??. We know Jupiter has lots of clouds and a thick atmosphere. But if you went deep enough, and assuming you were not crushed by atmospheric pressure or the planet’s gravity, would you find land that you could stand on? To answer that question, we first need to peek under the clouds to get a feel for what these planets are like.

Floating in the clouds of the Solar System’s giants are oceans.

As you descend into the atmosphere of the outer planets, two things happen: It gets hotter, and the pressure rises. Jupiter and Saturn are gas giants made of mostly hydrogen and helium. At a certain depth, the hydrogen, along with perhaps some liquid helium, compresses into an ocean. Jupiter’s ocean might be the largest in the Solar System, and it is so pressurized that the hydrogen loses its electrons, turning it into liquid metal.

As it moves, this ocean creates an electrical current that gives Jupiter a magnetic field 15 times the size of the Sun. It is the largest magnetic field of any planet in the Solar System.

Uranus and Neptune might also have oceans, this time of liquid water. In addition to hydrogen and helium, these icy giants have high percentages of water and ice. While the idea is still controversial, some scientists believe that at a certain depth this water becomes liquid, and it might be mixed at the molecular level with minerals.

This liquid might be super-heated above water’s boiling point, but high pressures in the clouds above keep it from boiling away.

For 200 years, we have known about a storm on Jupiter called the Great Red Spot. The Earth could fit inside the Spot, and the storm extends about 350 kilometers down into the planet. (The tallest recorded thunderstorms on Earth are about 20 km tall.) At these depths, the temperature is too high for water to condense, meaning that storms on Jupiter operate very differently than those on Earth.

The fastest winds in the Solar System, meanwhile, belong to Neptune, and they rage at 2,000 km per hour. This speed can be explained in part by the atmosphere’s great shear, which is created by different latitude bands rotating at their own speeds. In addition, the cloud tops of Neptune are colder than -200°C, but the interior of the planet blazes at 5,100°C. This temperature difference contributes to the high winds.

Then there is Saturn’s weird hexagon, a six-sided cloud band over its north pole made by a polar jet stream. The shape is unique in the Solar System, and it might be formed by different layers rotating at different speeds.

Uranus and Neptune might have some other remarkable attributes. For example, there might be oceans and rainstorms of liquid diamonds on Uranus and Neptune. Here on Earth, scientists found that with enough heat and pressure, diamonds can liquefy without becoming graphite.

While we have not observed liquid diamonds directly on Uranus and Neptune, the pressure and temperature have created the right conditions. Diamond rains may also happen on Saturn and Jupiter. There might be another peculiar kind of rain on Saturn. One of its rings rains material back down to the planet, and it contains a mixture of carbon dioxide, butane, propane, ammonia, and water.

Now, we finally can circle back to the original question: Can you stand on the surface of Jupiter or any of these giants? Probably not.

Saturn’s clouds move at different speeds depending on latitude. Clouds near the poles move slower than those at the equator. This differential rotation is seen to a depth of 10,000 km, or one-sixth of the way into the planet. At Saturn’s core, which is about 12 to 20 times the size of Earth, there is a concentration of heavy elements.

In between Saturn’s core and its clouds, we can imagine a couple of scenarios.

One consists of layers, and it comes with a clear definition between land and atmosphere. Many previous models of Saturn’s interior imagined such distinct layers, but there is another possibility: The core of Saturn becomes rocky only gradually, as hydrogen and helium slowly mix with the heavier elements in the core. Such a model is often referred to as a “fuzzy core.”

Six years ago, the Cassini space probe ended its mission and dropped through the clouds of Saturn. As it crashed into the planet, it sent out gravitational data that has been analyzed by scientists to determine the properties of the planet’s interior, and the observations favor a fuzzy core model. A similar core is suspected on Jupiter, while Uranus and Neptune may or may not have them. It is difficult to know for sure until we have more detailed observations of these planets.

Originally published on bigthink.com

COMING UP!!

(Wednesday, October 11th, 2023)

"CAN WE HARNESS THE ENERGY OF A BLACK HOLE??"

#astronomy #outer space #alternate universe #astrophysics #universe #spacecraft #white universe #space #parallel universe #astrophotography

[sukunasdirtylaugh]

part one, part two, part three, part four

one day, lord toji arrives late into the evening. the sun had not set yet and the birds were still out. today, ameera had been out busy with dinner and the others were not by the entrance when he arrived, almost not wanting to be seen.

he walked with a certain drag, a limp by his left ankle. and you noticed, cautiously walking to his aid.

"my lord," you jeld your breath in, "are you alright?"

"I'm fine," he rasps, trying to walk past you, "just... I need to sit down." without hesitating, you openly offer him your room. you have a bed and chair, anything. amd a part of you felt excited to assist him even if he looked injured. you wanted to return your gratitude. and to no protest, he accepts your offer, sitting on your white linen sheets.

"what... happened?"

"I happened to walk in to a disagreement with demeter," he clarifies, "she wasn't happy to hear hades wanted to spend another night with his wife."

"she... she only spends a selected amount of time with persephone, does she not?" toji nods.

"which is why I can understand she was upset, but it was no reason to lash out onto another poor bystander." you catch the way he laughs at his misfortune. "she's lucky achilles taught me how to fight before he passed." with a look of approval, you check to see his ankle. red, slightly scarred and swollen.

"I'll get you a cool rag," is all you say accompanied with a nod.

after your return, you kneel before the deity only to submerge the rag and squeeze out the remaining liquid inside. he watches how you silently swipe and press onto his wound, watching how you expertly manage to know how to tend to someone's wounds.

"when my uncle would come home, drunk," you state, "I'd often have to clean up his wounds." your explanation makes him nod, knowing why you're already skilled. he notices how you act unaffected at the sight of blood. and he dares to ask, "do you miss him?"

"not really," the sigh leaving your lips should surprise you, "but I often find myself wondering what became of them after I left."

"I can always tell you," he offers, gently. "and you wouldn't have to visit to know."

that gets your attention.

"I don't know," you sigh, "I've moved on... but I can't help but feel..."

"guilt?" you nod.

"there's no need to feel that." he reassures. "they're the ones who should be burdened by that. having you marry someone like that."

"so you've seen him?"

"I've heard of him," he answers through a clenched jaw, "but yes, I have seen him, once."

"do you think I made the right choice?" you feel yourself whispering, regretting how you could possibly tell that to him. you expect him to be annoyed at your ungratefulness, but he only remains silent.

"I think... that entirely depends on you." he says, "you avoided something that, at the expense of one thing. so... you're neither far off bad nor good." his eyes then look down to yours, "but is there something you need?" your heart flutters and your breath is stuck through your pipes.

"no," you answer softly, "I... I think I'm okay." you focus back on his wound, "is this... okay?"

you miss the gentle way the corner of his lip tugs upwards.

"yes."

#toji #jjk #jujutsu kaisen #jujustu kaisen #toji fushiguro #toji x reader #jjk toji #toji x you #fushiguro #toji zenin #jujutsu toji #toji x y/n #fushiguro toji x reader

[mortal-song]

klaus has this habit of searching for answers and purpose in the same place he lost them. his autonomy was stolen from him as a child, and he lives with that loss every day. it’s quite common for people with that experience to live with dissociative symptoms, and i actually think klaus is a realistic portrayal of that. while it’s never outright said that it’s dissociation he deals with, i think a lot of survivors could probably see it in him. he’s always seemed to feel a disconnect with himself, with his own body (for example -- and this is a small one -- when he told ben “you’re not getting in this body,” rather than my body). his identity is something transient, something that shifts drastically sometimes depending on the situation he’s in, which is a common experience in people with dissociative symptoms -- we’re like “chameleons.” 

he forgets key things regarding his trauma: that, or his brain will twist the events to make them more palatable to himself. he didn’t remember being killed as a child, even though it happened multiple times. and despite not remembering anything, he still has visceral reactions when it comes to being confined. he may not consciously remember every event, but his body does, and so he reacts accordingly, as if the threat of being killed again were a present one. because the body remembers the loss of control, it remembers the autonomy that was once stolen. then there’s “bus ball.” obviously, it was an objectively shitty, terrifying thing, being once again murdered, multiple times by your own father and abuser -- and as an experiment, no less. despite that, the events were portrayed as something that was for the most part fun, almost. and when he vaguely recounted said events later on, he referred to it as “bus ball.” like it really was nothing more than a game. that’s another common dissociative symptom, and a common trauma symptom: being so disconnected on a certain level from your own trauma that you’re able to talk about it like it’s nothing. that you’re able to remember a skewed version of it so that you don’t have to internalize any of the real terror.

touch is another one. klaus is a very tactile person. he communicates well through touch. but he often doesn’t like being touched, unless it’s from someone he knows, loves and trusts.

he startles easily, too. will jump back at sudden movements or words, gets frightened by loud noises and will cover his ears.

his need for connection is relevant here, too. he has a hard time being alone with himself, and so he finds people to cling to, or finds people that will cling to him, just to stave off those feelings and to ground himself, almost. sometimes it spirals out of control, like with the cult. but his constant need for connection stems from feeling disconnected.

one of his passing comments to luther in s1 (”I remember my first time... oh no. i don’t”) hits hard, too. it’s not uncommon for trauma victims to experience hypersexuality as a result of this loss of autonomy. and then, to not even remember some of these encounters (obviously, the drugs/alcohol likely play a role in this not remembering. but hey, what’s addiction often a symptom of? oh yeah. trauma.)

this disconnect he feels from his own body is also why he was able to have certain encounters even with people he didn’t like. keechie comes to mind. he didn’t like keechie, that was made clear. but it sounds like he still had no problem having sex with him, despite this. it’s common, when you have dissociative symptoms, to feel this sort of disconnect. you don’t always care what happens to a body that doesn’t feel like yours, hell, you can enjoy it, sometimes -- even if you don’t like the person you’re doing it with.

it’s why he gets off on torture, too. klaus being a masochist was clearly portrayed in episode four, but then was referenced again two other times. (”if i see a boner, i’m out” when he was being tied up, and, “i’m going to beat you, and not the way you like it.”) when you grow up tortured and become accustomed to it it’s easy for the brain to say “hey, this is unbearable so actually we like this thing now. that’ll make it bearable!” i mean, obviously it’s a little more complicated than that, but that’s the gist of the situation. 

you often find comfort -- or even pleasure -- in familiarity, even when familiarity isn’t safe. we see that in klaus.

and that leads me back to my main point: klaus searches for answers, he searches for purpose in the same places he lost them. if he can give up his body to anyone who will take it, then maybe he can take back autonomy, is what he might think. if he can have a say in his own destruction, whether it’s addiction or reckless behavior, then maybe he can take back control. 

but that’s never truly how it plays out. a trauma survivor will never find what they’re looking for this way. i believe that klaus is starting to realize this, even if he does run into setbacks, and even though he will continue to run into setbacks. if he wants to find control, and if he wants to find purpose, he will have to reroute that energy into a path of recovery rather than destruction. it’s a hard hill to climb, but we know he can do it.

i could say more about this, but i think this says enough, for now.

#klaus hargreeves #the umbrella academy #tua #this is something very personal to me #actually #kind of feels like standing on a podium and going i'm gonna tell you my deepest secrets #but this is NOT about me #it's about klaus #it's just that there's a reason i understand him so well #tua meta

[sehnsuchts-trunken]

Hii🥺 Can I request a Riven imagine where you lost your powers and he is trying to teach you basic self defence to be able to fight for the times he csnnot protect you?🥺

oohhhh yes this is super interesting! thank you!

"I can't do it", you said, flopping down on the grass and pulling your knees up so you could hide your face in the fabric of your trousers, not wanting Riven to see that you were starting to tear up.

"Yes, you can", he reassured, sitting himself down next to you. You tilted your head so you could look at him, half of it still smushed against your legs, watching him watch you.

"No, Riven, I really can't, I'm a lost cause."

Your tears did start to fall down now, you voice turning shaky. You hadn't wanted it to be like this. It never was supposed to be like this.

"You're-"

"Not, I know", you interrupted, trying to ignore your sniffles. "You've been saying that for two hours. But that's because you're good at this, you're so good at this and I'm not, I never trained, you spent years training! I practiced my magic, evolved it, and now it's gone! Gone! And you can't possibly know how devastating that is, Riven, it's like a part of me is missing, it's like my soul is somehow detached. It's not just that... that I can't defend myself. My magic was- is a part of me. It's a part of me."

He grinned at you. "You think I'm 'so good at this'?"

You groaned and hit his arm, letting your hand rest there because you had no more energy left to move a single muscle after the practise he'd drilled you through. Or perhaps because you just didn't want to.

"You're a bastard, is what you are", you complained. He was trying to joke and make you feel better, of course. And he managed. As always. To distract you, at least.

He leaned forward until your noses almost touched - you swallowed hard, not daring to even blink. You and Riven had never really been official. You'd flirted, yes, sure, you always did. You were great friends, spent a shit ton of time together, and yeah, maybe there had always been a weird feeling in your stomach when you looked at him. And yes, sure, you had kissed a few times. At parties. When the two of you had been tipsy, or drunk, or wasted. And yes, you'd kissed sober, too. But that had been months ago. And you'd never - well, you'd never been on a date. Not on a real one. You'd both seen other people as well, never made it official, never made it exclusive.

And now he was so close again - too close, almost. Depending on what he was about to do.

His gaze flickered down to your lips. Your breath caught in your throat.

"You're not useless", he whispered. "I know you think that. You're not. Your magic will come back, you'll find a way. And until then, I'll help you." His lips twitched upwards. "Understood?"

You really couldn't help but stare at his mouth, not when he was grinning like that, like he'd won some game the two of you hadn't been playing.

"Yeah", you muttered, not quite knowing anymore what you were agreeing to, only that he was so certain of it that you couldn't help but trust him.

"Good", he said. There was a moment of silence - you debated nodding. But then his lips were on yours and your eyes shut by themselves and you pushed forward into him. Riven chuckled into the kiss. Suddenly, you pulled back.

"I want you to be my boyfriend", you babbled, your words definitely quicker than your mind. Heat rushed into your cheeks the second you'd finished your sentence.

But Riven only captured your lips in a second kiss, his hands finding your waist, your arms crossing behind his neck.

"You're cute", he grinned in between kisses, his voice deep and slow, like it was in the mornings or when he'd drunk something.

"Is that a yes?", you asked, catching your breath, pushing away from him for just a moment to look into his eyes.

"What do you think?", he said, already pulling you back in again. You barely had the time to shake your head in disbelief at his cryptic answers. He was indeed a bastard - yours, though. And he'd help you through this. Both of you knew that.

#riven winx #riven x reader #winx riven x reader #fate riven #winx riven #fate winx saga #fate series #ftws #ftws riven #x reader

[goldenhaz]

Hi! I'm new to your blog and i dont really know the rules for requesting but i saw that you wanted requests so could you maybe do jj maybank with a routledge! reader who's really smart sorta like pope? Thanks (p.s its totally ok to say no if you dont want to :) )

YES HI HELLO WELCOME!! This idea is one I’ve actually had in the back of mind of doing, so I’m super happy you suggested it! Sorry it took me so long! I’ve been writing up and editing all the requests I’ve been sent! I want to make sure they live up to all of your expectations ☺️ hope you enjoy this one :))

Warning(s): none

Summary: JJ loves watching how smart his lover acts, especially when outsmarting Pope.

Einstein

“Y/N it is not that simple! If it was, don’t you think scientists would’ve figured out how to create the waves themselves?” Pope argues, earning an eye roll from Y/N.

“We ourselves make waves, we create the orbiting water molecules just like any water nature has.”

JJ had just arrived at the Chateau on a late Thursday evening, hearing his beloved lover and Pope arguing about something that most likely didn’t matter.

JJ has walked inside and greeting John B and Kie with their handshakes, watching as they didn’t take their eyes off the two debating on the couch. He adjusted his hat as he made his way over to sit next to Y/N.

“What’s tonight’s debate about?” He jokes, earning a loud shush from Y/N.

“Okay, but think about the how the crest of a wave forms,” Y/N starts. “It’s based off of the Orbital path that the water molecules create, therefore the more molecules that orbit the bigger the wave will become. It helps build and create the energy to water when it begins to peak.”

They all watch Pope roll his eyes. “Nobody said that Scientists haven’t figured out a way to create waves. Some water parks have wave pools designed to create a certain wave length, and there’s even outdoor places where they’ve made lakes have surf able waves.”

“What does that have to do with the ocean?” Pope asks.

Y/N facepalms. “So if they can create wavelengths that can match real orbital molecules, what makes you think they can’t do it for parts of the ocean?”

Pope sighs in defeat, knowing that they’re arguing will get neither of them nowhere.

Y/N lets up a small smirk, leaning back against JJ as everyone watches Pope debate on pushing further. “Before you say anything further, it’s based off of physics. Waves are science and mathematics. Just gotta figure out the equation to make it work.”

“And what’s the equation exactly?” Y/N’s brother asks across the room,

As Y/N was about to answer, Pope interrupts her. “Easy. It’s going to be X(y,t) equals A cosign and then two pi over the time period multiplied by two pi over the wave length plus or minus zero. In parentheses.” Pope answers, proud of his equation before looking back to the Y/H/C one who was content in JJ’s arms.

Y/N shook her head and hit her tongue, JJ placing a kiss on the corner of the mouth, and wrapping his arms fully around Y/N’s waist to pull his lover onto his lap.

“What? Is it wrong?” Sarah buds in, Pope letting out a sound as if saying he was questioning if he was wrong too.

“Yes, it is wrong actually,” Y/N states, earning a shocked snort from Pope.

“I’m never wrong, I could do that equation in my sleep.” He says, watching as Y/N’s head shakes.

“Well then that shows that you need to sleep less and learn it more,” earning a bunch of howls from their friends.

“It is actually first off going to depend on the height and the length of the waves. It could switch up at anytime. But the average equation is known as Y, which would be the vertical height, with X and T in parentheses next to it equaling and equation of A, which is the height of the wave, multiplied by Cosign. And in parentheses next to that is where it would be two pi over the wavelength multiplied by X, which is the horizontal position of a wave, added or subtracted by two pi again over the time period per wave times T, which is the frequency, added or subtracted by zero.” Y/N explains as if it’s as easy as two plus two, looking at everyone who looked back in awe and shock.

Pope just groans and rubs his hand over his face, nodding as a signal of saying Y/N’s equation was right.

JJ looked down at his lover, completely astonished by the smarts that left Y/N’s mouth. Dare he say it made him feel turned on.

“Holy fuck, how did you know that by fucking heart?” John B asks, Y/N just shrugging.

“I love learning equations, what can I say?”

John B shakes his head with a laugh. “You really got dad’s smarts, that’s all I have to say.” Making the rest of the group agree and laugh.

They all had decided to switch the subject and talk about more chill things, JJ and Y/N in their own little world as they had their own conversation.

John B announced that the crew and him would be heading to Kie’s parent’s restaurant for a late dinner, asking if the lovebirds wanted to join.

“Nah, I want to hear more of this smart equation talk,” JJ says, a smug tone in his voice which earned him a pillow smack to the head by John B.

“Careful what you say about my sibling when I’m in the room, Maybank. Or I may have to kick your ass.” He warns, earning a middle finger from Y/N as the two watch their friends pile out of the Chateau.

Once they were in the clear of the group being gone, JJ immediately picked up and threw Y/N over his shoulder and made his way to the extra bedroom.

He shit the door behind him as he ignored the whines and laughs from the young Routledge before throwing the both of them onto the bed with JJ on top.

“That’s quite the sexy talk you’ve going on, baby.” He praises, placing kisses along Y/N’s collarbones and neck.

Y/N let out a gasp at the contact with a short laugh near the end. “I always find it kinda embarrassing when I know a lot.”

JJ’s head perks up at the answer, a smirk coming to his lips. “I find it hot. You’re like an Albert Einstein.”

He watches as Y/N’s lips curl up into a smile. “How hot?”

“You’re about to find out.”

#fluff #outer banks #obx cast #obx fic #jj maybank imagine #jj maybank x reader #jj maybank #jj maybank fic #rudy pankow