1. Uh, hm, I’m flattered by the interest but having a WIP reblogged is kind of awkward…


  3. Do you suppose Kamatari writes self-insert romance fantasies where they kick Shishio’s butt and earn his awe-induced respect (shortly followed by steamy love)?

    … I think I need Juppongatana Modern AU fic just so that can happen.

  4. Tags: #shishioprobs #am i gonna need a kamatari tag?

  5. rapunzelie:

    do you ever feel like there’s just so many pretty girls but most dudes are just subpar like there are radiant goddesses everywhere and just piles and piles of guys in backwards baseball caps and sandals


    (via punchdinosaurs)

  6. Tags: #bless ethan's tags

  7. mewiet:


    I love to see children who are so delicate and gentle with animals.  It warms my heart amidst a sea of brats pulling cats’ tails and getting whacked.


    I love how she reaches up on her tippy toes to snuggle into his shoulder.

    (Source: hannahbowl, via infinipede)


  9. Criticisms about representations of gender (or race and other diversity) are often countered in fandom by sociological or scientific analyses attempting to explain why the inequality happens according to the internal logic of the fictional world. As though there is any real reason that anything happens in a story except that someone chose to write it that way.

    Fiction is not Darwinian: It contains no impartial process of evolution that dispassionately produces the events of a fictional universe. Fiction is miraculously, fundamentally Creationist. When we make worlds, we become gods. And gods are responsible for the things they create, particularly when they create them in their own image.


    Laura Hudson writes about the shotage of women characters in Star Wars fore Wired.com in her article "Leia is not enough:  Star Wars and the woman problem in Hollywood."

    "Science fiction in particular has always offered a vision of the world not myopically limited by the world as it exists, but liberated by the power of imagination. Perhaps more than any genre of storytelling, it has no excuse to exclude women for so-called practical reasons — especially when it has every reason to imagine a world where they are just as heroic, exceptional, and well-represented as men."

    (via rebelrebeluniverse)

    On one hand, it’s difficult to negotiate a balance between a relatable universe and an empowering universe in writing.

    On the other hand, ew, fuck Star Wars.

    (via alopexplasma)


  11. When he accepted the Nobel prize in 1982, Garcia Marquez described Latin America as a “source of insatiable creativity, full of sorrow and beauty, of which this roving and nostalgic Colombian is but one cipher more, singled out by fortune. Poets and beggars, musicians and prophets, warriors and scoundrels, all creatures of that unbridled reality, we have had to ask but little of imagination, for our crucial problem has been a lack of conventional means to render our lives believable.”
  12. Tags: #alas alas #I liked what little I read of him

  13. rosiebabbit:



    Harry Potter and the Chamber of Secrets Outtake.  The snake head of Jason’s Lucius cane gets caught in Dan’s robes. 

    sorry, love

    the head touch

    this is so fucking cute

    (Source: littlechinesedoll, via alopexplasma)

  14. Tags: #awwwwwwwww

  15. biangra:

    have some DEATH

    (via reversere)


  17. parkkennypark:

    The Man on the Train

    This is an illustration I did for my friend, Dai’s, PhD thesis. A part of his thesis involved a study around how some gay men (particularly those of a minority status) negotiate being gay outside of mainstream gay culture. One story that really stood out to me as being quite unique and touching involved a middle-aged fellow who has never been intimate with another man, doesn’t necessarily identify as being gay, but spends his days knitting baby socks on park benches and on the train as a way to perform his ‘gayness’. As he still lives at home with an extremely conservative family this is essentially the only way he knows to express his sexuality.

    Kojima, D. (2014). Migrant intimacies: Mobilities-in-difference and basue tactics in queer Asian diasporas. Anthropologica 56(1), pp.33-44.

    (via julystorms)


  19. imperialgazetteer:

    Fire Emblem is really good at giving you the numbers you need — what it obscures is the equations. I am really happy that the series lets me switch to detailed view so that I can see the “guts” of a conflict, so to speak, but at the same time I am still lacking the tools to interpret that information unless I go find it in a third party source. Like, a game might tell me that my AS is 8 and my enemy’s AS is 12. What it does not tell me:

    - How AS is calculated, what things can cause AS to change

    - What AS’s specific function is

    - How I should compare those two numbers in a tactically useful way.

    In this example, you can sort of figure out “oh, if your AS is four points higher than theirs you do two attacks” and the other details with some trial and error, but a lot of the other derived statistics are kind of a lot more obscure.

    Like, I’m sure that Fire Emblem is relatively open and simple for the genre, but it’s still got a lot of… mysterious mathtastic numbers it doesn’t care to explain to you. That’s a thing with JRPGs in general, since the earliest ones owe a lot to like… crunchy traditional tabletop RPGs that would have like a whole textbook (sometimes more than one) to explain that kind of detail. Just, it’s a lot more obvious with tactical role playing games than it is with regular turn-based JRPGs, because it just tends to matter a lot more whether I take damage on a given turn in Fire Emblem compared to, say, Final Fantasy or whatever.

    Yes, FE does obscure some small nuances like the 4-speed threshold. But purely comparatively speaking, FE is very, very simple and clean, and even its hidden nuances are a small enough amount of information that you’ve memorized them all before long. Just as you say, basically any other JRPG (including the ones that do require strategy) has more closed secrets. In the vast majority of them, the very damage formula is a thing of intense mystery. (Eg. I play competitive pokemon, and you either use a calculator built for the purpose or play by memorization/intuition.) Comparatively, having to figure out the double attack benchmark is an incredibly small thing. And these rules, once they are determined, can be easily manipulated in your head. For example, you don’t have to know the exact hit formula to know that if you switch from a lance with 55% accuracy to one with 70% accuracy, and they’re the same weight, your hit percentage on the same enemy will go up by 15%.

    And then you’ve got some really hard tactics games where you do have to play the very best you can, where details matters a lot, and every fucking thing is ridiculously obscure. (Gungnirrrrrrr. It even hides controls from you.)

    I actually think that Fire Emblem’s ~80% transparency is good for its learning curve. A newbie might be better off intuiting that you have to be significantly faster to double attack, and that heavy weapons may slow you down and prevent that from happening. Learning these kinds of generalizations is necessary for making sense of a lot of information and forming thought process patterns that narrow down how much raw number crunching you do in your head. And then once you’re at the level where you really do want to know these details, you only need to look it up once to remember it.

    EDIT: I think we’ve gotten a bit derailed. What I really mean is that FE is more transparent than the majority of other tactical games out there, and most of said tactical games don’t have any centralized information site despite how tremendously useful such a site would be. Though I think maybe we’ve moved on from that point? I do think FE is pretty straightforward though.

    Also if anyone knows a good information site for the Dept Heaven games in general, I’d love to know.

    (Source: amielleon)