Oh neat, better quality version of the Deadpool test footage.
Presenting, the second SnK opening; Jiyuu no Tsubasa…completely on kazoo.
I DIDN’T SPEND FOUR HOURS STRAIGHT BLOWING INTO A FUCKING KAZOO IN VARIOUS WAYS FOR LESS THAN 200 NOTES COME ON
deep monologues from nowhere
the highlighted area is where Jason Derulo knows what the girls want. london to taiwan.new york to haiti
greenland is right out
ummm no offense but new york to haiti should be measured as the area between the two latitudes, not the longitudes. this graph is incorrect and vastly underestimates the total region of the earth in which Jason Derulo knows what the girls want
Even measuring that way, Greenland remains right out, as does the entirity of Brazil.
Have we considered measuring by neither latitude nor longitude but in all area that would extend perpendicular from the diagonal of the two places?
There are many different interpretations of the data, and until more is available, we ought not conclude anything at this point.
In light of that, I posit this alternative map of regions where Jason Derulo is potentially claiming where he knows what girls want:
As we can see, if we assume that model, the vast majority of the area where Jason Derulo knows what girls want is either open ocean (the Atlantic, the Mediterranean Sea) or sparsely populated (the northern Sahara, the northern Arabian Desert, various desert portions of Iran and Afghanistan, and the southern Tibetan Plateau). Four of the ten most populated countries on the planet have no territory in it (Nigeria, Brazil, Japan, and Indonesia), and two which do have relatively little territory in it (the US and Russia). It is suggested that for all his boasting, Jason Derulo does not know what a probable majority of the world’s girls want.
Perhaps Jason Derulo’s intention was never to proclaim to be omnipotent to the interests of the female gender. Perhaps he was instead expressing his humanity, or the limits of his knowledge. I applaud Jason Derulo. Jason Derulo is not just another 2 dimensional character. Jason Derulo has depth.Jason Derulo has limitations and has come to terms with them. Jason Derulo knows Jason Derulo. Thats why he makes it a point to say his name so much.
set of nostalgia drawings by gabriel picolo. i don’t think i have enough space on my tumblr for all his works that i’d like to post.
these are incredible
Writing Advice: by Chuck Palahniuk
In six seconds, you’ll hate me.
But in six months, you’ll be a better writer.
From this point forward—at least for the next half year—you may not use “thought” verbs. These include: Thinks, Knows, Understands, Realizes, Believes, Wants, Remembers, Imagines, Desires, and a hundred others you love to use.
The list should also include: Loves and Hates.
And it should include: Is and Has, but we’ll get to those later.
Until some time around Christmas, you can’t write: Kenny wondered if Monica didn’t like him going out at night…”
Instead, you’ll have to Un-pack that to something like: “The
mornings after Kenny had stayed out, beyond the last bus, until he’d had to bum a ride or pay for a cab and got home to find Monica faking sleep, faking because she never slept that quiet, those mornings, she’d only put her own cup of coffee in the microwave. Never his.”
Instead of characters knowing anything, you must now present the details that allow the reader to know them. Instead of a character wanting something, you must now describe the thing so that the reader wants it.
Instead of saying: “Adam knew Gwen liked him.” You’ll have to say: “Between classes, Gwen had always leaned on his locker when he’d go to open it. She’s roll her eyes and shove off with one foot, leaving a black-heel mark on the painted metal, but she also left the smell of her perfume. The combination lock would still be warm from her butt. And the next break, Gwen would be leaned there, again.”
In short, no more short-cuts. Only specific sensory detail: action, smell, taste, sound, and feeling.
Typically, writers use these “thought” verbs at the beginning of a paragraph (In this form, you can call them “Thesis Statements” and I’ll rail against those, later). In a way, they state the intention of the paragraph. And what follows, illustrates them.
“Brenda knew she’d never make the deadline. was backed up from the bridge, past the first eight or nine exits. Her cell phone battery was dead. At home, the dogs would need to go out, or there would be a mess to clean up. Plus, she’d promised to water the plants for her neighbor…”
Do you see how the opening “thesis statement” steals the thunder of what follows? Don’t do it.
If nothing else, cut the opening sentence and place it after all the others. Better yet, transplant it and change it to: Brenda would never make the deadline.
Thinking is abstract. Knowing and believing are intangible. Your story will always be stronger if you just show the physical actions and details of your characters and allow your reader to do the thinking and knowing. And loving and hating.
Don’t tell your reader: “Lisa hated Tom.”
Instead, make your case like a lawyer in court, detail by detail.
Present each piece of evidence. For example: “During roll call, in the breath after the teacher said Tom’s name, in that moment before he could answer, right then, Lisa would whisper-shout ‘Butt Wipe,’ just as Tom was saying, ‘Here’.”
One of the most-common mistakes that beginning writers make is leaving their characters alone. Writing, you may be alone. Reading, your audience may be alone. But your character should spend very, very little time alone. Because a solitary character starts thinking or worrying or wondering.
For example: Waiting for the bus, Mark started to worry about how long the trip would take…”
A better break-down might be: “The schedule said the bus would come by at noon, but Mark’s watch said it was already 11:57. You could see all the way down the road, as far as the Mall, and not see a bus. No doubt, the driver was parked at the turn-around, the far end of the line, taking a nap. The driver was kicked back, asleep, and Mark was going to be late. Or worse, the driver was drinking, and he’d pull up drunk and charge Mark seventy-five cents for death in a fiery traffic accident…”
A character alone must lapse into fantasy or memory, but even then you can’t use “thought” verbs or any of their abstract relatives.
Oh, and you can just forget about using the verbs forget and remember.
No more transitions such as: “Wanda remembered how Nelson used to brush her hair.”
Instead: “Back in their sophomore year, Nelson used to brush her hair with smooth, long strokes of his hand.”
Again, Un-pack. Don’t take short-cuts.
Better yet, get your character with another character, fast.
Get them together and get the action started. Let their actions and words show their thoughts. You—stay out of their heads.
And while you’re avoiding “thought” verbs, be very wary about using the bland verbs “is” and “have.”
“Ann’s eyes are blue.”
“Ann has blue eyes.”
“Ann coughed and waved one hand past her face, clearing the cigarette smoke from her eyes, blue eyes, before she smiled…”
Instead of bland “is” and “has” statements, try burying your details of what a character has or is, in actions or gestures. At its most basic, this is showing your story instead of telling it.
And forever after, once you’ve learned to Un-pack your characters, you’ll hate the lazy writer who settles for: “Jim sat beside the telephone, wondering why Amanda didn’t call.”
Please. For now, hate me all you want, but don’t use thought verbs. After Christmas, go crazy, but I’d bet money you won’t.
|—||Chuck Palahniuk (via just-your-averaqe-teenaqe-qirl)|
We’ve gone too far. We birthed a generation of monsters. God has left us with our own doomed creations.
bury me in armor so I’ll be ready for the skeleton war
why is his fricking chest uncovered? that’s ppor planning right there
what are you gonna do?
stab a skeleton in the heart?
when u try to caffeinate yourself and just end up increasing ur heart rate with no discernible changes in levels of exhaustion
THIS IS MY FAVOURITE COMIC