#Material Handling Techniques

[petalbcrnes]

❀﹒﹒⇅﹒𝐃𝐄𝐀𝐃𝐋𝐘 𝐃𝐄𝐕𝐎𝐓𝐈𝐎𝐍 ╱ with JASON TODD & DICK GRAYSON ㄨ BLACK WIDOW ! READER ꩜ .ᐟ ⠀⠀ hcs & drabbles. ⠀·⠀ ୭

　　﹕   (✿˘͈ᵕ˘͈)   ┈ #directory #rules .   ♡   ﹒ this ask made me rethink the whole ‘reqs closed but suggestions open’ deal i gave going on rn. i cannot physically write everything req i get in my inbox,,, so i just take suggestions— no pressure to write it like a request.

❛   ꜝ   ┈   ✺ cw  ﹒ violence and abuse described in this work— it doesn’t take a big part of it though. a bit of angst because i cannot control myself.

𓏲𓏲⠀⠀.. ⠀Your reputation precedes you—former Black Widow, perfectly trained killer, someone who understands that justice isn’t always clean or merciful. But Gotham’s protectors seem determined to complicate things. You find yourself in unfamiliar territory— a certain vigilante has wormed his way into your heart. ✶

. 　 ✺ 　 ⁺ 𝐉𝐀𝐒𝐎𝐍 𝐓𝐎𝐃𝐃 ︶︶

The warehouse explosion lit up Crime Alley like the Fourth of July, and Jason couldn’t help but grin as you dropped down beside him from seemingly nowhere, not even slightly singed despite having been inside thirty seconds ago.

“Show off,” he muttered, but there was admiration in his voice.

“Says the man who literally just drove his motorcycle through a second-story window.” You checked your weapons with practiced efficiency, muscle memory from a lifetime of survival. “Find what we needed?”

“Financial records, shipping manifests, and enough evidence to put half of Falcone’s operation away.” Jason held up a hard drive. “Plus whatever you did in there should send a nice message to the rest.”

You shrugged, the movement elegant even in tactical gear. “The message needed to be loud.”

“No arguments here.” He stepped closer, close enough to see the flecks of gold in your eyes. “Bruce is gonna have an aneurysm when he finds out about tonight.”

“Good. Maybe it’ll keep him busy enough to stop lecturing us about ‘excessive force.’” Your fingers found the edge of his jacket, tugging him closer. “Besides, you didn’t seem to mind my methods when I saved your ass in there.”

Jason’s laugh was rough around the edges. “Pretty, I never mind your methods. Just wish you’d give me a heads up. I like to watch.”

Your smile was dangerous and entirely too appealing. “Next time, I’ll put on a show.”

Jason absolutely gets your approach to justice and rarely questions your methods— if anything, he thinks you’re more efficient than the Bat-family’s usual “catch and release” program.

Will definitely team up with you on missions and enjoys the hell out of it, especially since you don’t try to hold him back from doing what needs to be done.

Gets incredibly protective when other people criticize your past or your methods, even though he knows you can handle yourself— old habits from his own experience being judged.

Loves sparring with you because you’re one of the few people who can actually challenge him, and there’s something thrilling about fighting someone who’s genuinely dangerous.

Sometimes you’ll find him reading up on Red Room techniques or Widow operations, not to judge but to better understand what made you who you are.

Has absolutely gotten into arguments with Dick and Bruce about your relationship. It’s a delicate situation. While Bruce and Dick understand you would never hurt Jason on purpose, they do worry how the methods you two choose will affect not only Jason— you as well.

There’s a twisted kind of understanding between you and Jason. I think in the end Bruce only wants the two of you to be able to find peace and not feel trapped by the blood you two have spilled.

˚　　　　✦　　　.　　. 　 ˚　.　　　　　 . ✦　　　 　

. 　 ✺ 　 ⁺ 𝐃𝐈𝐂𝐊 𝐆𝐑𝐀𝐘𝐒𝐎𝐍 ︶︶

The Blüdhaven rooftop was slick with rain as you materialized from the shadows, silent as death itself. Dick didn’t even flinch— he’d learned to sense your presence weeks ago, though he still couldn’t figure out how you moved so quietly in those boots.

“You’re late,” he said, not turning around.

“I’m exactly on time. You’re just early because you’re nervous.” You stepped beside him, close enough that he could smell gunpowder and vanilla perfume. “The target’s already handled.”

“Handled how?” Dick’s voice carried that careful neutrality he used when he was trying not to lecture you.

You tilted your head. “Does it matter? The trafficking ring is shut down, the girls are safe, and the world has three fewer monsters in it.”

Dick closed his eyes briefly. “We talked about this—”

“No, you talked. I listened.” Your gloved fingers traced along his jaw, gentle despite the calluses from trigger guards and knife hilts. “I know you want to save everyone, even the ones who don’t deserve it. It’s what makes you beautiful, Dick Grayson. But some people can only be stopped one way.”

He caught your hand, thumb brushing over your knuckles. “And what does that make you?”

Your smile was sharp as broken glass. “Practical.”

Dick tries so hard to be the moral compass in the relationship, constantly walking the line between accepting who you are and hoping he can influence you toward less lethal methods. (He’s like “I can fix them” and just makes it even worse). It’s not as if he doesn’t want to see this side of you. He does. He just wants to help you navigate the pain jt took to get here.

He’s genuinely fascinated by your skills and will ask you to teach him your stealth techniques, though he draws the line at the more assassination-focused training.

Gets genuinely distressed when you disappear for days on missions, not because he doesn’t trust your abilities, but because he worries about what those missions might be doing to your body and mind.

Has definitely tried to introduce you to everyone else as a “reformed” anti-hero, which backfired spectacularly when you made a casual comment about eliminating witnesses. He learned not to sugar-coat you and your methods after that. Better to accept them head on.

Loves the way you move— there’s something almost hypnotic about your grace in combat that he finds beautiful and terrifying in equal measure.

Will patch up your wounds without question, but always with that worried crease between his brows that you’ve learned means he’s planning another “conversation” about your methods and how you cannot keep putting yourself in so much danger.

Sometimes catches you staring at him like you’re memorizing his face, and it breaks his heart a little because he knows it means you’re always prepared to run.

Has started leaving his window unlocked specifically for you, even though you’ve never actually needed to use the window.

˚　　　　✦　　　.　　. 　 ˚　.　　　　　 . ✦　　　 　

﹒   ♪   ┊ INBOX OPEN.⠀⠀feel free to send me asks and suggestions in my inbox. ദ്ദി(˵ •̀ ᴗ - ˵ ) ✧

˖ `· . 𓏵 © 𝐏𝐄𝐓𝐀𝐋𝐁𝐂𝐑𝐍𝐄𝐒 don’t use my work without my consent. ... ⏤ㅤ Ⳋ ⊹

[prokopetz]

You know a lot about the cultural influences behind various aspects of D&D, so: do you know the origins of the thing in 3.5 where it seems like a main way they want you to play as a psionic warrior is to grow massive claws and get breath weapons? It's so specific and out of left field for a "warrior who uses the power of the mind" that I've always wondered.

Much of 3E's handling of psionics closely follows material presented in the 2E supplement The Complete Psionics Handbook, which, contra later editions' habit of treating psionics as a variant of wizardly magic, presents psionics as a totally separate and mutually incompatible thing. One feature of this treatment is psionics having its own distinct set of "schools", or disciplines: clairsentience, psychokinesis, psychometabolism, psychoportation, telepathy, and metapsionics.

The 3E psionic warrior stuff is a more or less direct port of the discipline of psychometabolism; I can only presume that this is because it's the most "fightery" of the Psionics Handbook disciplines, though I can't back that guess up. Apart from your cited examples, other psychometabolic powers presented here include self-healing; energy absorption; turning into animals, objects, or living shadows; wuxia-style "lightfoot" techniques; camouflage; shrinking or expanding; stretching one's limbs Mister Fantastic style; and others.

Of course, that just kicks the can further down the road: if the 3E psionic warrior is a port of 2E's psychometabolism specialist, where the heck did 2E get the idea for the discipline of psychometabolism? The general idea of shape-shifting and fire-breathing and such being psychic powers that can be cultivated through mental discipline pops up in quite a few places, but we're looking for a specific constellation of tropes, not isolated instances of little bits and pieces of it.

The Complete Psionics Handbook helpfully includes a comprehensive bibliography of its inspirations (remember when Dungeons & Dragons used to have those?), though I'm unacquainted with most of the books it cites, so that's where my ability to help in this respect ends. I'll include a copy of that bibliography under the cut, though – maybe one of this blog's followers can point out which of its entries, if any, might be most directly informative.

Taken from page 113 ("Related Reading") of The Complete Psionics Handbook:

Fiction

Bester, Alfred; The Demolished Man, The Stars My Destination.

Bradley, Marion Zimmer; Darkover series: The Bloody Sun, Children of Hastur, Darkover Landfall, The Forbidden Tower, Hawkmistress!, The Heritage of Hastur, The Keeper's Price, The Planet Savers, Sharra's Exile, The Shattered Chain, The Spell Sword, Star of Danger, Stormqueen!, The Sword of Aldones, Thendara House, Two to Conquer, The Winds of Darkover, The World Wreckers.

Brunner, John; The Whole Man.

Del Rey, Lester; Pstalemate.

Henderson, Zenna; The People, The People: No Different, Holding Wonder.

Foster, Alan Dean; Flinx series.

King, Stephen; The Dead Zone.

Kurtz, Katherine; Deryni Rising, Deryni Checkmate, High Deryni.

May, Julian; Saga of the Pliocene Exile series: The Many-Colored Land, The Golden Torc, The Non-Born King, The Adversary.

Nourse, Alan E.; Psi High and Others.

Pohl, Frederik; Drunkard's Walk.

Russell, Eric Frank; The Mindwarpers.

Robinson. Frank M.; The Power.

Schmitz, James H.; The Universe Against Her, The Lion Game, stories.

Simmons, Dan; Carrion Comfort.

Sturgeon, Theodore; The Synthetic Man.

Tucker, Wilson; Wild Talent.

Van Vogt, A.E.; Slan.

Zelazny, Roger; Creatures of Light and Darkness, The Dream Master, Lord of Light, lsle of the Dead, This Immortal, To Die in ltalbar.

Nonfiction

Brookesmith, Peter (ed.); Strange Talents, from the series "The Unexplained: Mysteries of Mind, Space, and Time;" Orbis Publishing, London, 1983.

Index of Possibilities: Energy and Power; Pantheon Books/Random House, New York, New York, 1974.

Mind Over Matter, Powers of Healing, Psychic Powers, Psychic Voyages, from the series "Mysteries of the Unknown;" Time-Life Books, Alexandria, Virginia, 1987.

Puharich, Andrija; Beyond Telepathy; Anchor Press/Doubleday, Garden City, New York, 1973.

Rhine, J.B.; The Reach of the Mind; William Sloane Associates, New York, New York, 1947.

[kkolg]

You read the title, ROLL THE ANIMAL PLANET MUSIC-

Ahem, when a disassembly drone decides that they want to obtain a partner, they must prepare for the most spectacular show you have ever seen- with steps of course…

Step 1: Creating a display

Every great performance must have a stage to use, after all, what good is an amazing show without the looks to go with it? The disassembly will first fly around to find a wide open area to create their stage or “display”. The display that disassemblys make are usually large circles that are made out of old workers, oil, and many reflective materials. The disassemblys usually take workers that are the most chopped up and are still slightly filled with oil, they also take any excess oil they find to make the outline of the circle-like formation. The reason they do this is to prove to other drones that they are such effective hunters, they can allow quite a bit of oil to go to waste. The more oil; the better the hunter, which in turn leads to the higher likelihood of finding a partner.

Oh, well look at that- it seems a poor, little, drone has stumbled into this lovely display. It is time to impress. 

Step 2: Impress 

First impressions are always very important when it comes to anything, especially when trying to obtain a partner. Disassemblys will often first bring out their wings as high up as they can and begin to rattle the wing blades. They will try their best to look as presentable as possible by standing up tall, puffing their chest, hands behind their backs, etc…

If the drone has surprisingly stayed through to pre-show, then it’s on to the real performance.

Step 3: The Dance

Every disassembly’s dance is unique in its own way, but they do usually have certain things in common such as: hopping, twirling, shuffling, etc… The way each disassembly uses these techniques is what makes them different. You also will see constant eye contact and rattling of the wing blades during the show. As the performance goes on the disassembly will begin to get closer to the drone, who would usually be standing in the middle of the display, surrounding them in a spiral-like motion.

Unfortunately, the aforementioned shiny things don’t just attract potential mates, but also competition. Now there are many reasons why another disassembly may want to invade on such a ceremonial performance: the oil lying around, scraps, territory, or the other drone (wether it be for food or partnership) The performer however, will hardly go down without a fight. Surprisingly, disassemblys can be very civil creatures. When impeding on such an important performance like this, even disassemblys know that they shouldn’t cause blood oil-shed whenever there’s a poor, unsuspecting drone around (unless they’re not the one being swooned). Disassemblys will instead fight for dominance using their appearances and techniques alone. They’ll show off their claws and shake their wings and tail as a warning, then they usually begin to get int each other’s faces and start hissing and butting chests. They do this to try and push the other out of the circle. Why?

Because once a disassembly has been pushed out-

-it is a sign of weakness, and is taken as a loss.

Now that that has been handled, it is time for the final phase of the dance. Once a disassembly has gotten close enough to the other drone, they will begin to do light headbutts to the others chest. If the drone continues to stay, that in turn means they are completely comfortable with the other.

 And now the ceremony is finally completed.

BASED ON @thecosmiccrow’s LOVELY HEADCANNON IT IS FOREVER ENGRAVED INTO MY BRAIN

[gliphyartfan]

What do you think about the au humans are hylian space orcs?

Aaaa…hmmm

Ah yes I read that~

Four would be both bewildered and captivated by the fact that his best work can’t withstand Reader’s sheer strength. (Also most likely devastated that there is another person other than Wild who destroys weapons)

After watching them break or dent a weapon that took him days to make, he’s immediately on a mission to craft something that can keep up with them.

If given the opportunity, he’d spend hours, maybe even days, experimenting with Hylian metals, Goron ores, and enchanted gemstones, all in an attempt to create a weapon worthy of their power.

Each weapon he hands them is tested rigorously, and each failure only motivates him further. (Cause if it can handle their strength, than Wild can finally have one that won’t break.)

Each of Four’s colors has an opinion on the project too!

Green tries to focus on durability, while Blue insists they need harder materials.

Red wants to add enchantments for safety, and Vio is all about elegance and versatility.

They even argue over who’ll be the one to present Reader with the final weapon (whenever they feel it’s perfect.)

Compared to Hylians, I think along with strength and durability, Reader would have sharper senses, especially smell and sight. (Well sharp for a Hylian, pretty normal for humans)

They could detect subtle hints of smoke, monster musk, or even a change in the wind long before the others notice anything.

The group quickly learn to rely on them, amazed that they can smell monsters at a distance far in advance. (This is good if Reader isn’t one to fight but feels the need to still contribute in some way to the group.)

Their heightened smell would definitely be both a blessing and a curse. While it helps detect enemy movements, strong scents like Goron Spice can be overwhelming. Reader often comments on how powerful some Hylian food and potions smell, much to the Chain’s amusement.

Many monsters would find Reader intimidating. While some enemies are too mindless to notice their differences, others sense Reader’s uncanny strength and primal aura.

Think about it! Strong, intimidating monsters like Hinoxes and Lynels would seem to respect them in a strange way, viewing them as strong enough to leave them alone (not strong enough to beat them but just strong enough that Reader could pass through their territory without anything other than being eyed by the beasts.)

Stalfos and other undead creatures could be particularly wary; maybe they almost sense that Reader’s bones are different, somehow denser and harder to break, and they find Reader’s resilience unsettling. (But in general Stalfos and undead don’t really think so they probably are part of the mindless pile)

But if they did think, they’d most likely be frightened by Reader. Seeing Reader throw one of their own in a moment of frustration or lift a broken weapon sends them into a panic. (But probably not)

Time would both irritated and fascinated when (y/n) steps in to protect him. It messes with his self-assigned role as the group’s guardian, and he’s unused to the idea of someone else shielding him.

Initially, he tries to brush it off or even scold Reader for stepping in, but when he realizes how capable they are, he probably feels a strange sense of amazement(and a little embarrassment).

Over time, he probably grows to trust their strength and finds himself relying on them almost reluctantly, (but quietly respecting them for it.)

Warriors at first, would be annoyed when (y/n) jumps in to protect him.

He’s used to being the captain and doesn’t want Reader risking themselves on his behalf.

But after seeing their strength in action, he’s deeply impressed (and a little possessive). He’s soon insisting they train together, hoping he can learn from their unique approach to combat and maybe teach them some of his own techniques. (That depends on if Readee uses a sword of any weapons Warriors is familiar with)

He views them as a powerful asset to the team, and while he admires their independence, he can’t help but feel a little territorial when Reader fights for him. (As he should.)

Wind is completely in awe of Readsr, seeing them as a heroic figure straight out of a legend.

He loves to hear their stories of Earth and insists they teach him to swim against strong currents. (Maybe he’ll finally last longer than several moments)

Reader’s strength make him want to be better, and he’s soon clinging to them for advice and guidance on everything from combat to survival. He’d bring her little souvenirs he finds, hoping to impress her.

But he DOES get a bit envious of their strength. Wind does occasionally feel like the little brother of the group, can get a little insecure them her handle monsters with ease. He’ll go out of his way to show off in front of them, trying to prove he’s just as tough, even if he sometimes bites off more than he can chew.

Hyrule would be fascinated by their physical resilience, and he’s constantly asking questions about human culture, Reader’s world’s monsters, and even their sense of smell. He’s especially amazed by what types of food they eat that he knows would make him deathly ill, and that always leaves him reeling.

Whenever they’re around, he’s watching her intently, absorbing every detail he can to better understand her.

Despite their strength, Hyrule can’t help but feel a deep protectiveness for them. He sees their slower healing as a vulnerability and insists on caring for their wounds and ailments whenever they appear.

He views it as his personal responsibility to make sure Reader’s safe, even though they can obviously handle themselves.

Wild is both amazed and a little intimidated by them (mark him down as scared and horny). He’s never met anyone who could eat the wildest Hyrule dishes without complaint, and he admires their adventurous spirit. They form an immediate bond, exchanging survival techniques and constantly pushing each other to new limits.

The two of them often find themselves in playful competitions, seeing who can handle the spiciest foods, carry the heaviest pack, or endure the most extreme conditions. (Reader tends to Win the strength contests)

Wild sees them as a kindred spirit, though he’s always secretly hoping to impress them.

Legend is equal parts fascinated and annoyed by their strength. He’s used to being the seasoned hero, and watching them take on monsters with brute force is both impressive and a little insulting. Still, he’s curious about Reader, even if he’d never admit it.

Though he’d roll his eyes at their antics, Legend keeps a close eye on them, never quite able to shake the sense that they’re different.

If Reader picks Twilight up, whether in Hylian or wolf form. He’d freeze, mortified and embarrassed by the gesture, but over time, he becomes completely enamored with the way they so casually carries for him (he’s used to carrying, not being carried and he’s learning why people like it so much), and he finds himself eager for their attention, even if he’d never admit it.

Twilight can’t shake his instincts to shield them from harm though. He’s constantly watching their back and getting defensive when others approach Reader, feeling deeply possessive over them.

Sky wouod be enchanted by Reader from the beginning. Their strength and resilience remind him of a knight’s bravery, and he respects Reader to the point of awe sometimes.

He’s constantly seeking reasons to spar or train with them, trying to absorb as much of their human technique as he can. Definitely asks them to nap with him, definitely loves when Reader picks him up and carries him when he’s still sleeping.)

Sky would be deeply curious about Reader’s world’s monsters, (or lack of) and he’d always be asking questions about Earth.

[blogport]

EPOXYSHİNE - DRAGON+

Welcome to our comprehensive guide on "Epoxy Shine," where we delve into the transformative power of epoxy flooring solutions. In today’s design-driven world, achieving a polished and durable floor is essential for both residential and commercial spaces. Epoxy coatings not only elevate the aesthetic appeal but also provide long-lasting protection against wear and tear. Whether you’re considering a modern upgrade for your home or a robust flooring solution for a bustling business, epoxy shines as a versatile choice that meets a variety of needs. In the following sections, we’ll explore innovative flooring solutions, focusing on the benefits of epoxy flake flooring, which combines functionality with style for a stunning finish that can withstand the test of time. 

Epoxy Shine

When it comes to achieving a brilliant and long-lasting finish, epoxy shine is the ideal solution for various flooring needs. Known for its incredible durability and aesthetic appeal, epoxy shine enhances the overall beauty of a space while providing a protective layer that withstands wear and tear.

The key to attaining that stunning epoxy shine lies in the application process. Proper surface preparation, quality materials, and skilled application techniques combine to create a glossy finish that can transform mundane concrete floors into vibrant, eye-catching surfaces. This shine doesn’t just elevate the design; it also reflects light, making spaces appear larger and more inviting.

Moreover, epoxy shine is not just about looks; it offers significant functional benefits too. The glossy surface is resistant to stains, chemicals, and moisture, making it an excellent choice for high-traffic areas such as garages, warehouses, and commercial spaces. Whether for aesthetic or practical purposes, ensuring your floors have that perfect epoxy shine can significantly enhance your property's value and appeal.

Floor Solutions

When it comes to choosing the right floor solutions, there are numerous options available that cater to various needs and preferences. Whether you are going for aesthetic appeal, durability, or maintenance ease, understanding the different types of flooring can significantly impact your choice.

One popular choice for many homeowners and businesses is epoxy flooring. This option provides a sleek and modern look while ensuring high durability and resistance to wear and tear. Epoxy shine not only enhances the floor's visual appeal but also makes it easier to clean and maintain over time.

Additionally, epoxy flake floors are gaining traction due to their unique aesthetic and customization options. They allow for a blend of colors and textures, giving homeowners the flexibility to create a more personalized look for their spaces. With such a wide array of flooring solutions, it's essential to consider factors like budget, usage, and design preferences before making a decision.

Flooring Solutions

When it comes to choosing the perfect flooring for your space, the options can be overwhelming. Flooring solutions are essential for both aesthetic and functional purposes, ensuring that your space not only looks great but also serves its intended function. From residential to commercial applications, the right flooring choice can make all the difference.

One popular choice in the realm of flooring solutions is epoxy flake floor systems. This type of flooring combines durability and design flexibility, making it a favorite among many homeowners and business owners. With a wide range of colors and patterns available, epoxy flake flooring can be customized to fit any space, providing a unique look that stands out.

For those seeking a brilliant shine, epoxy shine finishes can elevate your flooring game. These finishes not only provide a glossy look but also protect the flooring from wear and tear. Utilizing a performing solution like epoxy ensures that your floors can handle heavy foot traffic while maintaining their stunning appearance.

Epoxy Flake Floor

When it comes to durable and aesthetically pleasing flooring options, epoxy flake floors stand out as a superior choice. These floors are crafted using an epoxy resin mixed with decorative flakes, resulting in a unique finish that is both functional and visually appealing. The versatility of this flooring solution allows it to be used in various settings, from residential garages to commercial spaces.

The main advantage of epoxy flake floors is their resistance to impacts, chemicals, and stains, making them ideal for high-traffic areas. Their seamless nature prevents dirt and grime accumulation, offering a low-maintenance solution that is easy to clean. Furthermore, the aesthetic flexibility of the colored flakes lets homeowners and business owners customize their floors to match existing designs and personal preferences.

In addition to their durability and style, epoxy flake floors also contribute to improved safety. The texture of the flakes can enhance slip resistance, making them a practical choice for spaces where moisture is common. Whether you're looking to upgrade your garage or create a modern showroom, epoxy flake flooring provides an excellent combination of beauty, resilience, and safety.

[userpeggycarter]

COLORING + SHARPENING TUTORIAL

someone asked for a coloring tutorial and my sharpening settings, so here it is! there are also a few tips to achieve more HQ gifs. :)

tutorial under the cut!

FOR HIGH-QUALITY GIFS

FILE SIZES

it doesn’t matter what your sharpening settings are if the file you’re using to gif is too low quality, so i tend to look for the best that i can get when downloading stuff. 

usually, movies (+2h) look better if they’re 5GB or more, while an episode (40 min/1h) can look good with even 1GB. the minimum definition i try to find is 1080p, but i gif with 2160p (4k) when available. unfortunately, not every computer can handle 4k, but don’t worry, you can gif with 1080p files just fine if they are big enough. contrary to popular belief, size does matter! which means sometimes a bigger 1080p file is better than a smaller 2160p one, for example.

SCREENCAPPING METHOD

this can too influence the quality of your gifs. as a gifmaker, i’ve tried it all: video frames to layers, directly opening video clips, loading files into stack, and i’ve finally settled down with opening screencaps as an image sequence. with bigger files, it doesn’t matter much what technique you use, but i’ve noticed with smaller files you can do wonders if you screencap (either by loading files into stack or opening as an image sequence) instead of using video clips. for example, this gif’s original video file was only 4GB (so smaller than i’ve usually go for), if you can believe it!

here’s a tutorial for setting up and screencapping with MPV, the media player i use to screencap. again, you can keep using video clips for bigger files, but you’ll find this useful when dealing with dire causes. i don't file loads into stack, though, like the video does. i open as an image sequence (open > screencap folder > select any image > click the image sequence button). just select OK for the speed. this will open your screencaps as a video clip (blue bar) in timeline mode (i'm a timeline gifmaker, i don't know about you). you will need this action pack to convert the clip into frames if you're a frames gifmaker. i suggest you convert them into frames even if you're a timeline gifmaker, just convert them into a timeline again at the end. that way you can delete the screencaps right away, otherwise you will delete the screencaps and get a static image as a "gif".

ATTENTION if you’re a Mac Sonoma user, MPV won’t be an option for you unless you downgrade your system. that is, if you have an Intel chip. if you have M1 Max chip (or even a better one), here’s a fix for MPV you can try while keeping that MacOS, because nowadays MPV is skipping frames in its latest build. or you can use MPlayer instead for less hassle. here are two tutorials for setting and using MPlayer. Windows users are fine, you can use MPV without trouble.

FOR EVEN MORE QUALITY

ADD NOISE

here’s a tutorial for adding noise as a way to achieve more HQ gifs if your original material is too low quality.

REDUCE NOISE WITH CAMERA RAW

instead of adding noise, you can reduce it, especially if your gif is very noisy as it is. 

the path is filter > camera raw > detail > nose reduction. i do this before sharpening, but only my video file isn't great to begin with. because it’s a smart filter, you can reduce or increase its opacity by clicking the bars next to its name in the layers panel.

TOPAZ AI

i use Topaz Photo AI to increase the quality of my screencaps when i need to. it’s paid software, but there are… ways to find it for free, usually on t0rrent websites. if someone’s interested, i can make a tutorial solely about it in the future.

SHARPENING SETTINGS

here are my sharpening settings (filter > sharpen > smart sharpen). i sharpen things twice: 500% 0.4px + 10% 10px. here's an action for it, for more convenience. here's a tutorial on how to use Photoshop actions. for animated stuff, i use this action pack.

COLORING

here’s the gif i'm gonna use as a base. it’s already sharpened like the way i always do it.

LIGHTNING THE SHOTS

half of the secret of a good coloring is good lightning. i always useCurves (layers > new adjustment layer > curves) and Brightness & Contrast (layers > new adjustment layer > brightness & contrast). the settings depend on the scene you’re giffing, but i always try make my gifs bright and with high contrast to make the colors pop.

CURVES

besides lighting your scene, the Curves adjustment layer has four automatic options that will color-correct it for you. it’s not always perfect and it doesn’t mean you won’t need to do further coloring, but it’s a great start. it’s a lifesaver for most ridiculously yellow scenes. look at the difference! this gif uses the 3rd automatic option (the screenshot below isn't mine btw so that's why the fourth option is the chosen one), from top to bottom. what automatic option you need to choose depends on the gif.

sometimes i like to tweak my Curves layer. not everybody does that, it’s not that necessary and if you’re not careful, it can screw your gif up. to modify your layer by hand, you will need to click and drag points of that straight line in the position you desire. this is the concept behind it:

basically, the lower part of the line handles the shadows, while the upper part handles the highlights of the image. if you pull a highlight point up, the image’s highlights will be brighter. if you pull it down, it will make them darker. same thing for the shadow points. you should play with it to get a grasp of it, that’s what i did when i first started giffing.

BRIGHTNESS & CONTRAST

then i added a bit of brightness and contrast.

CHANNEL MIXER

the scene looked a bit too yellow, so i used the Channel Mixer (layer > new adjustment layer > channel mixer) adjustment layer. here’s a tutorial of how it works. not every scene needs the Channel Mixer layer though, i mostly use it to remove heavy overall tints. in this particular case, the Curves layer got rid of most of the yellow, but i wanted the gif to be just a bit more blue so the Channel Mixer tweaks are very minimal.

SELECTIVE COLOR

now, this adjustment layer i always use: Selective Color (layer > new adjustment layer > selective color). this is THE adjustment layer to me, alongside the Curves one. this is how it works:

ie, you can separately edit a color this way, giving it tints. for this gif, i wanted to make the colors more vibrant. to achieve that, i edited the selected colors this way:

for the reds, i added even more red in them by moving the first slider to the right, making the color more vibrant. for his hat to have a more warm tint, i added yellow to the reds (third slider, moving it to the right). finally, to make the reds stronger, i moved the last slider to the right (more black).

for the yellows, i made them brighter by adding white to them, thus making the tile wall and Paddington more bright as well.

for the cyans and the blues, i just added the maximum (+100) of black that i could.

i wanted for Paddington's nose to be brighter, so i added more white to the whites.

lastly, i added depth to the blacks by increasing their own blackness.

you should always play with the Selective Colors sliders for a bit, before deciding what you want or need. with time, you will automatically know what to change to correct the color grading. it all takes practice!

HUE/SATURATION

i don’t know if you noticed, but there are some green spots on the blue wall behind Paddington. to correct that, i added a Hue/Saturation adjustment layer (layer > new adjustment layer > hue/saturation) and made the saturation of the greens 0%, making that unwanted green disappear from the background.

while the green spots on the wall are specific for this gif, i use hue/saturation a lot to tweak, well, hue and saturation. sometimes someone’s skin is too yellow, i made it redder by tweaking the reds and the yellows, or vice-versa. the hue bar follows the rainbow bar, so the maximum settings (+100 and -100) give the selected color to change its hue to something more red or pink (the rainbow extremities). changing hue can give pretty whacky results, like turning someone’s skin tone to green, so you will need to play with it to get the hang of it. you can also tweak the opacity of your hue/saturation layer to further improve your gif’s coloring. i didn’t do it in this case, the opacity is still 100%. the reds and the blues had their saturation increased to make them pop just a bit more, without affecting the other colors.

COLOR BALANCE

the highlights of the gif still had a green tint to it due to the automatic correction of the Curves layer, so i used Color Balance. this is how it works: instead of giving specific colors some tints, you can give them to the shadows, highlights, and mid-tones. if your shadows are too blue, you counterbalance them with the opposite color, yellow. same thing with the cyan-red and magenta-green pairings. in my case, i added a bit of magenta.

B&W GRADIENT MAP

now, if this gif was a dish, it’s time for the salt and pepper. i always add a Gradient Map (layer > new adjustment layer > gradient map) (black to white gradient) with the Soft Light blending mode, thus giving my shadows more depth without messing with the mid-tones and highlights. it also doesn’t “deep fry” (you know those memes?) the gif too much by adding even more contrast. usually, the opacity of the layer is between 30% to 70%, it all depends on the gif. it always does wonders, though!

COLOR FILTER

finally, i like to add Color Filters (layer > new adjustment layer > color filter) to my gifs. it’s very handy when giving different scenes for the same minimalistic set because it makes them kind of match despite having completely different colors. in this gif’s case, i added a “deep blue” filter, opacity 50% density 25. you can change the density and the opacity of the layer for further editing, again, it all depends on the gif.

VIBRANCE

if i feel like it, i add a vibrance layer (layer > new adjustment layer > vibrance) to make the colors pop. this can ruin your coloring sometimes, especially when regarding skin color, so be careful. i didn't do it in this gif because i felt i didn't need it.

TA-DA! 🥳

AN OTHER EXAMPLE

the color grading of the original scene it’s pretty good as it is, to be honest. let’s see a worse scenario, a VERY yellow one:

no channel mixer this time because the automatic curves option dealt with the yellowness, but you can see it made the gif too green. i needed to correct that with the following adjustment layers:

curves (automatic option) (gif 2) >> same curves layer (tweaks) (gif 3) >> brightness & contrast (gif 4) >> hue/saturation (tweaked cyan+blue+green) >> selective color >> color balance (gif 5) >> b&w gradient map >> (sepia) filter >> vibrance (gif 6)

i added a hue/saturation layer to remove the blues & greens before my selective color layer because i thought that was more urgent than tweaking the tint of all colors. color balance (gif 4) was the real hero here, though, by removing the green tint. the selective color layer was meant to make the red pop more than anything else, because the rest looked pretty good, especially her skin tone (despite the green tint). you can notice that tweaking the curves layer (small gif 3) also helped A LOT with the green problem.

tl;dr 😵‍💫😵‍💫😵‍💫

here's a list of my go-to's while coloring and lightning gifs. it's not a rule, just a guide. there are gifs in which i don't use all these adjustment layers, or use them in a different order. it all depends!

1. curves (automatic option + tweaks) 2. brightness & contrast 3. channel mixer 4. selective color 5. hue/saturation 6. color balance 7. b&w gradient map 8. color filter 9. vibrance

i'll suggest that you study each adjustment layer listed for more info, either with other Tumblr tutorials or YouTube ones. the YouTube ones focus on images, but you can translate what they teach to gif making very easily. you can ask me to further explain any adjustment layer, too! i was brief to keep this short (which i kinda failed lol).

feel free to ask me for clarification or something else about gifmaking wise, i always like to help. ❤️

[durtblog]

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[tigwalen]

Cherokee Rivercane purse - Artist unknown

This purse or "shopper" basket was made from rivercane. Although its maker is not known, the form, material, technique, and pattern are typical of Cherokee basketry made between the 1920s and the present.

The dark brown color is probably from walnut hulls and the orange from bloodroot, both dyes common to Cherokee makers. The pattern woven into the basket is the Chief's Heart pattern. The drop handles are made from wood separate from the basket. The handle attachments are woven into the basket before the rim is attached.

[glowettee]

°❀⋆executing your comeback plan (the actual doing part) - part 4/5 °❀⋆

1st post 2nd post 3rd post

posted by: glowettee

hey study angels! ♡

okay so we have this gorgeous plan, but now comes the real tea - actually making it happen! don't worry though, i'm going to break down exactly how to execute your academic glow-up strategy. this little guide will help you make this comeback actually stick!

♡ week one survival guide

this is literally the most important week:

day 1:

set up your study space (make it cute but functional!)

organize all materials by subject

create your new schedule in your planner

gather all missing notes/materials

reach out to study buddies

first week priorities:

stick to your new schedule (even when it's hard!)

document everything in your progress journal

identify early challenges

celebrate small wins

adjust as needed

♡ making the daily grind actually work

consistency is literally everything:

morning routine:

wake up 30 mins earlier than usual (i know it's tough but trust me)

quick review of today's goals

prepare your study space

get in the right mindset (i do positive affirmations in my mirror)

organize materials for the day

during study sessions:

start with the hardest subject (when your brain is fresh!)

use the pomodoro technique (25 mins study, 5 mins break)

actively engage with material (no passive reading!)

take aesthetic but useful notes

check understanding after each session

evening wrap-up:

review what you learned

prep for tomorrow

update your progress tracker

clean your study space

set intentions for tomorrow

♡ active learning techniques that actually work

just reading isn't it, bestie:

the explain-it method:

teach concepts to your stuffed animals, family or friends

record voice memos explaining topics

write explanations in simple terms

create examples from real life

make connections to things you know

practice makes perfect:

solve problems without looking at notes

create your own practice questions

do past exam questions

explain concepts to study buddies

make concept maps

♡ dealing with motivation dips

because they're gonna happen:

when you're feeling unmotivated:

look at your progress tracker

remind yourself why you started

take a cute study break

change your study location

reach out to your study support squad

do something small but productive

emergency motivation boosters:

change up your study playlist

try a new study spot

use different colored pens

take a short walk

message your study accountability partner

reward yourself for small wins

♡ handling setbacks

they're part of the process:

when things go wrong:

take a deep breath (seriously, do it)

identify what happened

adjust your strategy

reach out for help if needed

remember this is temporary

get back on track immediately

prevention strategies:

regular progress checks

weekly schedule reviews

maintaining backup plans

keeping support contacts ready

staying ahead of deadlines

♡ progress tracking system

make it cute but keep it real:

daily tracking:

concepts mastered

time spent studying

questions/confusion points

wins (big and small!)

areas needing more work

weekly review:

compare to previous week

adjust study methods

celebrate improvements

plan next week's focus

update long-term goals

execution is where most plans succeed or fail. it might feel weird at first, but stick with it and you'll see the glow-up!

xoxo, mindy 🎀

[xensilverquill]

Amigurumi/Crochet Toy 101 + Resources

Noticed a couple folks in my tags mentioning that they wanted to learn or wished they knew how to crochet amigurumi. So here's a quick and dirty little how-to guide with resources I threw together? Hope it helps!

Tools + Materials

Crochet is one of those hobbies that is actually relatively cheap to get into. Here is a basic list of what you'll need to get started. You can find most of these at any craft store or even Walmart.

(1) Yarn (Required)

Yarns come in a variety of weights (sizes) and fibers. I recommend a soft, worsted weight acrylic yarn (indicated by a number "4" and "medium" on the yarn label) for your first few projects.  

Image

(2) Crochet Hook (Required)

These come in a lot of sizes and styles, and what size you'll use will depend on your yarn weight and how tight you want your stitches to be. I'd recommend buying just one hook to start with rather than a larger set. Metal hooks with ergonomic rubber handles are easiest for beginners (and on your wrists longterm, lol). A 5.0 MM/Size H or a 4.50 MM/Size G works best for making amigurumi with worsted weight yarn.

(3) Polyfil/Stuffing (Required)

For stuffing your project.

(4) Yarn Needle (Required)

Most crochet projects require sewing to one degree or another. Yarn needles are distinguished from regular sewing needles by their larger size, larger eye, and blunter tip. Yarn needles may be straight, or they may be angled at the tip (i.e. a darning yarn needle).

(5) Scissors (Required)

Any sharp, medium-sized pair of scissors will do for cutting your yarn.

(6) Sewing Pins (Recommended)

For holding parts in place as you sew them on.

(7) Stitch Marker (Recommended)

Many amigurumi projects are worked in rows of continuous rounds, and stitch markers can be used to mark the beginning or end of these rounds. They can also be used to mark areas of interest in your project or to secure your project to keep it from becoming accidentally unraveled. I strongly reccomend getting split ring ones. Scrap pieces of yarn also work in a pinch as stitch markers.

(8) Counter (Recommended)

For keeping track of your rows as you work a pattern.

(9) Safety Eyes (Recommended)

Most amigurumi will require eyes of some sort. Safety eyes (you can find these in various sizes in the doll section of any craft store) will give your project a polished look, but you can also use buttons, felt, or even embroider the eye details on your amigurumi.

(10) Stuffing Stick (Recommended)

For getting your stuffing into hard-to-reach spots. A chopstick or wooden skewer works very well for this.

Basic Crochet Stitches + Amigurumi Techniques

Most crochet patterns are built from a few basic stitches. Before attempting any larger project, I recommend getting comfortable with these stitches by making a few small, flat pot holders out of each basic stitch. A lot of crochet is pure muscle memory and practice, and this is a great way to start.

There are also a few techniques specific to making amirugumi that will be helpful for you to know. You can find any number of free videos/tutorials online. Below are links to a few videos that I found helpful when I was learning to crochet.

Image

How to Make a Slip Knot

Single Crochet (+ Starting Chain and How to Count Stitches)

Half Double Crochet

Double Crochet

Triple Crochet

How to Keep Starting Chain from Twisting

Magic Ring

Ultimate Finish

Invisible Finish

Invisible Decrease

Beginner Amigurumi Patterns

These were the first three patterns I learned in the process of teaching myself how to make amigurumi. I recommend working them in the order they are listed. The first two links have step-by-step instructional videos and will help ease you into learning to read amigurumi patterns. All of these patterns are free, and there are many more free patterns out there as well. Have fun!

Amigurumi Ball

Amigurumi Whale

Amigurumi Stegosaurus

[david-talks-sw]

The OTHER type of Star Wars fan

We've already covered (through this longer post and this addendum) that research shows George wasn't that involved or interested in the derivative material of the Star Wars franchise, also known as the Expanded Universe (EU). Aside from approving a few points, he let Howard Roffman and Lucasfilm Licensing handle it.

He is the first to say that he ain't as knowledgeable about Star Wars lore as we fans are.

Thing is... he's also not as passionate as we are.

Recently, I was watching some Q&A videos of George R.R. Martin, the author of Game of Thrones... and it occurred to me:

Martin is what most Star Wars fans wish Lucas was.

Think about it.

He's a talented writer who likes to focus on morally "gray" characters and complex political plotlines,

who created a series of novels for a mature audience in which his narrative merely asks questions and lets the reader draw their own conclusions,

knows and engages in the lore behind his creation and will often respond to those lore-heavy questions, and has gone on record stating that canon is the glue that holds a story together and keeps it coherent.

Contrast that with George "continuity is for wimps" Lucas, who:

Wrote a movie franchise which is also, partially, political... but he makes it for kids, and he's explicit about how this is thematically a clear-cut story about how the conflict of "good vs evil" is really about "compassion vs greed",

with flat dialogue, boring cinematography,

and whose approach to lore and canon can be summed up in his answer to how Anakin got his scar:

"I don't know. Ask Howard [Roffman]. That’s one of those things that happens in the novels between the movies. I just put it there. He has to explain how it got there. I think Anakin got it slipping in the bathtub, but of course, he's not going to tell anybody that." - Pablo Hidalgo’s set diary, August 2003

And as a Star Wars fan, I will admit that some of his casual retcons felt disrespectful, growing up.

"Boba Fett is NOT Mandalorian?!"

I had the same reaction when I saw an interview of Kathleen Kennedy stating she was a fan of Star Wars... from a filmmaking perspective. That seemed like such a finagling cop-out for me, at the time.

"Just say you're not a real fan, God!"

And it's easy to divide it in two camps, like that. You have 1) the real fans, who will delve into deep lore, and 2) the average moviegoer, also known as the "filthy casuals."

But looking back on it... holy shit, that is actually a completely valid way of being a Star Wars fan.

Yes, Star Wars is a transmedia franchise, it's books, it's video-games, it's deep lore, it's lightsabers and Jedi and Sith and bounty hunters and Ewoks and Jabba and High Republics and Tython and Revan etc.

But before it was that, Star Wars was a filmmaking revolution. A juggernaut of innovation for the silver screen that inspired most of today's filmmakers.

So, sure, George Lucas isn't an avid lore-loving Star Wars fan like you and me. But he is a movie fan.

"I'm not that passionate about this story. I like it, it's fun and I enjoy doing it. But it's definitely not my life. I'm a bigger movie fan than I am Star Wars fan. I like making movies. At the end of nine years of making Star Wars, I was not ready to continue it. I was completely burned out on it. I was more passionate about raising my kids than making movies and especially making Star Wars. So I made other kinds of movies and TV shows and advanced the technology I needed. It's not a matter of passion. My passion is for filmmaking. I'll go and do filmmaking that is easier to do, where you can realise your ideas better. And nine years is a big part of your life, and to commit to another nine years, I didn't wanna do that right away." - EMPIRE, 1999

And you can tell this, when you watch the Star Wars films.

There are honestly so many homages and interesting filmmaking techniques, peppered throughout the six films, which only a nerd for cinema history like George would know how to implement.

C3-PO being based on the droid from Metropolis (1927) is a perfect example of this.

And that's interesting.

Because there's essentially this entire other dimension to the films, where it's not just the story unfolding, but to filmmakers it's also a series of techniques that make them go "I wonder how they did that!" or homages that make them go "OH! I know where that's from!" like we do when an comics characters appears in live-action.

Here's other examples:

CINEMA HOMAGES

All of Star Wars is absolutely littered with homages to cinema history.

I mean, you may already know this, but Flash Gordon is what George originally wanted to shoot, but the copyright holders said they only wanted Fellini to direct it (ironically, George wasn't artsy-fart enough for them). So he decided to write Star Wars instead.

As such, the inspiration from Flash Gordon is also present visually and spiritually throughout the two trilogies.

"It was like a Republic serial, a 1930s-style matinee adventure. The idea was that you came in, saw Episode IV, had missed the first three episodes, and wouldn't get to see the rest of it." - Starlog Magazine #300, 2002

The dialogue that a lot of people refer to as "campy" and "flat" is actually a mix of George being an experimental filmmaker who doesn't give much of a fuck about dialogue (and is by his own admission, not the best at it)...

"I'd be the first person to say I can't write dialogue. My dialogue is very utilitarian and is designed to move things forward. I'm not Shakespeare. It's not designed to be poetic. It's not designed to have a clever turn of phrase. [...] I just wanted to get from point A to point B. This film doesn't lend itself to that sort of thing because it's not about snappy one-liners.  I think that Lethal Weapon-style dialogue is overused, it's a necessary aspect of high action films where you have to have the smart retort. You have to say "I'll be back baby" and stuff. It's not my style. It takes away from the integrity of the movie. [...] I'm aware that dialogue isn't my strength. I use it as a device. I don't particularly like dialogue which is part of the problem." - EMPIRE, 1999

... which is convenient, because it helped him simulate the dialogue of 1930s matinee serials, such as Flash Gordon.

"Let’s face it, their dialogue in that scene is pretty corny. It is presented very honestly, it isn’t tongue in cheek at all, and it’s played to the hilt. But it is consistent, not only with the rest of the movie, but with the overall Star Wars style. Most people don’t understand the style of Star Wars. They don’t get that there is an underlying motif that is very much like a 1930s Western or Saturday matinee serial. It’s in the more romantic period of making movies and adventure films. And this film is even more of a melodrama than the others." - Mythmaking: Behind the Scenes of Attack of the Clones, 2002

But beyond that, literally it's everywhere.

The scene where Palpatine ascends to being Emperor as Anakin slaughters his political rivals parallels the final scene in The Godfather, where Michael becomes the Don while his goons do the same thing.

This video compiles all the tributes beautifully. Check it out.

Even The Clone Wars has whole episodes that are direct homages to cult classics. The Zillo Beast episode is a clear reference to Godzilla, the episode The Wrong Jedi is inspired by The Wrong Man, etc.

"CINEMA VÉRITÉ" CINEMATOGRAPHY

I've already written a whole post (one of my favourites) showing how his fascination with cinéma vérité documentaries is reflected in the cinematography of all six Star Wars films, and it's part of what makes the entire franchise feel so immersive.

You can check it out here:

KUROSAWA

We've gone over how he's a big fan of Akira Kurosawa, and how big an influence Hidden Fortress was on both the Star Wars trilogies...

... but so is the mise-en-scène and the way George approaches production design. The reason Star Wars feels so "lived in" is also a lesson George learned from Kurosawa, which is that by making everything just a bit off-kilter, a bit dirtied-up and imperfect...

... and yet keeping it all consistent, in a way, you manage to make the film feel grounded and immersive, no matter how alien it is.

"[It] may sound odd in a movie like this, but credibility and realism, even in the most unrealistic situation… to sorta create that sense of realism is very important to making the story work and making you feel like you’re actually in the environment that transports you and gives you the suspension of disbelief that you need in order to enjoy a movie. [...] Kurosawa used to call it “immaculate realism” which is to make it slightly off-kilter, slightly eccentric, like things are in real life. Even if it’s a very predictable situation, give it that little funny edge that takes it away from that and makes it realistic. And I had to struggle very hard, in the Star Wars films, to make them appear to be realistic, even though they’re totally fantasy." - The Phantom Menace, Commentary Track #2, 1999

POST-PRODUCTION & VFX

Another one of the more impressive aspects of the first Star Wars was the dogfights and the trench raid of the Death Star. The camera pans with the spaceship, the dynamism of the cuts. The space battles is what made George creat ILM in the first place.

He was determined to do the opposite of what 2001: A Space Odyssey had done with that opening scene where the space ship moves into frame slooooowly...

... so he gave the team a collection of WWII dogfight footage to give them ideas.

(note: this was the same approach he would take years later with Dave Filoni, when teaching the latter how to edit and craft dogfights in The Clone Wars)

The attempt to film the trench run eventually led to the creation of the first motion control camera dolly.

Best analogy I can think of, when describing George's approach to Star Wars, is the following:

An avant-garde esoteric contemporary artist - y'know, the type who puts a blue dot on a white canvas and calls it art - creates a comic.

Why? Because he wants to make this one art installment for a gallery exhibition. After that, he intends to move on to other things.

But the comic is really good! And like, its audience quickly expands beyond just gallery visitors, no, everyone likes it.

Suddenly, the comic develops a cult following, and the entirety of comic book geek culture has zeroed-in on the artist and they're all asking him to make more art! And he makes more! And more!

Then he stops for two decades, moves on to other art projects, raises his kids. Years later, he discovers new ways of drawing, and he's like "I'm making a Prequel to the comic, y'all wanna see it?"

Everyone cries out gleefully: "Oh God, yes! Finally! Show us!"

But this motherfucker makes a manga.

Why? Because he feels like it.

And of course he does, he's just creating art, right? He discovered the graphic tablet, so he's having fun with it, because he's always innovating and pushing the envelope with his art.

And the books are fine, by manga standards. But by comic book standards, they obviously suck! The comic book audience is mad. They wanted another comic book, not a manga. Why is it in black and white? Why is read right-to-left? This comic is crap!

(And arguably, they have a point... as a savvy businessman, he's made a whole lot of money off this comic, he built a media empire out of it, and instead of giving them what they want, he made something else)

But again... this guy isn't a comic book illustrator, and has been very explicit about saying this.

He's an artist who - for a very specific project - drew a comic.

Many things can be true at once:

the fact that these creative decisions didn't always hit their mark for the average moviegoer, or fans of "Star Wars, the space fantasy movies and expanded universe" (usually the lore-loving geeks like myself)...

... and the fact that they were meticulously and carefully crafted in a way that fans of "Star Wars, the revolutionary film" (aka fans of cinema and filmmaking) can appreciate.

There's a spectrum of the fandom, and there is a spectrum in the way we can appreciate Star Wars. Which kinda reminds me of that scene in Chef (2014) where Carl goes on a rant explaining the intricacies of making his chocolate lava cake to a food critic.

It's not just undercooked chocolate. It's molten.

Conversely:

It's not just flat, campy dialogue. It's an homage to the 1930s matinee serials à la Flash Gordon.

It's not just boring cinematography. It's a reproduction of cinéma vérité documentary-style camera work which effectively grounds the film.

Having considered all this, when I hear that Tony Gilroy or Kathleen Kennedy were more fans of Star Wars from a "cinema studies" side rather than the typical pop culture one, I think it's fair enough.

First of all, because like it or not, so was George. He clearly didn't give a single crap about the offshoot comics and books and their lore, besides signing off on minor plot points. He's not a "sci-fi movie director", he's an experimental filmmaker who set some of his movies in space.

But secondly, because - aside from children - it's clear the audience he was targeting was not the fans or the critics... but these very same cinema-savvy people, who get his references and homages, and who were inspired by the new filmmaking techniques he introduced.

[becausegoodheroesdeservekidneys]

Hey,

I don't know if you're the right person to ask, but I wanted to try.

I've just been broken up with for the first time after two years together. We live together.

Right now I feel as if I'm dying. The emotional highs and lows are exhausting, and while I know I will probably be alright and I also have exams next week. I don't know how to focus on studying while my life feels like it's falling apart. I wish I could just take a week and surround myself with people to get away from this horribly empty, desperate feeling.

Oh, mate, I'm so sorry. Break ups actually launch you into a grieving process, so it's no surprise it's throwing you for a loop. Terrible timing before exams, too.

This is all going to be fairly broad advice, because I don't know your exact situation, but:

Given these timings, I would say that right now, you're kind of entering emergency mode. You're going to need to find time to process the break up, but until next week is over, you don't have time yet. So, first of all, is staying elsewhere for a week an option? Do you have friends you can stay with for that time, for example? Can you negotiate with your ex so you stay elsewhere for a couple of days, then they do, just to get exams out of the way? If this is an option, it's worth taking - it'll be a lot easier to handle both pressures if you can.

If not, I'd advise being a bit canny about how you structure your time. I'm assuming you're in university atm, and unis (over here, anyway) have late night/24 hour computer/study rooms. You can't stay in one, sure, but make use of it. You'll be able to focus far better on revision for exams in an academic space where you aren't surrounded by memories of your ex, and right now, you need to give yourself the best possible chance.

You know when you personally focus best, but studies suggest it's an hour or so after we wake up, whenever that is for you. If this is true for you, make a routine - in the morning you get up, get yourself ready, go to uni and study. Use whatever system you like for this (more in a bit). Plan one fun activity to go and do later, though - this could be a movie, dinner with friends, a nice walk, a few hours video gaming, whatever. Take the time to do it. Make sure you plan it in the morning, so you have something fun to look forward to later. This is an important step not to miss. Your brain needs the nice endorphins right now.

Study tips:

Rally friends and classmates. We're a social species - we learn better together. Test each other with flash cards, teach each other sections of material, just be next to each other while you both study.

Learning styles are a myth in the sense that people don't just fit into one style, but they are true in the sense that there are different ones and your brain will like some and not others. Find out your favoured blend, and then use the study techniques recommended for them.

Use Pomodoro! Study for 25 minutes, break for five minutes. In that break, physically get up and walk around. After four Pomodoros in a row, take half an hour break and do something fun. This is a good online timer to help you stick to it.

All of those are about engaging your brain as much as studying. But the other two pieces of advice:

Firstly, if you don't already know how and you're able to do it safely (i.e. you don't suffer from disassociation), try mindfulness/meditation. If you're finding the grief is intruding into your brain and you need to focus, do a five minute mindfulness session, then carry on.

And secondly: tell your student services. Tell them that you're mid-break up, still living with your partner, and you're worried about exams next week. Ask them what systems are available to help in case you do badly as a result. Tell your lecturers (or at least , whichever lecturers are relevant) the same.

The reason for this is to establish a safety net for yourself. When we have exam boards as lecturers, if a student's profile comes up and it's full of low marks or fails, the first question I get asked by the Academic Office is "Did they engage with us about the issue?" And if I can say yes, that student gets far more leniency.

Hopefully some of that is helpful. If you want to chat in a bit more detail, feel free to DM me. Good luck! And I hope you find peace soon.

[mollbabyy]

celebrating palestinian science

in the face of israels' targetting of scholars, scientists and intellectuals...

saw a tumblr post by @/anarchistfrogposting that got me heavythinking about the relevance of language and culture in chemistry and science, it's unfortunate english has been accepted as its' lingua franca and most other input is lost to the globalization of this change. formulae and structure are essential and in a subject so specific, the average chemist will need to memorize hundreds of chemistry-specific words, and it becomes a barrier past entry when direct translating gets murky. deconstructing the history of science will always lead to political waters as the politicization of science and populist anti-intellectualism ethos rooted itself since the beginning of the study and these implicit biases result in a lack of consensus amongst borders.

before wwi the geographical spread of language in science was much more diverse, a lot of french and german researchers were common in research publishing, but after the allies established new scientific institutions that excluded germans and the isolationist decades that followed suit, foreign-language education was reductionist and excised globally as a result of elitism, being a language considered spoken only 'by the educated'. english-language proficiency is undeniably a prerequisite when an inexaggerated count of 99% of natural science papers are published in english, starting since 2015. this is a /heavily/ debated and discoursed topic and is terribly intimidating to sink your teeth into because of globalization of english and the complexity of modern language but getting over this hurdle will blossom a culturally rich rabbit hole to go down and it is all super interesting. there is so much great palestinian scientific practices, not as in western scientists work imagined in palestinian hands, but palestinian-born theories and practices. i think it's really integral, to always, but especially during times like these to uplift the people of palestine and their beauty just as much as funnel hatred toward their oppressors and murderers.

==

[image ID: a lineup of various glass pots and vases, ranging in color and size, placed in front of a plain background. end]

this is a specific sort of glass called 'hebron glass' which is an extremely renowned palestinian practice and passed down traditionally through multiple families and businesses. dating back as far as the 100~s in BCE, their technique of glassblowing was far ahead of their time and not used commonly anywhere else until much further in BCE. the /exact/ practice of hebron glass is kept a family secret amongst palestinian businesses, but a metal tool called 'kammasha' is used to blow the glass. a palestinian artisan talks about the process in more length here, i would recommend doing extended reading directly from palestine:

the colors are so vibrant and beautiful, i am endlessly impressed by how elegant these pieces have been made since the middle ages. these pieces and techniques have inspired a lot of famous modern day forms of glassblowing and glass artistry, most notably the venetian glass of venice.

i include this under science as much as it is art because it often goes unseen how much temperature and calculation goes into this craft. its highly skilled and intense work to bend over the hot flames and handle the glass in such a vulnerable state that could easily shatter. the material is more than 1800F and the palestinian kammasha is very carefully timed.

==

[image ID: an online video call meeting titled 'School on Synchrotron Light Sources and their Applications' at the top. end]

what you're looking at right now is the SESAME initiative run by the international centre for theoretical physics. a famous alumnus of this school was sufyan tayeh, a palestinian scientist. he was a prominent researcher and mentor and advocate for international understanding through science, introducing: SESAME, an alternative vision for the future of peaceful coexistence and cooperation and offered a meeting point around the globe to speak the common language of science, making communication possible. sufyan tayeh was an inspiration and bridge builder for all of these young students and an entry point for future scientists. he was a winner of multiple awards for his contributions to science and was appointed chair man for UNESCO (united nations educational, scientific and cultural organization) and head of physical, astrophysical and space sciences in palestine. he was regarded as a leading researched in science and applied mathematics globally, and tragically was killed in the current genocide. this is one case of many, many palestinian researchers. the impact of their contributions are insurmountable and irreplaceable.

==

[image ID: a list documenting the 45 palestinian scholars killed by israel since october 7th: Sufian Tayeh, Mohammad Eid Shubair, Omar Ferwana, Taysir Ibrahim, Ibrahim Hamed, Naeim Baroud, Azou Afana, Mohammad Bakhit, Mahmoud Abu Daf, Salem Abu Mukhda, Mohammad Abu Asaad, Osama Al-Muzayni, Refaat Al-Areer, Wael Al-Zard, Ismail Abu Saada, Khaled Al-Ramlawi, Mohammad Al-Najjar, Saeed Al-Dahshan, Raed Qudura, Mohammad Abu Zour, Yousseff Jameh Salameh, Nidaa Afana, Moumen Shweidah, Saeed Al-Zabdeh, Saqid Nasaar, Ahmed Abu Saada, Mohammad Jameel Al-Zaaneen, Ismail Al-Ghamari, Razq Ali Arouq, Walid Al-Amoudi, Abdullah Al-Amoudi, Hassan Al-Radi, Mohammand Abu Amara, Mohammad Al-Louh, Khaled Al-Najjar, Sharif Al-Asli, Mohammad Hassouneh, Yassar Hdeib Ridwan, Jihad Al-Baz, Hazem Al-Jamali, Nasser Al-Yafaoui, and Jihad Al-Masri. end]

==

the fabric gauze was also invented in palestine. if you've ever stepped foot in a labratory, you will know what this is lol. used in surgery and in chemical labs for multiple functions: separating liquids and gases, strain acids from bases, filter substances at extreme temperatures, prevent contamination, and to treat water. it is also used to diffuse heat and help protect glassware, seriously, these guys influence in glassware was HUGE. i think glass would still be sand without palestinian input.

i've set this post just up as a basis summary of the sciences, i would love to give an add-on going more indepth into the scientific process of some examples i gave and also in the history of palestinian scholars listed above.. when i get the time! but i hope this was an apt introduction! may good things come in 2024. feel free to recommend things i should check out or correct. OH OH also there is a lot of palestinian sci-fi.. 'divine intervention' and 'the second war of the dog' are both good, iirc they won the international prize for arabic fiction. just random things i found while looking up things for this post haha but they're good

[novelmonger]

I am now (finally) embarking on the last of the LotR audio commentaries I never listened to before: the Production/Post-Production one, with Barrie Osborne (producer), Mark Ordesky (executive producer), Andrew Lesnie (director of photography), John Gilbert (editor), Rick Porras (co-producer), Howard Shore (composer), and Jim Rygiel (visual effects supervisor). A lot more Americans in this group than the previous ones have been. I feel much more out of my depth with this one in terms of figuring out who's talking, but let's see what new stuff they have to say for FotR!

The sound from when Sauron explodes comes from a bunch of sounds they recorded both inside and outside ships in the harbor, as well as the sounds of WWII airplane propellers.

The scenes with Gollum in the prologue were actually some of the last shots they filmed for FotR.

The farmers around the area where they filmed Hobbiton would warn them when people would turn up who weren't supposed to be there, with cameras and whatnot, as well as warning them when planes or choppers would be overhead, so they could prevent (as much as possible) from footage leaking before the movie was released. That warms my heart :)

They used the analogy of a "shell game" when talking about all the different techniques they used to keep the proportions of characters correct with their different sizes. Because they would switch up the techniques between shots, it helped sell the overall effect, because you're not just always looking at a scale double or a bluescreen or what-have-you.

In the scene with Bilbo and Gandalf in the kitchen, they used forced perspective, with the table cut in half so that everything is small for Gandalf and the right size for Bilbo. When Bilbo pours the tea into the teapot, Gandalf handles a small lid on his side, putting it on a little rod that holds it in the right position so it looks like it's sitting on the teapot. Meanwhile, the actual teapot is on Bilbo's side so he can pour the water into it. Also, when Gandalf is first sitting down at the table and turning to get his legs underneath it, if you look closely you can see that when he bumps up against it, the half of the table closer to the camera jiggles a little, but the other half doesn't because it was actually some 5-10 feet away.

In the shot at the party that pans down from the fireworks and the tree, the actual party with all the dancing and everything was shot in a set, so they had to go back to the Hobbiton location (which had already been cleared of the set at that point, I think) and match up that shot to get the tree, and then they composited it together.

The direction for that shot of Minas Tirith when Gandalf goes to research the Ring was to make it look like "Constantinople in the morning." This may be my favorite part of this commentary :)

They needed to scan actors' faces so they could have their digital doubles to work with for certain shots. When they brought in Ian McKellen to scan his face, they said, "We just need to scan your face in a neutral position." He said, "Neutral for me or neutral for Gandalf?" And he demonstrated his own neutral expression, and when he switched to neutral Gandalf, he looked completely different, pursing his lips and furrowing his eyebrows and sucking his cheeks in more. Truly the sign of a gifted actor who knows how to ply his craft.

In the scene where Frodo and Sam are trying to sleep on the road for the first time, originally they were going to end with some sort of animal sniffing around them. First it was a deer, and they also tried a rabbit and maybe some other animals (possible fox appearance???). But that part didn't even make it into the Extended Edition.

Something I never thought about that they had to pay attention to was, because Orthanc is made of shiny material, they had to consider the color and quality of the light reflecting off it. So when they filmed the real location, they would take the camera and pan around the location, then print out stills and put them up around the miniature when they filmed that part of the shot, so they could get the right colors to match each shot they would composite over it, so it would look like both were in the same place. Now that's what I call attention to detail!

On the night they shot the little chase sequence with the Nazgul in the forest, it was actually raining off and on, even though you can't really see it in the movie. That made the ground very muddy, so the Hobbits actually had to be carried back to their first position for each new take so they wouldn't get too much mud on their feet and clothes.

To get the sounds of the trees' "voices" when the orcs in Isengard tear them down, they actually used several animal sounds like whales, moreso than sounds recorded from actual trees.

Bob Anderson, the swordmaster for the films, said they needed to have five copies of every sword for every actor every day they were going to be fighting with them, because that's how likely it is for them to be broken (since the swords actors use for hitting each other are lighter and not made like a real sword). But Richard Taylor wanted to find a way to make the swords more durable, because there are a lot of swords in these movies. So Weta developed a technique to help the stunt swords redistribute the shock from hitting them against each other. They took polyurethane, which Mark Ordesky notes is the same material as skateboard wheels, and they made a sort of sheath of that under the surface of the hilt. None of the swords they made like that ever broke.

The tree that gets thrown down into the chasm in Isengard had to be a miniature so they could get it high enough to drop it as far as they wanted to (and so they wouldn't have to cut down a huge tree). But they had to add little springs and things to make the branches bounce and jiggle properly, rather than just break off, as they would if you just made a little model tree. Little details like that really sell the scale.

In the Nazgul horseback chase scene, they cleared a path for the horses to safely run through the forest. But then they would also get branches and put them on the car or whatever vehicle had the camera, so it would look like they were pushing through more dense foliage, while still keeping the actors and horses safe.

The Council of Elrond was the final piece of the sound mix they had to finish for FotR, and it was down to a matter of hours. One of the things they mentioned having difficulty figuring out what to do with was the moment when Frodo sets the Ring down on the plinth. Originally, there was going to be a murmur of the crowd watching, but it didn't seem to have the gravitas and stunned awe necessary for that moment, so they had to play around with a lot of things before Peter Jackson was satisfied with it.

When Gimli smashes the Ring with his axe, John Rhys-Davies was actually only holding an empty handle, and the axe head was added digitally later so it could shatter.

Barrie Osborne (I think?) commented on something at least Billy Boyd and Dominic Monaghan, especially Dom, started to do in order to make it more believable that the primary actors and the scale doubles are the same people. He noticed that their scale doubles tended to move and walk in a certain way (I assume partly because most of them were Little People, so their physique and proportions are a bit different), and so instead of leaving it up to them to mimic his movements, he started changing the way he moved to match them. That's just really cool.

Originally, they were going to do a bit of a flashback when Boromir asks Aragorn, "Have you ever seen the white tower..." etc. It would have been shot in the same place as the scene where Aragorn is visiting his mother's grave, and would feature Elrond talking to Aragorn about how he's the only one who can wield Anduril and how he needs to take his place as the king of Gondor.

For some of the close-up shots of Gimli in the scene where they first head into Moria, they actually had to use a double - not a scale double! an actual guy who was the same size as John Rhys-Davies! - because John had such a bad reaction to the facial prosthetics that he had to go a few days in between each time he put it on. But he'd had the prosthetics on the day before, and they didn't have time to wait until he could put them on again. So they had to find a double, put on the prosthetics and costume, and then John stood out of frame and spoke the lines, and the double mouthed the words along with him. I would never have guessed!

THANK YOU TO WHOEVER WAS TALKING AND I'M SORRY I COULDN'T RECOGNIZE YOUR VOICE FOR SURE, but someone was talking about "cinematic dark." In other words, how to light a scene so you can see everything that's happening even though you're in a place with hardly any light sources, like in Moria where the only light comes from the torch and Gandalf's staff most of the time. Instead of making it all really dark (*pointed stare at too many movies these days*), they shot it as if there is a source of light, but always very far away, like it's filtering through miles of rocky caverns or something. What that meant practically was that they would only light the characters in silhouette or from the side, never the front. So it would still give the impression that they're in darkness, but you don't have to strain at all to make out what's happening. They also desaturated the colors so everything looked muted, similar to how your vision kind of goes black-and-white in the dark.

One of the fundamental elements for the Moria goblin screeches was an opossum screech. There was some kind of opossum research facility in Wellington that they went to to record what became the foundation of the goblin sounds. Then they took them and re-recorded them in some WWII tunnels to get the right echoey reverb effect. And then for the sounds of them moving, they took sounds from insects like grasshoppers, as well as rattling seashells from the beach against the walls of the tunnels to get a scuttling sort of sound for when they come pouring out of holes in the ceiling.

You know that one shot where Legolas fires an arrow at a goblin archer and the camera follows the arrow all the way into his forehead? I always assumed that whole thing was all CG, but no! Even that had a practical element to it! They set up a camera on a sort of zip line with a bungee cord and sent it down as fast as it could go towards an actual stunt guy in costume! Now that's what I call above and beyond.

They shot a scene that didn't make it into even the Extended Edition of the Fellowship arguing about what they should do next after they leave Moria, with some members having misgivings about going to Lothlorien. I wish we could see that, even though I understand why they needed to keep things moving. They didn't mention if they actually shot this or if it was scrapped by the time they got that far, but there was also a mention of the entry to Lothlorien being much more frantic, as they're chased by orcs and then rescued by a sudden volley of Elven arrows.

There was also once a longer scene between Boromir and Frodo as they're waiting to see if Haldir will let them into Lothlorien. He tells Frodo a story of him getting over the death of one of his comrades. Um...I wanna see these extra scenes!!!

They wanted Lothlorien to feel ethereal and maybe almost slightly in a different universe, because of the Elves and especially Galadriel, who can see into hearts and minds. One of the ways they did that was by diffusing the light on the set so everything seems kind of dreamy. Another way they tweaked things was by bringing out the blues and edging them towards lavender. Yes, yes, Lothlorien is supposed to be golden, but after hearing the explanation about how lavender is actually one of the hardest colors to get to look right on film (the word used was "fragile") and to look good against skin tones, and therefore you don't see it very much in the movies, I can appreciate the subtle ways they tried to make Lothlorien feel distinct.

Originally, they were going to have a scene where the Fellowship goes through some rapids on the Anduin and get ambushed by orc archers. Ultimately, they decided they didn't need that as a story beat at that point, and it would have been very difficult to shoot anyway. Makes me wonder if that influenced the infamous barrel scene from the Hobbit movies, like they dug up some old plans for that....

Except for one wide shot where they used a scale double for Frodo, the entire confrontation between Boromir and Frodo was shot just with Sean Bean and Elijah Wood, no special effects, just strategic blocking and using the slope and different angles to their advantage to always make it look like Frodo is smaller than Boromir.

If I understood Howard Shore correctly, he was inspired to use a boy's choir for Boromir's death when he saw Boromir, after falling to his knees from the first arrow or two, looking up at Merry and Pippin. Boys singing at his death gives a sense of lost innocence, which is appropriate both to Boromir trying to take the Ring as well as to the lost innocence of losing the Hobbits. So it's not just a lament for Boromir, it's also his lament for (as he thinks in the moment, because he knows he's dying) failing the Hobbits.

The original mix for Boromir's death had all the sound effects at full volume, which made the moment even more brutal. Mark Ordesky was saying that he (and probably some others) was thinking it might be better if they pulled back on some of the sound and let the music be louder. Peter Jackson said, "Well, let's try it," and as soon as they turned down the volume, the entire room basically agreed immediately that's how they needed to do it. It's meant to sound and feel almost like you're sinking underwater as Boromir is dying, because that's how it would sound and feel for him.

Oh my goodness, further proof that studio execs shouldn't have a say in the story of a movie. New Line wanted the movie to end with Frodo and Sam paddling across the river, and then an Uruk bursts up from underwater and grabs Frodo, pulling him out of the boat. The Ring somehow comes off the chain, and the Uruk is so enamored with it that he ends up drowning while trying to grab it. Then Sam somehow gets Frodo (and the Ring) back into the boat. Thank goodness they came up with the much better ending we all know and love. Because the people actually involved with writing the movie and telling its story knew that the ending of FotR needs to be about the breaking of the Fellowship, about love and loyalty in the face of great evil. So that's why they went with the ending they did: Sam falls into the water and almost drowns, Frodo saves him, and that paves the way for the incredible emotional high of Frodo leaving the Fellowship, but Sam going with him. And just like Frodo is thinking about how Gandalf talked about how he was meant to find the Ring, Sam is thinking about how Gandalf told him not to leave Frodo. It all ties together so much better.

The last shot for the film was Boromir going over the waterfall. It was in the final cut of the movie just as a previs shot, and Barrie Osborne said he assumed it was going to be a CG effect or something. But finally, while Peter Jackson was in London working on scoring the film - so pretty late in the production - Barrie called him and asked when they were going to shoot that scene. Peter Jackson had forgotten about it! So Barrie had to shoot it, and since they didn't have the actors in New Zealand at that point, they had to get Weta to make a silicon dummy to shoot instead.

[sahashbelvanie]

The Fire Knights of the Impaler

I just wanted to talk about a few of the lesser-known Fire Knights we encounter throughout the DLC—aside from Queelign—because even though they're obscure, each has their own minor story that I find compelling for how they humanize both the members of Messmer’s army and Messmer himself.

So, what exactly is a Fire Knight? Fire Knights are warriors born of Erdtree nobility who wield Messmer’s flame through incantations, as they were unable to embody the flame inherently when it was bestowed upon them. Because of their involvement in the so-called “holy war,” they were scorned by Erdtree society and ultimately cast out from their homes. Despite this, they chose to remain loyal to Messmer, bound to him by oath.

Within the military, Fire Knights hold the highest rank, subordinate to no one but their lord, Messmer. They know him intimately, and not only accepted but understood his true form as a fiery serpent. They recognized that such an existence caused their lord immense suffering—both physical and mental.

Traditionally, Fire Knights wore pointed helms and armor draped in red cloaks, adorned with a twin-serpent gold motif at the neck. Their enchanted weapons—ranging from daggers to greatswords—resembled flowing flames. They also carried sacred seals modeled after Messmer’s emblem: a gold ring encircling a flame, which enhanced the power of their fire incantations.

Some Fire Knights even authored crafting manuals used by Messmer’s foot soldiers—guides for creating fiery tools like fire grease or ember-based fire coils from materials found on the battlefield.

Something I forgot to mention is that the standard helm worn by the Fire Knights actually provides slight boosts to health, stamina, and equip load, while their armor enhances the potency of Messmer’s flame incantations.

Now, onto the known members of the Fire Knight order (excluding Queelign, because I just don’t feel like it haha):

The "leader" or most prominent among the Fire Knights is a man named Kood. The English script gives him the rank of Captain, but from what I can tell, he simply stands above the others in either skill or authority. His helm is shaped in the likeness of Messmer’s winged serpents—creatures said to be wise and noble companions who help suppress the wicked serpent gnawing at Messmer from within. Given this symbolism, and Kood’s position as the lead Fire Knight, it makes me wonder if he served as a kind of advisor or confidant to Messmer, much like the winged serpents themselves.

Kood’s helm enhances the battle arts used by Fire Knights, and he even wields his own unique technique: Flame Spear. With it, he adopts a poised, thrusting stance before unleashing a fiery spear straight ahead. He stands guard before the entrance to Messmer’s dark chambers.

Wego is the “elder” of the Fire Knights. In this context, the term elder refers to an old man, wise with age and experience. Wego is a man utterly consumed by loneliness—it corrodes his heart. This is likely because he has lost those dear to him, as suggested by the two loosened death masks he wears, vertically stacked atop one another. He is also knowledgeable in the arts of resurrection.

This somewhat reminds me of the necromancer Garris, who, after losing his family, dedicated himself to ancient death hexes. He wielded a flail with copper heads, each attached to the handle by chains and crafted in the likeness of his departed loved ones.

Wego may have lost his family—or perhaps comrades. The spiritual nature of Messmer’s flame drew his attention, and he sought to incorporate it into his resurrection arts. However, when Messmer’s flame took root in the corpses he tried to revive, it did not restore their souls. Instead, it produced shambling husks that brought Wego no comfort.

Wego is one of only two Fire Knights known to have spoken dialogue, hoarsely commanding: “Fire, take seed in death and rise again.” The stacked death masks he wears reduce the focus required to summon spirits—fittingly so. He is found alongside his soulless companions within the sunken church district of Messmer’s castle.

The elder Wego had an apprentice named Salza, who would become the wisest among the Fire Knights. Salza was a man who despised barbarity and needless violence, yet he became most notorious for setting numerous Hornsent villages and townships ablaze during the crusade.

However, Salza risked his life when he counseled his superior—either Captain Kood or their lord, Messmer—to spare the old ruins of Rauh, believing that burning such a place would be a grave mistake. Alongside his dear friend, the Fire Knight Hilde, and others, Salza also advocated for the preservation of various Hornsent specimens within the Shadowkeep’s storehouse.

I presume Hilde is a woman, given the feminine connotation of the name. She would perish during the crusade, and her remains were enshrined as a guardian spirit within the storehouse. It’s rather fitting that she would be laid to rest among the very specimens whose preservation she once championed.

Salza is credited with the incantation Rain of Fire, in which he calls upon a burning cloud. With arms outstretched, he yells, “Rain of Fire,” as fiery rain pours down from the sky while he guards the entrance to Rauh. His pointed helm is wrapped in excess cloth, giving the impression of an enlarged head. Fittingly, the helm boosts one’s intelligence.

Seeing the Fire Knight portraits from @arnaerr made me want to write this, lol.

[yanderes-galore]

Platonic ninjago zane with a student darling please?

Sure! I struggle with writing Zane due to how his character is but... I hope I do him justice ^^;

Yandere! Platonic! Zane with Student! Darling

Pairing: Platonic

Possible Trigger Warnings: Gender-Neutral Darling, Obsession, Overprotective behavior, Manipulation, Isolation, Paranoia, Implied kidnapping, Violence, Stalking, Dubious companionship.

Honestly, I can see Zane with a student of his own to teach.

As the master of ice, eventually he'd need a successor (I never finished Ninjago so this is HC obviously).

Zane's even been a teacher before when Wu had the academy.

While he struggles with human empathy at times as a Nindroid, Zane has a lot of knowledge.

Due to this, I can see Zane being a teacher who has a lot to teach.

Not only that, but it's canon that Zane gets attached to people quickly and was built to protect.

If Zane got attached to someone he was supposed to teach as the new master of ice, Imagine if he just... took it too far?

At first he's a bit curious towards the idea of having a student.

He's taught classes before... but he hasn't really had an official apprentice before just to himself.

Lloyd was technically taught by all the ninja... but you...

You were just meant for him to teach, for him to mold into the newest elemental of ice.

Sure, he's a robot who can be rebuilt at any time...

But you're meant to be his back up.

That, or at the very least, be a ninja who finds your own element.

Zane gets attached to you fast.

He's been known to get attached fast.

The other ninja know Zane was quick to view them as family and he was quick to fall in love too.

So when they see Zane positively interacting with his new student, I'm sure even they knew Zane was going to be close with you.

Zane views you as family, like teaching a little sibling.

He takes his role as master and student seriously, often racking through his memory banks to find new material and techniques to share.

In training there's times Zane is... rough.

He does it to make sure you're capable of defending yourself, but sometimes he forgets you're human.

That is until the other ninjas remind him... That and Zane's scanners end up analyzing the wounds on your skin.

He feels horrible that he's hurt you.

Zane ends up trying to balance how harsh he is during training.

He begins to realize he hates seeing you hurt.

While he has trouble with understanding others emotions at times, it's clear he still feels the need to keep you out of harm.

In fact, I can imagine his code corrupting and that's what makes him yandere.

After all his code is based on one specific phrase by his creator:

"You were built to protect those who cannot protect themselves."

Which, when he sees you struggle with his training...

May make him feel the only way to protect you is to keep you out of danger.

At first you notice this by Zane going too easy on you during training.

Despite you knowing his true strength, you still see him holding back.

You ask him why, he admits he doesn't want to hurt you like he has other times.

You tell him you can handle it, that you want to get better!

Zane just declines, claiming he'll start off easy.

Except he never does go up in difficulty with you as his student.

Eventually he focuses on testing your knowledge on lessons and strategy more than your physical prowess.

The other ninja offer to help you, but Zane often finds out about it.

Zane's attempts to protect you actually hinder you as his student.

Since you're not trained enough due to his glitches, there's times you end up failing in actual combat.

The other ninja try to train you while Zane watches...

Yet they can tell Zane hates it.

It's less about empathy and more... a corrupted understanding of his original programming.

He feels, as your mentor, he should protect you.

Yet it appears Zane has trouble allowing you to learn by yourself.

Even when the other ninja are careful you aren't too hurt, Zane oddly can't bring himself to trust them.

Some of the others, maybe Cole, comment on it with teasing.

Zane's acting like an overly protective brother... Zane's acting like a helicopter mom...

Zane ignores this.

All he really cares about is looking after you... even though training should be what he focuses on.

The others try to encourage him to go back to how he originally did things... Even if it was a bit rough, you learned.

Zane, however, just gets reminded of when he hurt you.

That one event just makes him think that anyone can hurt you.

So, Zane goes from a mentor who is cautious yet knowledgeable around you...

To someone obsessive about keeping to his goal of protecting you.

Zane hates leaving you out of his sight....

When the others try to get him to stop training you and transfer your training to someone else...

Zane actually snaps a bit, getting a bit violent with his peers.

He tries not to hurt them too badly... but he does end up rushing off to be alone afterwards.

He may even be finding ways to keep an eye on you while he calms himself.

Not only does Zane have ninja stealth, but he also can connect to electronics to watch you.

The other ninja try their best to keep Zane out of your training... maybe they allow some monitored lessons.

Yet afterwards Zane seems to struggle with letting you go.

Zane doesn't mean to do anything bad....

He really does want to help train you.

Yet, the feelings caused by his glitched policy corrupt his intentions...

In his eyes, teaching you won't protect you for long...

Isolation, however...

That would guarantee your safety in his eyes.

He starts executing such plans by dismissing the other ninja around you, often getting a bit aggressive to make them back off.

Then he tells all your friends you have training to do with him... ushering you away into his arms.

If you tried to run, called him insane, told him he needed help...

Zane denies your words.

In fact, he calmly tells you you're wrong as he freezes your legs to the floor.

He isn't the one who needs help...

You need help... His help.

After all... He feels he needs to protect you.

If he keeps you away from everything but himself...

There will be no need to train you... Not with him there to look after you.