#Subplot legend

[devtrust]

Subplot legend

Subplot legend how to#

Subplot legend install#

Subplot legend free#

Note that the mode argument tells Matplotlib to expand the legend to the length of the plot and the ncol argument tells Matplotlib to place the legend labels in 2 columns.

Subplot legend how to#

The following code shows how to place the legend above the Matplotlib plot: import matplotlib.pyplot as plt Note that the loc argument tells Matplotlib to place the lower left corner of the legend line at the (x,y) coordinates of (1,0) in the plot. legend(bbox_to_anchor=(1,0), loc=" lower left") Get started with the official Dash docs and learn how to effortlessly style & deploy apps like this with Dash Enterprise.

Subplot legend install#

To run the app below, run pip install dash, click 'Download' to get the code and run python app.py. The nrows and ncols arguments are relatively straightforward, but the index. Dash is the best way to build analytical apps in Python using Plotly figures. index: The plot that you have currently selected. Here is an example that creates a figure with 3 vertically stacked subplots with linked x axes. The margin argument is used to control the vertical spacing between rows in the subplot grid. ncols: The number of columns of subplots in the plot grid. The shareXx argument can be used to link the x axes of subplots in the resulting figure.

Subplot legend free#

New to Plotly Plotly is a free and open-source graphing library for JavaScript. Seven examples of how to move, color, and hide the legend. Example of a global legend in a 2x2 tiled layout Example of a global legend in a 1x4 tiled layout Example of a global legend in a 1x4 subplot 0 Link You cannot have a legend that pulls data from more than one subplot. Legends in JavaScript How to modify the legend in D3.js-based javascript graphs. The following code shows how to place the legend in the bottom right corner outside of a Matplotlib plot: import matplotlib.pyplot as plt We can create subplots in Python using matplotlib with the subplot method, which takes three arguments: nrows: The number of rows of subplots in the plot grid. , legends can be positioned relative to figure edges and can contain graphics objects from different subplots or tiles. Example 2: Place Legend in Bottom Right Corner Note that the loc argument tells Matplotlib to place the upper left corner of the legend line at the (x,y) coordinates of (1,1) in the plot. legend(bbox_to_anchor=(1,1), loc=" upper left") The following code shows how to place the legend in the top right corner outside of a Matplotlib plot: import matplotlib.pyplot as plt Example 1: Place Legend in Top Right Corner This tutorial shows several examples of how to use this function in practice. Since this subplot will overlap the first, the plot (and its axes) previously created, will be removed plt. Often you may want to place the legend of a Matplotlib plot outside of the actual plot.įortunately this is easy to do using the () function combined with the bbox_to_anchor argument. import matplotlib.pyplot as plt plot a line, implicitly creating a subplot (111) plt.plot( 1, 2, 3) now create a subplot which represents the top plot of a grid with 2 rows and 1 column.

[matt0044]

What if I said Makorra was the reason Korrasami took off the way it did?

See... Korra and Mako definately were a couple who cared for and admired each other but weren't exactly equipped for a terribly healthy romance in the long run. Especially when it came to where their loyalties lay in handling the Water Tribe's civil war.

Of course, part of this was a lack of parental guidance over the matters of the heart. Korra being locked up in a compound and Mako looking after Bolin on the streets certainly didn't help.

Thus remaining just friends was the best they could go for.

This crash course in love, in my view, lead Korra to take things more slowly from here out and let the pot boil slowly but surely with whomever struck her fancy next. It helped that Asami's turbulence with Mako helped as she too took things more easy.

No doubt it'd be more explicit of a thing without Nick being obtuse about it (considering their neglect of the show, you'd think they'd shrug it off) but it weirdly uses that "don't show your hand" mandate to it's advantage.

See... I generally stan the romantic subplots of Books 1 and 2 insofar as they are organic to the characters themselves rather than a degree from the author in part of what mentioned above. However, I understand why they're not terribly popular.

Whether you like messy teenage romances or not, there is a sort of dissonance when it comes to marring them with the threat of Amon's Equalists and Unalaq's dealings with Vaatu. The messy matters of the heart don't feel nearly as worth investing interest in compared to, say, saving Republic City from civil unrest turned ugly or the greatest threat to the Avatar itself from centuries past.

It's sort of something that ATLA avoided with its episodic approach even when it got more plot heavy in Book 3's final half, sort of segmenting any interpersonal drama from major plot developments. Basically, for "Air and "Spirits," having both wasn't the "you got chocolate in my peanut butter" moment they were likely attempting.

So when it comes to Book 3 and 4 having Korrasami being a lowkey build-up, I can see why even the writers gravitated towards it in exploring the pair by letting it simmer as a friendship. They wouldn't try to get together but often find themselves grow close in the moments they shared.

Thus you had Book 4 when Korra writes to Asami mainly and then is the first to greet Ms. Sato. Absense makes the heart grow fonder after all.

It's a weird happy accident when by executive mandate, Korra and Asami's growing relationship was a subplot that was seeding into the narrative when opportunity arose rather than ever feeling like a rogue ingredient.

It's sort of why I don't agree fully with the notion of LoK not being "planned out" when sometimes, letting the chips fall where they may can make for little miracles like these.

[mazojo]

[phoenixcatch7]

Every time I go to hyrule castle I remember that video about the royal guard weapons and how they were shiekah tech created to mimic the master sword (and failed - they're powerful but brittle and no more effective against the calamity than anything else). And I just remember the little detail of the wings on the hilt. On the master sword, they face up when the blade points down. On the royal guard weapons, they face up when the blade points up.

And to me, that little detail is very indicative of what they thought about the hero and the cycle.

The wings face up when fi is at rest. Waiting. Sealing. Not lifted.

For them, their swords face up when they brandish them, when they raise them against their enemies, when they wave them around and cheer.

That's what they think the hero does. That's what they think they can replicate and take for themselves.

That's not what a hero does at all.

Sure, he spends a lot of time doing that, but it's a fraction of the whole. The hero does not do it for glory or pay or fame. He is kind. He helps everyone who asks. He gets things for little kids and listens to their stories and helps people find their pets and goes out of his way to leave the stranger a little happier them when they met. He spends hours crawling through mazes and enemies to find something he can use later.

He does not raise his sword in anger. The job is not done once the villain of the day is skewered on his sword. It needs to be sealed, the darkness pushed back until the next generations can take up the call. It's passing on the torch to yourself. The master sword must seal evil during those intervening centuries.

The heroes soul is one, by breath of the wild, long forged in faith and love and determination and the flames of war and loss. The curse of demise makes it so that only one strong enough to stand against it can push it back. The heroes soul is one that is pure. It's a long reset game, and everyone knows the way it plays out.

And under rhoam, hyrule believes it knows all there is to know about the hero and the cycle. It thinks that it can shove the pieces where it wants them, that with the aid of the ancient technology it can force the warnings of history to bend to it's desire. It thinks enough violence will solve the problem entirely. It makes the master sword mimics with the blades facing up.

And it gets it wrong.

The hero reduced to a silent weapon, a shadow of the royal family, the princess helpless and unable to act, unable to access her own power.

It tries to force the issue with manpower and restrictions and piling societal pressure on the children, and hyrule falls.

Immediately, zelda is able to unlock and channel the full extent of her power, she can make a plan and not have it dismissed, she sends link to safety and travels hyrule setting the parts of a constantly moving puzzle into place, she meets ancient spirits and talks with the master sword and seals ganon on her own for the century it takes for link to return.

When he does, rhoam does not order link to save the princess. He does not pile titles and restrictions and pressures on him. He asks him to save his daughter. The hero finally gets to act at his own pace, and he chooses kindness. He chooses to go out of his way to talk to people outside his station, to listen to kids stories and leave strangers a little happier than when they met. He gathers allies loyal out of trust and not forced respect for things he hasn't done yet.

By choosing kindness and not violence (though there is an incredible amount of both), link becomes able to defeat the calamity and save zelda and the kingdom. Zelda is able to guide him and trust him to come. By working together as respected equals, they save the world.

And afterwards, the master sword is returned to her pedestal, triumphant, blade down and wings raised high.

[saintharrowhark]

wrong answers only. personally, i don’t think we needed to be jumpscared by des voeux’s stupid head wrap every ten seconds at the mutineer’s camp

[obstinaterixatrix]

oh my god I forgot to post this, while sister was playing detective yakuza she got to a segment where you swap to a lawyer lady who’s going undercover in a cabaret club and this scene made us laugh

[dittomander]

okay, but I feel like a live-action Zelda actually could really work IF it's similar in tone to the Dungeons and Dragons movie.

like yes by all means have big, high-stakes fantasy battles and serious moments of genuine grief and tragedy but it has got to wholeheartedly embrace the inherent silliness of the source material or it's just not gonna feel right.

[oldtvandcomics]

Man, I love superheroes. It's like soap opera, but BETTER. You still get all the fun relationship drama, and then it will occasionally cut to Professor X and Magneto being chased around by dinosaurs.

[queer-ragnelle]

Agravaine is treated by Morgause the way the son in Hereditary is treated by Toni Collette except in Agravaine’s case it was actually his brother who beheaded an innocent girl. Agravaine’s mom just hates him for no reason.

[the-knight-of-the-stars]

Ok, I must admit I have a problem with people who complain about a TV show or movie with things along the lines of "The plot is good, except for all the teen drama." or "All the teen drama is in the way of the plot."

Mate, has it occurred to you that maybe the "teen drama" is a fundamental part of the plot and there is nothing wrong with that? Seriously, what is the point of making a show with teenage protagonists if they don't act like teenagers?

And I really think that, in the vast majority of cases, a sub-plot of teen romance, does not, in fact, obstruct the rest of the plot. Some of us like that part of the story too, and there is nothing wrong with it. I love telenovelas, they often get disregarded as "cheap TV" for being melodrama in its purest form, but they actually can give room for much more interesting stories.

Is possible to have a plot with complex themes, interesting worldbuilding, AND drama, you know? And believe it or not, also TEEN DRAMA. And if you are not into that, why are you watching? Is clearly not for you. And if you are there for the rest of the plot, valid.

But, my dude, I promise some melodrama is not going to kill you.

[caliburn-the-sword]

finally watched the puss in boots movie. it might just become my personality. themes of family and belonging >>>

[iwrestledavongonce]

NGL, having Minako being the Commander of a spaceship, knowing jack about commanding a ship, with Helios, who’s too shy to correct her orders, as her adjutant, is the most fun I had writing since letting Ami become a Pirate Queen.

[bajoop-sheeb]

highlights from the martha wells larry j. ringer public library event today

Murderbot (the TV show)

Ms. Wells has been promoted from a creative consultant to a consulting producer yeehaw!

6 episodes were originally planned but Apple wanted more (never thought I'd be publicly thanking Apple for anything but here we are) so they added a cool new subplot

FILMING WILL START IN A FEW WEEKS in Canada

Does she want to meet any of her characters?

I *think* she said Murderbot wouldn't want to meet her haha

If Kai (from Witch King) had to come save you you'd be "really up the creek" so no

Which character does she relate to the most?

Murderbot ftw

Real TV show inspirations for the serials in the books

Sanctuary Moon = How to Get Away with Murder

Worldhoppers = Stargate Atlantis

Cruel Romance Personage = any telenovela where everyone's obsessed with a hot person even though they're really mean

Timestream Defenders Orion = Legends of Tomorrow

[soleminisanction]

I think my least favorite internet criticism of Meghan Fitzmartin is the idea that she "just wanted to push her ship," meaning Tim/Bernard. Because honestly? I think that's straight-up bullshit.

Having read the Urban Legends stories, the Pride Special reprint, Tim Drake: Robin and Young Justice Dark Crisis, plus what interviews and social media she's been doing as these comics came out, there is zero evidence to me to back that statement up. If that were true, the Urban Legends stories probably would've been more about bringing Bernard back and re-establishing him as a character. Y'know, building up their relationship.

But it wasn't about their relationship. It was about Tim and his feelings, his internal conflict, what he needed. That's what Fitzmartin even said in the interviews after, that she, "felt like this was something Tim needed." And that's true going into TD:R too -- yeah, Bernard is there and their relationship is a prominent subplot, but he gets about as much page time as Darcy and Detective Williams, and the focus is always on Tim's ongoing story and his developing relationships with all the people around him.

That's why I like that they went with Bernard as his "closet key." Not because I'm super devoted to the pairing or anything -- I truly could take or leave the arrangement -- but because they're tolerably cute together and, more importantly, dating a civilian supporting character comes with far less baggage than establishing a relationship with a fellow hero. By their very nature, superhero stories are more heavily weighted towards the hero characters than their civilian support, that's just a fact, and, with rare exception, civilian love interests tend to act more as sounding boards to develop and reflect the leads. Making Tim's first boyfriend an old civilian friend means the story could be about Tim's personal character growth, internal conflict, and explorations of his sexuality.

I genuinely think that's the only reason Fitzmartin went with Bernard. She only had around 30 pages to tell that Urban Legends story (and I guarantee you, she was assigned that page count before writing), so bringing back a previous civilian friend meant she didn't have to try to establish a whole new relationship on top of introducing a villain faction and telling a superhero-based investigation story. And for whatever reason, Bernard was the most popular of Tim's civilian buddies to rare-pair him with before this all happened. (Just check AO3: Prior to the release of the Urban Legends stories, Tim/Bernard had ~42 fics, Sebastian Ives got 4, and Danny Temple had 1.)

When Meghan Fitzmartin says that she went back, read Tim's old stories, and felt he needed to come out of the closet, I believe her. And I'm happy she felt that way and was allowed to act on those feelings because it's something I felt too, reading those stories. Those feelings that had nothing to do with "ships" or even with characters like Kon or Dick and everything to do with Tim and who he is as a person.

To sweep all that away as "she just wants to push her preferred ship" just feels so... dismissive and rude.

[phoenixcatch7]

Brooooo I'm having so much fun doing fic research why did I ever stop (<- falls ill on a clockwork schedule).

Swear even though I hate using detailed plans I almost have a better time making them than I do the actual fic lmao.

Anyway for that time travel fic I'm going to write now I finished totk I'm trying to get a better idea of the pre calamity hyrule, which is so fun because it's entirely fictional, right? But one can INFER. One can IMPLY.

One can watch all the botw memories again and realise how dirty they did my boy link with his animations boy has the expression of a doormat. Like I'm squinting and I have no idea what he's supposed to be projecting. He seems like such a passive observer in his own memories :(.

But also the excuse to run around hyrule poking through broken down cabins and jumping off walls is great XD. I've always loved archaeology and this gives me the perfect outlet!

Like, did you know there was a big cathedral in the east side of castle town? Now there's not so much as a wall, there's no signifier at all, but that's what it's labelled as! I believe it faced south, so you would pass by it on your way out the east gate. Kind of crazy that's the original temple of time. Never seen it mentioned anywhere. It's potentially in the right place for oot, relative to the castle? I'd have to check.

Presumably it's where most ceremonies took place rather than the plateau - weddings, funerals and the like. (Coronations were almost certainly at the plateau.) Maybe it was part of a religious district? It's probably where Zelda prayed every day or every Sunday at least. Somewhere nice and public so people can see the princess being pious and filial and hard working etc etc. Poor girl.

On the opposite side, just outside the gates, is the prison, which has its own island in the moat and a little dock to fast track of the dungeons. I can imagine a lot of shiekah worked there, and it's interestingly (slightly worryingly) just across the moat from the ancient tech lab! That thing was a whole complex, it's ginormous! And razed to the foundation in a way you don't really get outside of castle town :/.

Anyway what's the point of having a whole moat if you don't even finish it off with a drawbridge?!? Seal the deal!

I'm going to have to get back to botw if I want to examine the castle proper though, totk has kinda done a number on it. Not sure how we're going to get it back down.

[burst-of-iridescent]

No, Shipping Zutara Is Not Supporting Amatonormativity (Please Use Some Fucking Braincells For Once)

- a treatise by a severely pissed off aroace zutara shipper

since words don’t mean anything anymore (if they ever did on the esteemed piss-on-the-poor website), let’s start with a definition.

amatonormativity: the set of social assumptions that everyone prospers with a romantic relationship, thereby positioning marriage as a universal goal of adult life. amatonormativity forms the basis of several institutional structures that are built to cater to romantic bonds over all others, also manifesting in social pressure on individuals to find a romantic partner by pushing the false narrative that those who do not experience romance are automatically lonely, unhappy and unfulfilled. it is usually characterized by the prioritization of romantic love over other forms of love, particularly platonic.

the anti-zutara argument based on this is as follows: wanting zutara to happen is amatonormative because it a) devalues zuko and katara’s platonic bond b) pushes the idea that men and women can’t be friends and c) doesn’t align with the themes of the show, as romantic love was never the point of atla.

i would like to take the time today to tell you that this is some fucking bullshit, for the following reasons:

one, this may come as a shock to some of you, but zutara shippers did not invent the concept of romantic love in avatar: the last airbender. you are more than welcome to criticize the pairings of suki/sokka, katara/aang, mai/zuko, yue/sokka, jin/zuko, jet/katara, and even kanna/pakku for perpetuating amatonormativity through their unnecessary romantic subplots. and if you don’t have anything to say about any of those pairings, then here’s a word for you: hypocrite.

zk shippers are not introducing the taint of romantic love into some kind of wholesome platonic utopia where it never existed. when we say zutara should have been canon, it is a statement that ends with the implicit instead of kat.aang and mai.ko tacked on at the back because if we were going to get a romantic relationship anyway, it might as well have been one that was well-developed, narratively impactful, and thematically relevant.

two, saying zutara is amatonormative is fucking rich when the main “romance” of atla is a three season long struggle to get out of the friendzone. aang’s desire to be in a romantic relationship with katara is one of his primary motivations throughout the show, and not once does either he or the narrative ever entertain the thought that just being katara’s friend might be enough. to the contrary, aang’s crush and the potential of its reciprocation is a fundamental part of how the story gets its audience to invest in both his character and the kat.aang relationship. they want you to want him to get the girl, and that’s the driving force of the ship’s development from start to finish.

you can see the influence of this in the way people defend why kat.aang had to happen: “aang would be crushed!” “it would break aang’s heart!” “aang deserves to be happy!” and that in and of itself is more amatonormative than any version of romantic zutara, as if this idea that aang is somehow doomed to a life of misery and loneliness just because he can’t be with the girl he likes isn’t inherently based on the assumption that platonic love can’t be as meaningful and satisfying as romantic love.

three, let’s be so fucking fr: a show written by cishet men in the early 2000s was not “subverting amatonormativity” by not making zutara happen, especially not when they went for the fucking olympic gold of romantic cliches — the hero gets the girl trope — instead. otherwise, why did the entire show end with an uncomfortably long liplock? if romance would’ve devalued zuko and katara’s platonic bond, then what the everloving fuck happened to their friendship in the comics and the legend of korra?

it is blatantly false to say that zutara shippers are the ones devaluing their platonic bond when the creators did it first. they evidently don’t view zutara’s platonic bond as equal to kat.aang’s romantic one, judging by their treatment of both relationships in the comics and LOK and the fact that they talked about kat.aang “winning” the ship war in the first place. because if the two relationships were of equivalent standing, why would there be a winner and a loser at all?

amatonormativity is baked into the DNA of atla, and while some people choose to reject this framework entirely (zk friendship >>> ka romance anyday), it is also not wrong for zk shippers to be annoyed at the treatment zutara received within the context of said framework. since the creators clearly thought a romantic relationship was better than a platonic one, they could at least have picked the couple that actually made sense instead of adding insult to injury by making that romance kat.aang. it is not amatonormative to acknowledge that zutara was not afforded the distinction it should have been in the eyes of those who wrote it, because it’s obvious that the decision to keep zuko and katara’s relationship platonic wasn’t to respect their friendship, but to position them as inferior to kat.aang.

four, detractors of romantic zutara often argue that their platonic relationship is inherently better & i’ve discussed before why that isn’t the case, but i also hate this argument because it’s perpetuating the very thing that aromantic people are trying to get rid of in the first place: the hierarchization of love. it is not the “gotcha!” you think it is to genuinely state that platonic love is better than romantic love, because it’s still buying into the idea that there’s some kind of order to categorizing human relationships. the solution to amatonormativity isn’t changing what form of love gets to be at the top of the list — it’s doing away with the hierarchy entirely.

i ship zuko and katara because canon already gave me their friendship. i already know what their platonic relationship looks like and that gives me more room for imagination in developing their romantic one because it’s a place canon didn’t go.

at the end of the day, friendship and romance are just different avenues of exploring intimacy. neither is inherently more valuable than the other, and neither is inherently more problematic. and if you truly believe in dismantling amatonormative beliefs, you would recognize that making a distinction between the two is only perpetuating the problem, not challenging it.