#fn headers

[randomfoggytiger]

Kibbe Body Types, Part 1: Gillian Anderson

Building off of the Kibbe Body Types primer post here, we jump straight into Gillian Anderson of The X-Files fame.

David's up next, don't you worry! I'm tackling GA first because I have ample information to fact and figure my way through the system (and because it's slim pickings finding fashion advice for men's body types); and thought I'd get the convoluted, detailed analysis out of the way on this post so we don't retrace our steps in the next.

Onwards~

**Note**: If you want to skip right down to Gillian, search for Gillian Anderson: the Results header.

KIBBE BODY TYPES: A SHORT SUMMARY

(You can skip this section if you just want to know Gillian's frame, proportions, and Kibbe Type-- no sweat off my back.)

David Kibbe constructed a system that measures the soft and structure, short and tall, wide and narrow, yin and yang of the body frame: its skeleton, its curves, its musculature, and its fleshiness. It's strictly a practical science that explains how best to dress to balance out one's natural features, regardless of weight gain, weight loss, or aging. This system is not about correcting the "flaws" of a person's body, but understanding why a garment, accessory, etc. does or does not naturally suit the lines of the body.

Kibbe used to have 13 types (that included pure Natural, pure Classic, and pure Gamine) but recently winnowed them down to ten.

(**Note**: I have written about them in more detail-- with pictures included-- in my previous post mentioned above. Highly recommend.)

(Credit to: Aly Art)

Dramatics have the most yang of the body types: tall, lean, and narrow vertical lines, with the least amount of softness to their flesh ("fleshiness."). They have long bones and sharp curves that are best accommodated by long, clean lines and long silhouettes (no color blocking.) Their hair looks best in clean, carefully styled lines-- geometrics, blunt cuts, etc.-- without too much of a wispy or tousled appearance. They do best without waist emphasis or shorter lines in their outfits, appearing to advantage in long, boxy silhouettes.

Soft Dramatics have the Dramatic Type structure with added softness to their curves, giving them a full-bodied, "heavy" voluptuousness (as opposed to a delicate weightlessness.) They look better in soft but weighty fabrics, with big, rounded silhouettes and lines that curve around their figure and emphasize their waist. Again, like Dramatics, they need carefully styled hairs, looking undone tousled hair or too much wispiness.

Flamboyant Naturals are midsize to very tall, with width and bluntness to their elongated frames. Their very pronounced wide shoulders and narrow waist and hips create an unmistakable T-shape (and have been the sought-after body type for runway supermodels since the 90s.) They look their best in big, oversized, relaxed fits; big, tousled, crazy hair; long, vertical lines without color blocking. Nothing too stiff or too delicate and weightless.

Soft Naturals are normally midsize to slightly smaller, with wide, blunt edges to their elongated bones. Their more proportionate frames and softer flesh on their arms and legs help them appear more "womanly" than FNs. Slightly tousled, slightly crazy hair; a slight waist emphasis; and long, unconstructed lines layered with different fits, patterns, and colors look best on them-- "feminine undone", in other words. Anything too stiff make them appear "heavier" than they are.

Dramatic Classics are midsize to tall, with a very balanced, symmetrical frame proportionate to their length and width. They have a touch more yang to their skeleton: a bit more sharpness in their bones, a bit squarish in the face and shoulders. Clean, symmetrical, sharply tailored outfits look best on them; and they are able to mix the angularity of men's and femininity of women's styles if they keep their lines in the right places. Hair is incredibly important to maintain-- keeping their dead ends cut regularly is a must.

Soft Classics are midsize to petite, with a very balanced, symmetrical frame proportionate to their length and width. They have a touch more yin to their skeleton: a bit more softness to their flesh, a bit more roundness to their proportionate edges. Symmetrical, clean, "every hair in place" look is best for them; with a touch of yin to balance the touch of softness in their flesh. Well-tailored, lightweight fabrics and polished hairstyles look best on them-- not too stiff, not too delicate; not too tousled, not too structured, not too layered. Hair is incredibly important to maintain-- it makes or breaks their look.

Flamboyant Gamines are midsize to tallish, an uneven mixture of opposites with a predominant yang majority. They have a smallish, rectangular figure-- small Dramatics (without the long vertical line.) "Tailored, color blocks, irregular shapes, mishmash-- they can mix whatever they want." Hair can be in any shape or style they want, unless it is long; in which case, it must be "crazy." Their waist does not need to be emphasized; and cropped lines will always look good.

Soft Gamines are petite, an uneven mixture of opposites with a predominant yin majority. They are small and rounded, often feeling awkward, puffy, or overweight (when they are not) in super feminine lines: their bone structure is slightly too angular-- though still fleshy-- to be comfortable in completely yin fits. Lines should be crips, color blocked, with waist emphasis: "puffy things with very precise ends." It's best when clothes are fitted at the neck or shoulders or elbows or wrist or waist or hips or knees or ankles; and in between those points, the material can be relaxed, with gathers or looser knitting. "Feminine or weightless things should have added weight: color blocking, bright colors, etc. Hairstyles that are feminine and tousled look best. Cropped lines will always work best.

Romantics have the most yin of the body types: midsize to petite, with a very curvy, "lush", feminine "fleshy" roundness. Their bones are short and slightly wide; but still appear delicate. "They look best with waist emphasis, weightless fabrics, and gentle silhouettes. Gentle colors, slightly transparent fabrics or lace, flowers, gentle ruffles-- everything that is weightless and not super stiff. Same with hair: something that will still have body and some femininity-- curly hair, wavy hair... if straight, it can be slightly longer. Delicate things should present in their look."

Theatrical Romantics are midsize to petite; and are "the same as Romantic but with thinner bones. They are still short, but thinner. They are not as wide-- imagine a narrow hourglass-- small hands, thin fingers. They look best in small, ornate, and sophisticated clothes."

BEGINNING OUR PROCESS OF ELIMINATION

I'm going to be using Aly Art's body type quiz (here); and pictures from her and Merriam Style's quiz (here.)

David Kibbe is adamant that height be factored into the body types-- women's bodies, particularly-- so we shall begin our journey there.

Dramatics: 5’9"/173cm and up

Soft Dramatics: 5’7”/170cm and up

Theatrical Naturals: 5’11”/180cm and up

Soft Naturals: 5’5”/165cm and up

Dramatic Classics: 5’5”-5’8”/166-172cm or thereabouts

Soft Classics: 5’5"-5'6”/164-169cm

Romantics: 5’5"/166cm or thereabouts

Theatrical Romantics: 5’2”/157cm or thereabouts

Flamboyant Gamines: 5’6”/168cm and under

Soft Gamines: 5’2”/157cm or thereabouts

As we can see, Gillian at 5'2" can only fit into Gamines, Romantics, or perhaps Classics. We shall see how this shakes out.

TAKING A (SHORTENED) KIBBE BODY TYPE QUIZ

The purpose of David Kibbe's body type quiz is (or was) to identify the visual weight-- the presence or gravitas-- of the bone structure. To loosely quote Merriam Style: "The first thing we want to think about when we think about bone structure: are the bones longer-- offering a lot of structure to bear up visual "weight"-- or are they smaller and shorter-- offering less support for heavier visual weights?"

An overall view is crucial: two body types can share nearly identical faces; or one person can have a lot of yang in their facial features but have dominant yin in the rest of their body; or any other disastrous event can happen that will topple the whole franchise.

We're eliminating B options from this list (as they pertain strictly to Natural Body Types), as well as two questions in Kibbe's original quiz (which he has either loosened or tightened restrictions on, respectively.)

Question 1 - Shoulders

A's shoulders are long, narrow, and sharp

C's shoulders are symmetrical, even, proportionate to the body

D's shoulders are sloped, narrow, tapered

E's shoulders are sloped and rounded

Question 2 - Arms and Legs

A's arms and legs: elongated and narrow

C's arms and legs: moderate, in even proportion to height and upper torso

D's arms and legs: small, slightly shortish

E's arms and legs: very short in proportion to height and upper torso

Question 3 - Hands and Feet

(A top left; C top right; D bottom left; E bottom right)

A's hands and feet are long and narrow

C's hands and feet are moderate-- not too narrow, not too blunt, not too long, not too short, not too pointed

D's hands and feet are small, narrow, and delicate

E's hands and feet are small and slightly wide

Question 4 - The Overall Shape of the Body

A is elongated, lean, and sinewy

C is symmetrical, evenly proportioned

D is very short, delicate, and softly narrow

E is very short, delicate, and softly wide

Question 5 - Bust and Torso

A's bust and torso are flat and taut; and tend to stay flat even with weight gain

C bust and torso are moderate, in even proportion to their waist and hips

D's bust is shapely, curved, and more prominent than my waistline; torso is short and collects more flesh when gaining weight.

E bust and torso is very prominent and lushly curved, no matter their weight.

Question 6 - Waistline

A's waistline is elongated, but "boyishly" tapered

C's waistline is moderate, slightly defined, and not overly cinched

D's waistline is very small in proportion to their bust and hips

E's waistline is softly defined, but tends to be slightly wide

Question 7 - Hipline

A's hipline is tapered, straight, "boyishly" narrow

C's hipline is moderate, in even proportion to bust and waistline

D's hipline is shapely and rounded, more pronounced than waistline

E's hipline is softly rounded and wide, no matter their weight

Question 8 - Upper Arm and Thigh Flesh

A's fleshiness is long, lithe, and sinewy

C’s fleshiness is moderate

D’s fleshiness is soft, slightly short

E’s fleshiness is very soft, slidely wide, fleshy

Question 9 - Jawline

A's jawline is sharp-- either very pointed, very prominent, or very square

C’s jawline is moderate, symmetrical, not very sharp or rounded

D’s jawline is delicate, tapered, or slightly narrow

E’s jawline is rounded or softly wide

Question 10 - Nose

A's nose is sharp and prominent

C’s nose is moderate-- not very rounded, not very sharp, not very blunt

D’s nose is delicate, tapered, narrow

E’s nose rounded or softly wide

Question 11 - Cheekbones

A's cheekbones are high, prominent

C’s cheekbones are symmetrical, moderate

D’s cheekbones are delicate, narrowed, slightly rounded

E’s cheekbones are rounded

Question 14 - Cheeks 

A's cheek softness is taut and flat, even with excess weight

C’s cheek softness is moderate, soft, but not puffy

D’s cheek softness is soft and fleshy; may get “full” with excess weight

E’s cheek softness is very soft, very fleshy, very round; even without weight fluctuation

Question 12 - Eyes

A's eyes are narrow, straight, closely spaced, or almond-shaped

C’s eyes are evenly spaced, symmetrical, moderate sized

D’s eyes are rounded, slightly close together, possibly almond-shaped or up-turned 

E’s eyes are very round and very large

Question 13 - Lips

A's are narrow, straight, or thin

C’s lips are moderately shaped, neither too thin or too full 

D’s lips are slightly full and rounded

E’s lips are very full, very rounded, very luscious

Results

Majority Cs points to the Classic Body Types (Kibbe no longer stands by this pure classification) 

Majority Cs with several As or Bs points to Dramatic Classic Body Types

Majority Cs with several Ds or Es points to Soft Classic Body Types 

Majority Es points to the Romantic Body Types

Majority Es or Ds with several As points to Theatrical Romantic Body Types, or Majority Ds

Majority As and Es points to Gamine Body Types (Kibbe no longer stands by this pure classification) 

Majority As and Es with several Bs points to Flamboyant Gamine Body Types

Majority As and Es with several Ds point to Soft Gamine 

Gilian Anderson: the Results

Gillian has an overall short, delicate, softly narrow body (D): moderate shoulders (C); small, slightly shortish arms and legs (D); small, narrow, delicate hands and feet (D); a bust and torso in even proportion to her waist and hips (C); a proportionate hipline and waistline (C); delicate, tapered jawline (D); soft and slightly short fleshy arms and thighs (D); delicately rounded cheekbones (D) and cheeks (D); delicately tapered nose (D); very round, very large eyes (E); and very full, rounded, luscious lips (E).

In summary, GA has 8 Ds, 4 Cs, and 2 Es.

Thus, we can conclude Gillian Anderson is a majoirty D type, meaning she is a Theatrical Romantic: delicate, petite bone structure with a touch of yang that narrows the soft width of her features. She looks best in waist-emphasis outfits; small, delicate patterns; and carefully groomed, softened hairstyles.

THEATRICAL ROMANTIC DESCRIPTION

Here is a transcription of David Kibbe's book I've taken from Aly Art's video here:

I'm going to read you the full description of the Theatrical Romantic Body Type by Kibbe from the book Metamorphosis....

Note: The following information should be taken as a broad outline of what makes a Theatrical Romantic. It is the overall combination of extreme yin with a slight yang undercurrent that creates this image identity category....

It is a delicately radiant physicality that is combined with the powerfully magnetic essence. Height: normally moderate to petite, usually 5'5" and under. Body type: soft and voluptuous, although trim and smallish as opposed to wide and "bulky." Hourglass figure-- curvy bustline and hips with a waspish waist. Soft or fleshy arms and legs. Bone structure: small and delicate. Slightly sharp edges: shoulders, jawline, cheekbones, or nose. Small hands and feet (in proportion to height.) Facial bones are small, delicate, and slightly sharp. Facial features: soft and lush. Large, luminous eyes-- sometimes slightly upturned, sometimes slightly "bedroom." Full, luscious lips; soft cheeks. Hair: soft and luxurious to the touch, maybe very silky and wispy or thick and wavy, curly. Coloring: any coloring is possible-- warm or cool, high contrast or blended-- but a Theatrical Romantic usually is quite vivid with a delicate complexion that is luminous or translucent. If overweight, the figure will remain hourglass with a defined waist. Upper arms, thighs, and face will become quite fleshy. Theatrical Romantic will normally not be extremely tall; have large, wide bones; have large hands and feet; have extremely prominent facial bones or features; have a "boyishly" straight figure devoid of a defined waist.

What's interesting about Gillian is that she is one of the rarer Theatrical Romantics-- one without a huge bust (which is one of the too oft used hallmarks of both Romantic Types.) Again, further proof that the whole must be taken into account instead of just a glance and a guess.

Other Theatrical Romantic women include: Ann Margret, Heidi Lamar, Jada Pinkett Smith, Jane Seymor, Jean Harlowe, Mila Kunis, Morgan Fairchild, Salma Hayek, Selena Gomez, and Vivian Leigh.

COMPARING THEATRICAL ROMANTICS TO OTHER TYPES

I'm going to be heavily quoting Aly Art throughout, as it will save me a lot of time and mental energy.

Dramatics

Theatrical Romantics are the second softest of all the types, with yang "drama" of their frame only differentiating it slightly from pure Romantics.

Dramatics, however, are the most yang of all the types-- "more elongated, more angular, more square and more sharp" in each angle of their silhouette.

Soft Dramatics have the sharper, elongated bones of the Dramatics-- again, making TRs appear shorter in their height and limbs-- but with layer of soft flesh overlaying their silhouette. While "fleshier" than Dramatics, they will still "appear heavier, bigger, or more pronounced."

(Left Photo: TR Gillian Anderson, left; D Cate Blanchett, right.

Right Photo: SD Christian Bale, left; TR Gillian Anderson, right.)

Naturals

Flamboyant Naturals and Theatrical Romantics are very, very different. "Flamboyant Naturals look taller because of their longer vertical line, and they consist of blunt edges-- more squarish shoulders, more squarish figure. Even when they have a waist (sometimes)... you perceive them as straight, not... as curvy women. When you look at Theatrical Romantics, you perceive them as curvy women" (even if their actual measurement ratios happen to be less curvaceous than a fellow FN.) "Theatrical Romantics look shorter...."

"Soft Naturals are slightly wider in bones-- in their face, in their body, in their ribcage sometimes, in their hip area sometimes. They look a bit stronger and a bit taller; and with this blunt bone structure they have a softness on top. Theatrical Romantics have thin bones and are shorter; but on top of that, they have lush roundness."

(Left Photo: FN Amy Adams, left; TR Gillian Anderson, right.

Right Photo: SN Helen Mirren, left; TR Gillian Anderson, right.)

Classics

Soft Classics share softness in common with Theatrical Romantics; but Soft Classic looks much more moderate.... Doesn't look as short or petite" (even if the Theatrical Romantic isn't a petite 5'2".) "They have something in common; still Soft Classic doesn't look as lush, and also looks... more proportionate, more symmetrical in general."

Dramatic Classic are more angular. They look taller; they look more moderate in size; they can be slightly more squarish and slightly broad; they might have slight musculature. And Theatrical Romantics do not: they're much softer; they're small looking; they're not angular; they have more delicate bones, thinner bones; and they're not as symmetrical. And sometimes outfits that look amazing on Dramatic Classics look pretty severe and "dry" (opposite of "lush") on Theatrical Romantics.

(TR Gillian Anderson, left; SC Meryl Streep, right.)

Gamines

"Flamboyant Gamines can look slightly elongated in their smallish frame: they are not tall, they are not big looking, they are pretty small looking. Sometimes they can be slightly broadly angular; sometimes they can have some muscles. Can be slightly squarish in the shoulders-- they can be slightly squarish in general." In comparison to Theatrical Romantics, they can appear more "electric, tomboyish." (Two classic examples are FG Penelope Cruz and TR Salma Hayek.) "Flamboyant Gamines' arms can be more elongated; their legs can be a bit more elongated They can look more straightish in figure. And Theatrical Romantics look pretty delicate-- they have shortish hands, shortish legs, shortish arms."

Soft Gamines and Theatrical Romantics are often confused because SGs are "small and also can have sharp bones, and figure, and soft flesh, and roundness. But again: Soft Gamines are slightly more angular than Theatrical Romantics. They are more "playful" looking because of the angularity in their chin, in their shoulders; and Theatrical Romantics are not angular to the same degree. Soft Gamines also skew more "girlish" than full-figured "woman" in comparison to TRs-- "but not always!"

(Top Photo: TR Gillian Anderson, left; FG Jimmy Kimmel, right.

Bottom Photo: TR Gillian Anderson, left; SG Reese Witherspoon, right.)

Romantics

Romantics are the softest of all the types, lacking the extra sharpness or "drama" of the Theatrical Romantics. "Normally, their shoulders are rounder. Also, Romantics have slightly wider bones-- also petite, also short like Theatrical Romantics.... Theatrical Romantics have slightly thinner bones; and Romantics, wider bones."

LINES, SILHOUETTES, AND OTHER FASHION DETAILS

But how do we dress the illustrious Gillian Anderson?

Again, I quote Aly Art quoting David Kibbe:

Shapes should be rounded, intricate, and ornate with slight sharpness at the edge. You might not look as good in geometrics; in chunky or bulky shapes; in sharp, severe shapes.

Line and silhouette: silhouettes should be hourglass, emphasizing the curves and showcasing the waist. The waist should be sharply defined, and the shoulders should be crisp. Tapering at the wrists, hemline, and knee areas. Lines should be soft, draped, flowing, clingy, ornate, and intricate. You might not look as good in all-severe silhouettes; in all oversized or unconstructed silhouettes; in all straight lines; in all sharp lines; in all wide or horizontal lines; in all long vertical lines that hide the waist.

Detail: details should be intricate, ornate, delicate, and quite lavish.... excess detail trim is important to help frame and focus the face. Bows, soft ruffles, and sparkly applique are excellent. Necklines should be soft and draped or sheered and gathered. Shoulder tucks, gathers, and bouffant shapes are perfect. Sleeves should be tapered at the wrist. Delicate and ornate buttons and trim are advisable. Waistline should always be emphasized: gathers, sheering, and draping at the waist are necessary for softness and intricacy.

You might not look as good in plain or minimal detail; in sharp or severe detail; in extremely oversized, bulky detail; in symmetrical, subdued detail; in crisp, perky detail.

CONCLUSION

We now know the yin and yang of Gillian's bone structure, which will help teach us what silhouettes, lines, shoes, accessories, hairstyles, and even hair colors would suit her best.

But that's another post for another time.

Thanks for reading~

Enjoy!

[samheughanswife]

… I think it’s not true. It’s lots of smoke and mirrors all fake underneath. Completely different human being. I have a double. Actually I am the double

This is Sam on the podcast interview with that blonde Monica Gleberman in response to her OTT sugar laced intro.

She launches into it by stating she has known Sam since before the OL pilot - “… how amazing you are and haven’t changed from before the OL pilot… you are the same exact person, sweetest person and amazing human being to talk to and I just love you!!”

Sam’s reply to T his is ⬆️ in the header.

Lord have mercy. She wants him badddddd!

I couldn’t listen further even though I’m on a long car ride in FN Western Australia right now.

Gotta say that tongue in cheek response speaks truth in humour.

Apparently she slammed him in response to his 🇮🇱 🇵🇸 statement. But then deleted the tweets. So he wasn’t the best nicest most amazing human then 🙄

[workforcesolution]

R Package dplyr Comparison of functions

In R, you can accomplish the same task in different ways. This R document explains functions from R package--dplyr and in some places compares those functions with base functions.

# import dplyr library # we are going to work with R in built dataset airquality library(dplyr) head(airquality)

## Ozone Solar.R Wind Temp Month Day ## 1 41 190 7.4 67 5 1 ## 2 36 118 8.0 72 5 2 ## 3 12 149 12.6 74 5 3 ## 4 18 313 11.5 62 5 4 ## 5 NA NA 14.3 56 5 5 ## 6 28 NA 14.9 66 5 6

Filter function--dplyr vs subset vs [ ]

You might have guessed what filter function will do here. It filters/subsets/slices the data depending on one or more condition. I am discussing here the three commonly used ways for subsetting.

# filter data with Wind > 7.0 for the month of May #dplyr way filter(airquality,Wind > 7.0, Month == 5)

# base way #first airquality[airquality$Wind > 7.0 & airquality$Month == 5,] #second subset(airquality,Wind > 7.0 & Month == 5)

I won't recommend using the subset function unless you completely understand subset function.

Use caution when using subset. For further readings look at the stackoverflow thread, http://stackoverflow.com/questions/9860090/in-r-why-is-better-than-subset

Mutate function

Mutate function is used to create new variables without affecting existing variables. In other sense it creates new variable and keeps the old variable (you will understand why this is even a thing to note). It can also be used to transform existing varibles.

Transmute function (you read it right its transmute not transmutate) does the same but it drops all the variables except the created new variable. So if you just want to create a single variable then use transmute otherwise use mutate.

# mutate transforms the variable and keep the existing variable mutate(airquality,TempInC = ((Temp - 32) * 5 / 9))

# transmute transforms a variable and drops the existing variables( I said variables ) # it keeps only the new variable and drops all other variables transmute(airquality,TempInC = ((Temp - 32) * 5 / 9)) # base function # somehow i find it easy to use than mutate airquality$TempInC<-((Temp - 32) * 5 /9)

Arrange function

Arrange function is used to sort variable(s).

# dplyr--arrange arrange(airquality,Month,desc(Temp))

# base--order() airquality[order(airquality$Month,-airquality$Temp),] # Note - for ordering desc

group_by and summarise functions 

First let me explain summarise fn then we go for group_by.

Summarise function takes vector as input and outputs a single value. You can ask min, max, mean,sd, var, median, etc from a vector and summarise fn outputs the result. Of course R base package will give you all these summary stats but there is a catch, summarise function works with group_by function but base functions don't. I will explain you with examples.

# Both base and summarise give you same output for normal df/tbl mean(airquality$Temp)

## [1] 77.88235

summarise(airquality, mean(Temp))

## mean(Temp) ## 1 77.88235

There is a subtle difference in outputs between these two. First return double the later returns list. But that doesn't concern us, the key difference is when used with group_by function.

If you know SQL then you may be deceived by the group_by function. Here group_by doesn't return the output for each group as you might expect but it creates a new grouped table. This table can be further used to do lot of actions with that grouped variable.

grouped_table<-group_by(airquality,Month) head(grouped_table)

## Source: local data frame [6 x 6] ## Groups: Month [1] ## ## Ozone Solar.R Wind Temp Month Day ## ## 1 41 190 7.4 67 5 1 ## 2 36 118 8.0 72 5 2 ## 3 12 149 12.6 74 5 3 ## 4 18 313 11.5 62 5 4 ## 5 NA NA 14.3 56 5 5 ## 6 28 NA 14.9 66 5 6

#Dimensions for both original dataset and grouped dataset dim(airquality)

## [1] 153 6

dim(grouped_table)

## [1] 153 6

Both have same dimensions and you can see the header records of grouped_table which looks same as original dataset. But grouped_table is grouped on top of Month variable. You can see the 'Groups' section denoting the variable(s) used for group_by function.

Generally you can use more than one variable to group and ask Summarise fn to give output. Now we ask for average(mean) using summarise and mean fns and compare the results.

mean(grouped_table$Temp)

## [1] 77.88235

summarise(grouped_table,mean(Temp))

## # A tibble: 5 x 2 ## Month mean(Temp) ## ## 1 5 65.54839 ## 2 6 79.10000 ## 3 7 83.90323 ## 4 8 83.96774 ## 5 9 76.90000

dplyr::distinct vs base::unique

From the name you can understand both unique and distinct functions. Both gives you the unique/distinct values but unique works with list too (of course).

distinct(airquality,Month)

## Month ## 1 5 ## 2 6 ## 3 7 ## 4 8 ## 5 9

unique(airquality$Month)

## [1] 5 6 7 8 9

dplyr::sample_n/sample_frac vs base::sample

dplyr sample is a wrapper around base sample.int function.

sample_n(airquality,size=2)

## Ozone Solar.R Wind Temp Month Day ## 124 96 167 6.9 91 9 1 ## 65 NA 101 10.9 84 7 4

sample_frac(airquality,size=0.01)

## Ozone Solar.R Wind Temp Month Day ## 57 NA 127 8.0 78 6 26 ## 135 21 259 15.5 76 9 12

Piping

This symbol %>% is pipe operator which is used to connect codes together and run connected codes together without saving intermediate results.

Simply put this operator sends left side parameter as first argument to right side function. You can also use .(dot) operator if you want to pass left side parameter Let me show you,

airquality %>% group_by(Month) %>% summarise(mean_wind=mean(Wind)) %>% arrange(desc(mean_wind))

## # A tibble: 5 x 2 ## Month mean_wind ## ## 1 5 11.622581 ## 2 6 10.266667 ## 3 9 10.180000 ## 4 7 8.941935 ## 5 8 8.793548

airquality data is used as first argument for group_by function. Then the intermediate grouped table is passed as first argument for summarise function. At last summarised table is passed to arrange function and produces output.

This is commonly used when experimenting with data. It also helps to reduce creating number of temp variables while doing analysis. ## other functions to look for na_if - converts any suspicious value to na coalesce - picks non-missing value at each position when you input more than 1 vectors with same length. Inspired from SQL coalesce tbl - create table from data recode - replace values for both numeric and character vectors. Numeric based on position and character based on name. This completes our introduction part for dplyr. This will help you to start working with data and have fun.!! About Rang Technologies: Headquartered in New Jersey, Rang Technologies has dedicated over a decade delivering innovative solutions and best talent to help businesses get the most out of the latest technologies in their digital transformation journey. Read More...

[this-week-in-rust]

This Week in Rust 451

Hello and welcome to another issue of This Week in Rust! Rust is a programming language empowering everyone to build reliable and efficient software. This is a weekly summary of its progress and community. Want something mentioned? Tweet us at @ThisWeekInRust or send us a pull request. Want to get involved? We love contributions.

This Week in Rust is openly developed on GitHub. If you find any errors in this week's issue, please submit a PR.

Updates from Rust Community

Official

Announcing Rustup 1.25.0

Announcing Rustup 1.25.1

Changes in the Core Team

Newsletters

This Month in Rust OSDev: June 2022

This Month in Rust GameDev #35 - June 2022

Project/Tooling Updates

Tauri 1.0 Release

Lyon 1.0

rust-analyzer changelog #137

IntelliJ Rust Changelog #174

rustc_codegen_gcc: Progress Report #13

Accouncing Fornjot 0.7 (code-first CAD in Rust)

Announcing Experimental Rust Filesystem and Path Support for Xous PDDB!

This week in Fluvio #38: The programmable streaming platform

HexoSynth (modular synthesizer) - Devlog #4 - The Tracker Sequencer is Back

Slint UI crate weekly updates

Black Hat Rust updated for Rust 1.62 (and announcing the online course)

This week in Databend #50: A Modern Cloud Data Warehouse for Everyone

Observations/Thoughts

Announcement: Rust-Edu

A Pleasing Symmetry in Rust — Sympolymathesy, by Chris Krycho

Unsafe Syntax

Almost Rules

Pitfalls of fallible Iterators

Minimalist Guide to Poem

[audio] High Assurance Rust with Tiemoko Ballo

[ZH] [audio] 004. 与迟先生聊 Rust 与数据库系统

Rust Walkthroughs

Procedural macros under the hood: Part II | The IntelliJ Rust Blog

Bare-Metal Rust on ESP32: A Brief Overview

A Rust app in a Cloudflare Worker

Runtime errors: Come again? Rust macros to the rescue

Using the Kani Rust Verifier on a Firecracker Example

[video] How AWS is building the Rust SDK and how you can use it today - Zelda Hessler

[video] Constant fun (const fn) with Rust - Rainer Stropek

Research

Flux: Liquid Types for Rust

Miscellaneous

GCC Rust Approved By Steering Committee, Likely To Land For GCC 13

Crate of the Week

This week's crate is shame, a shader EDSL for writing render and compute pipelines in rust.

Thanks to Zicklag for the suggestion!

Please submit your suggestions and votes for next week!

Call for Participation

Always wanted to contribute to open-source projects but didn't know where to start? Every week we highlight some tasks from the Rust community for you to pick and get started!

Some of these tasks may also have mentors available, visit the task page for more information.

If you are a Rust project owner and are looking for contributors, please submit tasks here.

Updates from the Rust Project

363 pull requests were merged in the last week

implement support for DWARF version 5

sess: stabilize -Zterminal-width as --diagnostic-width

macros: LintDiagnostic derive

proc_macro: fix expand_expr expansion of bool literals

shorten def_span of closures to just their header

improve spans for specialization error

do not mention private types from other crates as impl candidates

adjust dangling-int-ptr error message

highlight conflicting param-env candidates

suggest #[derive(Default)] to enums with #[default]

suggest using block for extern "abi" fn with no body

suggest adding a derive for #[default] applied to variants

fix "wrap closure in parenthesis" suggestion for async closure

don't succeed evaluate_obligation query if new opaque types were registered

lints: mostly translatable diagnostics

deny float const params even when adt_const_params is enabled

allow arithmetic and certain bitwise ops on AtomicPtr

more need_type_info improvements

miri: handle Box with allocators

improve soundness of rustc_arena

fix ProjectionElem validation

compilation speed optimization for pest-2.1.3

use less string interning

more derive output improvements

implement SourceMap::is_span_accessible

use a bitset instead of a hash map in HIR ID validator

miscellaneous inlining improvements

partially stabilize const_slice_from_raw_parts

return a FxIndexSet in is_late_bound query

split TypeVisitable from TypeFoldable

implement ExitCodeExt for Windows

implement FusedIterator for std::net::(Into)Incoming

Windows: fallback for overlapped I/O

stabilize into_future

futures: add push_front and push_back to FuturesOrdered

regex: add ExactSizeIterator to SubCaptureMatches

cargo: fix corrupted git checkout recovery

cargo: fix publishing to crates.io with -Z sparse-registry

cargo: add a cache for discovered workspace roots

rustdoc: add more semantic information to impl IDs

rustdoc: filter '_ lifetimes from ty::Generics

clippy: allow let_unit_value in more cases

clippy: extend unnecessary_lazy_eval to cover bool::then -> bool::then_some

clippy: fix ICE in sugg::DerefDelegate with (named) closures

clippy: fix needless_borrow changing called trait impls on method receivers

clippy: fix undocumented_unsafe_blocks in closures

clippy: fix span for or_fun_call

clippy: ignore into_iter in significant_drop_in_scrutinee

clippy: lint shadow_* lints in anon const blocks

clippy: lint simple expressions in manual_filter_map, manual_find_map

clippy: maybe trait bound on type repetition

rust-analyzer: complete type param/associated type in trait generic arg per arg index

rust-analyzer: implement ignore and index metavar expression

rust-analyzer: extract Function misses locals used in closures

rust-analyzer: extract function from trait impl

rust-analyzer: improve suggested names for extracted variables

rust-analyzer: use SmallVec to slightly shrink ModPath size

Rust Compiler Performance Triage

A fairly noisy week (many entries below dropped and untagged as regressions), largely driven by tt-muncher and html5ever. Our sensitivity assessment currently takes roughly a week since new noise starts to learn the noise level, so it can take some time for oscillations to stop reporting somewhat spurious results.

Otherwise, this week had a number of solid improvements, and was overall positive, with improvements across many benchmarks.

Triage done by @simulacrum. Revision range: 880646c..b3f4c3

3 Regressions, 6 Improvements, 3 Mixed; 3 of them in rollups 53 artifact comparisons made in total

For details, see the full report.

Call for Testing

An important step for RFC implementation is for people to experiment with the implementation and give feedback, especially before stabilization. The following RFCs would benefit from user testing before moving forward:

No RFCs issued a call for testing this week.

If you are a feature implementer and would like your RFC to appear on the above list, add the new call-for-testing label to your RFC along with a comment providing testing instructions and/or guidance on which aspect(s) of the feature need testing.

Approved RFCs

Changes to Rust follow the Rust RFC (request for comments) process. These are the RFCs that were approved for implementation this week:

No RFCs were approved this week.

Final Comment Period

Every week, the team announces the 'final comment period' for RFCs and key PRs which are reaching a decision. Express your opinions now.

RFCs

No RFCs entered Final Comment Period this week.

Tracking Issues & PRs

[disposition: merge] Stabilize Windows FileTypeExt with is_symlink_dir and is_symlink_file

[disposition: merge?] Implement TryFrom<&OsStr> for &str

[disposition: merge] Tracking Issue for core::task::ready! macro

New and Updated RFCs

[new] RFC: resolve crates.io source replacement ambiguity

Upcoming Events

Rusty Events between 2022-07-13 - 2022-08-10 🦀

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San Diego Rust July 2022 Tele-Meetup

2022-07-16 | Vancouver, BC, CA | Vancouver Rust

Rust Study/Hack/Hang-out

2022-07-19 | Sydney, NSW, AU | Rust Australia

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2022-07-19 | Washington, DC, US | Rust DC

Mid-month Rustful

2022-07-20 | Cardiff, UK | Rust and C++ Cardiff

Rust Book Discussion - Building a Multithreaded Web Server

2022-07-21 | Stuttgart, DE | Rust Community Stuttgart

Rust-Meetup

2022-07-26 | Dallas, TX, US | Dallas Rust

Last Tuesday

2022-07-27 | Cardiff, UK | Rust and C++ Cardiff

Using Rust to read the Little Schemer

2022-07-29 | Minneapolis, MN, US | Minneapolis Rust Meetup

Beginner Rust Open "Office Hours"

2022-07-31 | Seattle, WA, US | Seattle Rust Meetup

Intro to Monads for Rustaceans

2022-08-02 | Buffalo, NY, US | Buffalo Rust Meetup

Buffalo Rust User Group, First Tuesdays

2022-08-03 | Indianapolis, IN, US | Indy Rust

Indy.rs - with Social Distancing

2022-08-03 | Stuttgart, DE | Rust Community Stuttgart

Rust-Meetup

Europe

2022-07-20 | Wrocław, PL | Rust Warsaw

Rust Warsaw #5

2022-07-21 | Wrocław, PL | Rust Wrocław

Rust Wrocław Meetup #27

2022-06-22 | Amsterdam, NL | Rust Developers Amsterdam Group

Rust Developers Amsterdam Group

North America

2022-07-13 | Atlanta, GA, US | Rust Atlanta

Grab a beer with fellow Rustaceans

2022-07-13 | Austin, TX, US | Rust ATX

Rust Lunch

2022-07-14 | Columbus, IL | Columbus Rust Society

Monthly Meeting

2022-07-19 | San Francisco, CA, US | San Francisco Rust Study Group

Rust Hacking in Person

2022-07-26 | Austin, TX, US | ATX Rustaceans

First Official Meetup - July 2022

2022-08-10 | Atlanta, GA, US | Rust Atlanta

Grab a beer with fellow Rustaceans

Oceania

2022-07-19 | Phillip, ACT, AU | Canberra Rust User Group

Canberra July Meetup

2022-07-28 | Brisbane, QLD, AU | Rust Brisbane

July Meetup

If you are running a Rust event please add it to the calendar to get it mentioned here. Please remember to add a link to the event too. Email the Rust Community Team for access.

Jobs

Please see the latest Who's Hiring thread on r/rust

Quote of the Week

Learning Rust has taught me something - "There are really no problems, just adventure and opportunities"

– Adeoye Adefemi on rust-users

Thanks to Adeoye Adefemi and Anton Fetisov for the suggestion as well as Christopher Durham for the leniency.

Please submit quotes and vote for next week!

This Week in Rust is edited by: nellshamrell, llogiq, cdmistman, ericseppanen, extrawurst, andrewpollack, U007D, kolharsam, joelmarcey, mariannegoldin.

Email list hosting is sponsored by The Rust Foundation

Discuss on r/rust

[stray-dude]

i keep forgetting to mention my new header n why its so funny to me

so basically, when me n some friends play fn together, at some point most others hop off n since me n one other are really bad insomniacs, we stay up n mess around in creative or just the lobby.

basically, we started making this joke that geno lives in a pretty princess castle n his room is Fucking Atrocious and So Unlivable n at some point, we added a plant into the room.

but, since our narrative was SO messed up already, its a dead plant. then eventually it grew to be a sentient tree.

that has a skull head.

and red eyes.

and it consumes the souls of its victims and energy drinks.

as we continued this ridiculous plot, we named it the "sinister tree".

we copied it and placed a bunch in front of the castle as we discussed it, and at some point, my friend disappeared back into the castle while i went to grab a drink or smth.

when i came back, he said "hey come check this out" and he made a MASSIVE sinister tree in the foyer.

me, w the ageless champion skin, stood at the top of the steps, and, after adding some creepy lighting, it became a dark souls boss room.

we made a dumb creepypasta-like entity with a shitty fake fanbase, made stupid memes only we understood, and it was absolutely HILARIOUS.

later, he sent me that screenshot (bc the graphics on pc were better than my ps4) and its just. absolutely wonderful. it will live on in my tumblr header.

i love sinister tree so damn much.

[terrimanager]

Sublime text windows keyboard shortcuts

Sublime text windows keyboard shortcuts code#

Sublime text windows keyboard shortcuts windows#

Ctrl Home/End Move cursor to beginning / end of file.

Sublime text windows keyboard shortcuts code#

Examples: function, class, header, or code block. Ctrl g Move cursor to line number (using Goto Anything palette). ( Fn F2 / Shift Fn F2 on OSX.) Alt F2 Select all bookmarks. ( Command Fn F2 on OSX.) F2 Move cursor to next bookmark. Navigation Ctrl m Move cursor to opening or closing backet. ( Cmd k k on OSX.) Ctrl k u Uppercase selected text. ( Cmd Delete on OSX.) Ctrl k k Delete from cursor to end of line. Ctrl k u Delete from cursor to beginning of line. Ctrl Backspace Delete word in front of cursor. Ctrl Shift UpArrow/DownArrow ( Ctrl Cmd UpArrow/DownArrow on OSX) Swap current line (or selected block) with the line above or below. Ctrl Shift j Join all highlighted lines into a single line. Ctrl j Join line below cursor to current line of text. Ctrl Shift d ( Cmd Shift d on OSX.) Duplicate line(s). ( Ctrl x to cut currently selected line.) You can disable this by adding "copy_with_empty_selection": false to your Preferences.sublime-settings file.) Editing Text Ctrl / Comment the highlighted text (or current line) again to un-comment. When nothing is selected, ST will copy/cut the current line of text. Shift Right Click Select columns of text. ( Option Command to fold and unfold on OSX.) Ctrl Alt DownArrow Add line below as multi-selection (UpArrow for line above). ( Ctrl Cmd g on OSX.) Ctrl d Add next occurrence of selection as a multi-selection. Alt F3 Select all occurrences of the highlighted text. ( Cmd g on OSX.) Add shift to go backwards. F3 Go to next occurence of searched-for text. (Subsequent presses of l while holding Ctrl will select lines further down.) Ctrl Shift l Change highlighted block into a multi-selection. Ctrl Shift Space Select attribute value (plus quotes) again to select tag. ( Cmd Shift a on OSX.) Ctrl Shift m Select contents of brackets again to select the brackets too. Selecting Ctrl Shift a Select contents of tag. For OSX, use Command in place of Ctrl, unless otherwise noted.

Sublime text windows keyboard shortcuts windows#

This project doesn't include keyboard commands that are fairly standard to the operating system such as Ctrl Shift t to re-open the most recently closed tab.Ĭommands have been tested in Windows and OSX (sorry Linux folks). (A few keymap customizations are too awesome to be ignored I have included the keymap customizations in the repo for these cases.) Thus, I created this reference focused on keyboard shortcuts that are part of ST's default installation. Sublime Text is at its most sublime when you can remember its most useful and delightful keyboard shortcuts. The Mug of Sublime Text The Mug of Sublime Text A tribute to the Mug of VI

[twidua]

like or reblog if you save.

[piastrisluvr]

matching Finnpoe twitter layouts

Like/reblog if saving or using!!

[sunnychaiup]

that alligator with the mohawk is my favorite animatronic now like we know jack shit abt them ik but theyre my favorite one now ok

[everythingwithoutpsd]

© @agentzcully or like this post if u use or save

click and save it

request

fanart  © redbubble; the ones tagged were kept that way

[gr-ogu]

Requested by @tennant​!

For this tutorial you will need:

Some basic gif-making knowledge (see my last tutorial!)

I’ll be using CC 2017 to do this, but as long as you have the timeline option, this will work for you! 🥰

So, in a sort of part two to my other gif tutorial, (https://luke-patterson.tumblr.com/post/636980573506813952/) this is a slightly more advanced part of gif-making. But I promise it’s easy when you know how!

Assuming you followed the last one, you’ll already know how to make your gifs into a smart object, so we’ll start there!

PART ONE: BLENDING

Drag both of your gifs into the same file. For this to work, your gifs have to be the same number of frames, or at least cropped to the same length in the timeline window, otherwise one will loop before the other, and it will mess up the loop of the gif. (For when we get to the multiple gif part, I recommend having between 60-80 frames, so it stays under tumblr’s 10 MB limit.) As this tutorial uses smart layers, they can both be sharpened as well.

(I made this gif 540 px by 268 px, because I’m going to add more to it later. But we’ll cover that further down in part two!)

Honestly, I find it so much easier to put my colouring on top of both/all the gifs, and then clip individual layers down onto a specific gif, if that one needs more of its own colouring. That way, the extra layers don’t interfere with the other gif(s). It’s so much less confusing visually for me than having lots of groups with their own colourings, and it makes moving the gifs around simpler.

Position them side by side, one on top of the other. Obviously, you can play around with the positioning: this may be easier to do once they are blended, especially as some gifs may be smaller and you need to try them in different places. For example, this is a screenshot of a Lyra/Will set I made in the past, with three blended gifs of different sizes:

Add a layer mask to both of your gifs. You might not need to edit both, but I usually do, as I like to balance how much one gif blends into another! Using the brush tool (set to black, when you’ve clicked on the layer mask), we want the brush to be very big, and very soft.

The bigger the brush, the more seamless the blending will be! By painting parts of the top gif away, the other gif will start to appear underneath. It’s not always necessary, but I usually like to set my top gif to ‘screen’ as well. This helps the gifs merge into one another even more, especially if you have one gif which is darker than the other!

As you can see, by setting it to screen, the top gif has already started to look blended. Then, you can start to paint. As the brush is so big, you might end up painting away too much of the gifs, like so:

I usually go back and forth, switching between black to remove parts of the gif, and white to add it back (always painting on the layer masks). Sometimes, you might need to make the brush slightly smaller, just to fill in tiny gaps.

Another thing you can do is to add a solid black colour underneath all your gifs, just to fill in any spaces. (Sometimes, I do this on top of gifs too, to create spaces where I want blended gifs to go, like in my current header!):

Anyway, back to the original gif. My blended gif is now pretty much how I want it to be, except Lyra is quite far to the left, and Will is taking up a lot of the screen:

So I’m going to see how they look at the start of the gif, to determine how far right I need to move them both to get them mostly in the middle:

And that’s it! Now you can export them [file > export > save for web (legacy)] and you’ll have to change the timing back to 0.05, or use the action I introduced to do this in my last tutorial.

PART TWO: MULTIPLE GIFS

To put more gifs underneath this one I’ve made, I expanded my canvas. Go to image > canvas size. Make sure you click the little ball to the top in the anchor section, so the canvas expands underneath your gif. If you leave it in the centre, it will simply expand from the middle, or the left, right, etc.

Next, we need to remove the black line at the bottom of the gif.

You want to select the space for cropping using the rectangular marquee tool, so in this case, 540 px by 268 px. The tumblr spacing is 4px between each gif in a set, so however many gifs you want, you have to account for 4px less pixels inside your one gif, to give the illusion there are multiple (unless you want them to touch).

For example, (there’s a little maths here: forgive me!) two gifs of equal size, placed side by side, must be 268px in width or length, because (268 x 2) + 4 = 540. (There is one 4px gap in between). For four gifs, it would be (132 x 4) + 12 = 540. (For the three, 4px gaps). For three gifs of equal size, it’s a bit different. These must be 177px, 178px, and 177px, to ensure there is 8px of space left over (two gaps).

Then, make sure the colour white is the primary colour selected on the paint pad (this is vital) and (in this case), the layer mask from before when we blended, is selected. Press ctrl (command on mac), shift, and i to invert your highlighted area (or select > inverse) and then simply delete the excess line, (either using the delete button on windows, or fn + delete on mac, I think!) Then, do this again for the other gif.

And voilà! It’s gone. You can also paint it out (using the black colour as the primary colour to erase), but I would still recommend highlighting the outline of the area you want to erase, using the marquee tool, so that you can paint it out in a straight line, and don’t paint into your gif and erase parts of that by accident.

Now to add in the other gifs! To do this, I use guides, but you can also use lines at a size of 4px, to map out the spaces in between gifs. If you go with lines, just make sure you delete the shapes after. With guides, they are not actually ‘in’ your gif, so you don’t have to remove them before you save. However, guides only work for straight lines, so gifs with other shapes will need to be made using lines, (but I will touch on that at the end!)

I actually have a few psds saved with guides already on, so that I don’t have to draw them out every time. If I was making a set with three gifs in a row, this would be different, but I usually stick to two or four (or three with one big square/rectangle, and two little squares), so this is my most used psd. The guides are set at: 132 px & 136 px, 268 px & 272 px, and 404 px & 408 px, both horizontally and vertically!

I have a red colour underneath just because I find it easier to see the lines between gifs this way - if you do the same, just remember to turn it off before you save your gif, otherwise it will have the colour red instead of mimicking the transparency between gifs.

Now, make a second gif! I decided to have a square in the middle as you can see in the title, and then two rectangles either side.

Then you want to resize it, in this case to 268 px by 268 px, and drag it across into your main file, or go to layer > duplicate layer, and move it that way. Don’t worry, when you move it, it will show the whole gif as if you haven’t cropped it. The reason I crop and resize it beforehand, is so that I can ensure it will be the correct size when I remove the excess parts of the gifs I don’t want, (rather than making it 268px including the black line for example, which would be wrong.)

Then, as before, position the gif where you want it to go, and highlight the area you want to be in the gif. Whilst this is selected, (again ensure white is the primary colour on your paint pad), click the layer mask:

Then the excess around the gif should be gone! (Making a gif of a gif tutorial... meta, lmao.) This way, if you decide you want to change the shape of the gif, or move it slightly, you can just paint parts in and out, or delete the layer mask, move the gif, and reapply it!

You can then sharpen and adjust your colouring to the gif as needed! Next, go ahead and repeat this process for your other gifs. Selecting the area, adding a mask, and sharpening. By the end, you should have something that looks like this:

PART THREE: OTHER SHAPES

If you want to use other shapes (which I haven’t tried myself until now, but I can talk you through some thoughts!) You can use the line tool. So, for example you could make a layer with the lines at 4px, merge it, and then at the end delete it from your gif to leave the gaps transparent:

To make a gif any shape you want, choose a shape (either use the shape tool, or get a png of it), and using a clipping mask. Make sure your gif is above the shape layer, then right-click the gif layer, and select create clipping mask to clip it down:

OR you could use a circle, and then delete the circle to make it look transparent:

The best way to select items which are not rectangular, (so you can’t use the marquee tool), is to use the pen tool. Click around your gif so that it’s got a border of what you want selected. Once you have outlined your gif, right-click and choose make selection:

Then set the feather radius to 0, and then the area you want should be highlighted in the same way as with the marquee tool above, so you can add a layer mask, etc. However, as the pen tool is not always that accurate, there is a little white gap here where it’s not a perfect circle.

A way to overcome this could be to make all the gifs you want, and then simply add one on top with a white 4px border, so it gives the illusion of being transparent! (As I have done above, but save it as white rather than red!)

If I find a better way to do this in the future, I will update this tutorial. I hope this is helpful, and thank you for reading 🥰💖

[yurimysterycult]

uooh notes. the FON files storing ascii fonts are just a bitmap, but the FON files storing SJIS fonts have structure!!! they have a magic number: FN TC.

the header is 0x20 bytes long. (0x10~0x11 is 0x0020 in every font ive tested so its possible there are other header types?). 0x14~0x15 is the offset at the start of the bitmap section, i.e. the size of the header PLUS the size of the mapping section. 0x1E~0x1F is the bit depth of the bitmap section. 0x1C~0x1D is always 0x1010 from the fonts ive tested but im not sure what it means... 0x4~0x5 and 0x18~0x19 vary in every font, usually high values, and i dont know what they mean either. they might be flags where the bits have individual meanings. i would probably have to reverse engineer the engine

the mapping section immediately follows the header. its an array of 16-bit values, which maps an SJIS character to the n-th glyph in the bitmap. its a little strange since its kind of backwards. you know what character a glyph represents but not what glyph to use to render a character. its probably for the sake of saving space, and they then construct the reverse table in-game

the bitmap section then follows the mapping section immediately U_U theres no compression as far as ive seen

[crossedwithblue]

tbh i had forgot the katara as jane i just remembered the zuko being stupid haha the post being ss well makes it great (i suppose they mean the narrative function of being the support and a contrast with lizzy. but yeah comparing her to katara who has such strong independence and standing up values sounds '???')

I read a lot zutara mainly because katara and aang getting together was always super uncomfortable to me

i am always here for Dumbass Zuko headcanons lmao. however I did unfollow that blog just the other day because while I love their art (give me allllllllll the accurately drawn PoC. if you draw PoC (or white people for that matter) as button-nosed instagram girls with dark skin and make no effort to learn how to actually draw different types of facial features i will come to your house and make you eat your wacom tablet and draw my giant nose and square jaw with pen and paper until you get it Right, there are enough resources about this and i am tired) I didn’t love their hot takes which I obviously did not want to say in the tags on their post but idk,,, I was getting this really bitter vibe from their meta, idk how else to explain it. I can understand being bitter about aspects of media you like and of course people are perfectly entitled to their opinions and headcanons, but I just don’t want that bitterness on my dash lol, I come to tumblr to shitpost and look at pretty pictures. and their opinions on zuko were definitely part of it bc they felt really unfair to me and the Pride and Prejudice post is def an example of something where I was just like ??? this makes perfect sense until I actually think about it at all?? why are you being mean to zuko for no apparent reason????? is it.... because he’s the only major character from the nation that is most similar to white colonising cultures, even though he’s doing the work to a) be aware of the colonising mentality he’s internalised and work on it and b) as the ruler of said nation, flag up and eradicate this mentality from his own country, which is evidenced by the FN’s policy of non-intervention in Korra (I think the almost-going-to-war plot in the comics was absolute bullshit by the way, like not its existence but just it not really being examined in that sense)? I am 100% here to examine those aspects of ATLA and again, I totally understand being bitter about them, but it just tires me out in a website I consider a leisure space

I do need to find more atla blogs to follow now, recs would be fab if you have any :)

oh yeah i basically dont ship any of the endgame ships (in ATLA, as you may guess from my header being Korrasami lol) because as i have said before, nobody needs to find their One True Love at the age of 13 lmao (i do kinda ship Suki/Sokka because they are a little older (still kids by our standards but most probably near adulthood by their own, if not actually adults in the full sense, and yes I do think cultural context matters when ascribing adulthood to people outside the modern West no matter what ‘you’re a baby until you turn 18 and then why don’t you instatnly have a job and a mortgage’ internet culture says) and their relationship is just so cute and feels really healthy to me idk we were Robbed of enough Suki screentime, we should have got more Suki and also she should have had her character explored a Lot more than Cool Ninja Feminist Gal) (also, witness the nested brackets, they are here)

I think a lot of people have issues with Zutara (and presumably by extension Zukka? though I haven’t seen this discussed as much or like. at all) because of the issues associated with essentially the heir to a colonizing empire which has decimated the culture of the indigenous-coded woman he’s being shipped with (im sure you’ve also seen those discussions if you’ve spent like. any time at all in ATLA fandom lol) which I... kinda have mixed feelings about, I’ve seen fics where it is definintely completely ignored and done really really badly but I have also seen fics where that conflict is a really essential theme and that’s been quite interesting (would recommend Southern Lights on AO3 if ou haven’t come across it before as a good example of that though it is very long and currently being updated (pretty regularly)). I feel like I’m too removed from that part of intercultural conflict that I have the right to comment on it, though I’ve definitely faced shades of those issues in the past, but I also feel like it’s potentially an example fo knee-jerk Tumblr purity culture to just say its Bad And Wrong so idk I’m conflicted.

In the politics of the world, I just don’t see how Katara being Fire Lady (ugh that’s a phrase that always makes me laugh, and not in a kind way), which is probs the most comon Zutara fic plot, would have Worked in any sense at all, and I definitely think she would have wanted to stay at he South Pole and rebuild her culture and bring bending back to them (as we see in the comics and obvs with her being Korra’s waterbending master iirc) and I can see Zuko wanting to help with that in whatever way possible because he rightly sees that as a really important part of the reparations owed by the Fire Nation. and obviously by the end of the series they were very good friends and definitely had better chemistry than fricking Kataang but yeah those reasons are basically why I don’t love Zutara but don’t necessarily hate it either

this was another ramble, not apologising for it this time because this is just what talking to me is like. I am very here for bringing back letter-writing because it lets me ramble to my heart’s content but also it would take up All My Time

[seokmatthewz]

been editing my new header for 3 hours and I still dont know if I like it bffmf fn

[purwpoise]

Do you know what’s good about dreams? You can be with people who are impossible to be with in reality. You can be anywhere or nowhere at the same time because everything is possible in your dreams. And, in mine, I’m always with you. In my dreams I’m the girl you will point out from the stage because you want everyone to se her and you song along that song that reminds you of me, and you look at me as of I was the only person there. In my dreams I can have you as long as I want, so then, I can own you forever because in my dreams everything can be so simple and we are young forever because I can stop the time. And that’s why I’m never afraid of losing you and I feel the luckiest one wherever you grab my hand in the middle of a ice rink and I see everyone spinning around as of we sere the center of universe. Distance doesn’t exist in my dreams because I have everything that I want. I have you. And every night, you play your guitar and you song to me, and sing those songs that no one else has heard before. In my dreams your smile is even prettier and if we want to get lost, you take me to those places only you and I know about. I don’t even need to dream in my dreams, because everything I dream about is real. But, do you what’s the worst about dreams? That, even though they seem eternal they are not and out of them, out story isn’t real it’s just a made up in my head and I can’t be with you. You can’t be my favourite place. In reality I see you from the distance, as you point out a crowd of people screaming your name. One in a million is all that I really am. Out here I can’t be by your side half of the time, and I really want to. And needing you so bad destroys me. So, the day I get to see you, I live it as it’s the last one because, I don’t know if I’ll ever get to see you again. And I feel that the universe is spinning around way too fast and I can’t control it and I hate it because this world doesn’t wait for things to happend, it just won’t stop. Out of the dreams I don’t have, I don’t have you. But you know what? It’s because I don’t have you that I will never lose you and exactly as it is in my dreams.

[afif-am]

Skrtel, Piala Dunia dan Ketaksuban

Kelihatan Martin Skrtel dengan kepala berbalut menanduk masuk gol penyamaan sekaligus menghadirkan rasa senak dan remuk dalam hati penulis. Credit: https://talksport.com/football/225496/liverpool-2-2-arsenal-skrtels-header-rescues-ten-man-reds-death-141221129480/

Subuh.

"Pum!"

Kedengaran bunyi pintu bilik air aku hempaskan. Aku bengang. Astu aku bersihkan diri sebab hari itu aku ada program di luar. Sambil aku bersihkan diri, kepalaku masih terbayang-bayang Martin Skrtel menanduk masuk gol penyamaan menentang Arsenal di Anfield1 di minit-minit akhir.

"Ahhh!!! Macam mana boleh seri??!!." Aku mengeluh. Semua tahu, untuk menang di Anfield bukan mudah lagi2 sekarang. Dan untuk seri 2-2 selepas comeback sangat-sangat menyakitkan. Aku tidur dalam keadaan marah (game pukul 12) Kecewa. Bangun pun dalam keadaan marah. Mungkin ada hikmahnya mengapa Nabi suruh tidur dalam keadaan tenang. Mood aku pada hari itu terjejas. Selalu teringatkan game itu lalu aku frust. Waktu itu jahil. Terlalu memandang serious perkara hiburan sampingan ni.

Setelah mendahului selepas ditinggal 2 kali oleh Liverpool, Arsenal mendahului 2-3 di Anfield menerusi penyerang kacak berhidung mancung, Olivier Giroud. Minit 90, pekara sama berulang. Kali ini Joe Allen the great menyelamatkan maruah Liverpool.

Tapi...aku rasa takdak apa-apa. Kecewa sedikit ada tapi taklah sampai rasa bengang. Unbothered. But i guess its only natural since we're getting older. We're getting less bothered tentang about unnecessary things. Cuma masalahnya sekarang, mereka dewasa yang tak membesar. Enter obsession.

Di Korea Selatan, mereka yang tak fit Beauty Standard untuk menjadi Kpop idols akan dicaci oleh peminat yang taksub. They even have a specific word for it. Its called "Sasaeng" fans. Obses sampai memberi ancaman dan menceroboh hal privasi. You can search it up. Ada banyak kisah yang creepy pasal sekumpulan peminat macam ni.2

Begitu juga peminat bolasepak. Lihat sajalah banyak mana masalah yang timbul sewaktu game Malaysia-Indonesia haritu. Punca asalnya game bola sahaja. Betul, bola itu passion kau. Kau habis duit, travel jauh dan korban tenaga kau. Tapi sampai bertumbuk berdarahh, menghina negara orang untuk satu perlawanan bola? Sampai hilang morality kau? Tu kau bodoh.

Most of these people assume that entertainment is the sole giver of happiness. And when their sole giver of happiness didn't deliver, they retaliate in disturbing ways. Mereka react dengan cara yang kadang-kadang menjadi berbahaya. A little bit of criticism is ok, tapi sampai memberi ancaman nyawa, bergaduh, kau telah melanggar garisan kewarasan.

Aku tak katakan aku dah jumpa formula di mana aku takkan kecewa dan marah selamanya, tetapi agama telah mengajar kita tentang pemberi kebahagiaan yang sebenar, Tuhan.3

Untuk contoh yang terakhir, aku ingin kembali ke tahun 1950. World Cup final di Brazil. Brazil vs Uruguay. Brazil were the favourite as they won convincingly throughout the campaign. Penganjur perlawanan pun dah siapkan ucapan meraikan kemenangan Brazil dan general public pun dah menganggap Brazil akan muncul juara. Namun, Uruguay mengejutkan dunia menang 2-1 resulting in one of the biggest upsets in football history. Sehinggakan sebahagian penyokong membunuh diri dengan terjun daripada stand stadium. Dan beberapa kes bunuh diri juga dilaporkan beberapa hari selepas perlawanan. Sidang akhbar dan media Brazil pada waktu itu juga cuba menafikan bahawa pasukan negara mereka telah kalah. Pemain bolasepak Brazil antara yang paling terkesan dalam peristiwa ini dan ada yang mengalami tekanan. Peristiwa ini dinamakan Maracanazo bersempena nama stadium tersebut.4

Bear in mind, bolasepak di Brazil hampir boleh dibandingkan dengan agama dalam kesan dan impaknya kepada masyarakat. The sheer amount of disappointment is produced through unrivaled obsession. Make of that what you will.

Home of Liverpool FC. Bukannya kesilapan tatabahasa. Bukan Afield, namanya memang Anfield. Walaupun bukan dimulakan dengan huruf vokal. "Kenapa?" jangan tanya aku. ↩︎

https://www.scmp.com/culture/music/article/2158408/when-k-pop-superfans-turn-ugly-dark-side-korean-pop-culture-phenomenon ↩︎

Di sini aku sertakan kajian akademik berkaitan Islam dan impaknya kepada life satisfaction penganutnya. https://psycnet.apa.org/doiLanding?doi=10.1037%2Frel0000259 ↩︎

https://en.wikipedia.org/wiki/Uruguay_v_Brazil_(1950_FIFA_World_Cup) ↩︎