#this was the biggest hassel start to finish

[dairy-farmer]

So I've recently made a new AO3 account (completely separate from my main one, different email and everything lmao) bc I want to start writing porn, and I was wondering if I could have your permission to use some of your asks as like, prompts or ideas? Especially ones that were my own (this is PP!Tim Anon btw, and I've sent in. A lot of asks without signing them off as that, like I could make an entire list and it would probably hit double digits of which asks you've gotten that were mine lmao)!! I would ofc credit you and your blog! I don't know how to imbed links to the individual asks (I'll still try but I can't promise anything lmao), but I'll at least mention your Tumblr name and AO3 account!

I really wanna try my hand at some random, filthy oneshots without a bunch of world building or context, bc that's something I tend to get hung up on in my writing, and I wanna stick to some short and sweet smut oneshots about Tim being a pregnant, underage nympho slut, or a puppy factory, or a cocksleeve for the rogues of Gotham and their goons, all that good stuff!!

On that thought tho, do you have any pieces of advice for like, consistent writing, or motivation to write? Bc that's my biggest struggle tbh is sitting down to start writing. Usually once I start I can churn out a couple thousand words in one sitting, but I gotta start first, ya know? Any words of wisdom would mean a lot ❤️❤️❤️

answered out of order:

yes of course❤️❤️❤️!!!!!!!!!!!! you don't believe how happy that makes me to hear!!!! so many of the asks i get sent are just so brilliant and well done and it would make me so beyond happy to know people started writing or got inspired to write out their ideas!!! and i'm sure that people who submitted other posts you get inspiration from would love to see others expand further on their asks ❤️❤️❤️❤️!!!

one shots are a really great way to really get back into a sort of groove of writing because it can be shorter, the plot may be not as dense or complex as something from a multichap (though you can also write VERY long one shots that are incredibly detailed too), and it can be mainly composed of "fun" writing in the sense that you don't have to do buildup for bigger things like you would in longer multichaps or those that are heavily plot driven. i totally get struggling to get motivation to write, for me it was always like i had to wait for my brain to be turned "on" or in a working mode for me to get any writing for my fics done which meant it usually only happened when i was studying for exams or doing projects for school. however for me that meant when i was in the 'off season' like breaks from school it meant that even though i had time, i no longer had motivation to write. that's something i'm still working to break myself out of and i think one think that is pretty effective is thinking of a scene or piece of dialogue i'm excited to write and look forward to getting to so it motivates to write to reach it. that works sometimes, other times i think of a reward i'll get myself once i finally finish. something like candy or some snack or food i don't often get or go out of my way to get. and another thing that works for me sometimes is basically planning the fic, for a short one shot the major bullet points of what happen would be a short list and so it would pretty much trick your brain into thinking 'wow a short task list i can do all of these pretty quickly/complete them without too much hassel or procrastination!'.

ultimately i think writing one shots takes a lot of pressure off since as a single chapter there's basically no further commitment needed like it would during a multi chapter fic which can be very relieving for people who get easily stressed or pressured by commitments with no hard deadline.

im very happy to hear you'll be expanding on your tim ideas and look forward to them!!!!!! also if you need any help with embedding on aow the reference collection on ao3 is really helpful and its where i learned to embed links with this tutorial ❤️❤️❤️❤️

[antivanwine14]

I finally finished the main story of Pokemon Scarlet and Violet and boy do I have thoughts about that! My thoughts and spoilers under the cut (long post)

Game Overall: It really felt like they went for something with this game. They have been experimenting a lot in the previous few generations and this is the game they brought everything together. They took some pretty big risks shaking everything up and while I know some people are going to be pretty unhappy with some of the changes, I really like what they did with this one. It did not feel like a reskinned game but something really new and different. I hope they continue to go in this direction of taking risks and putting more attention on good characters and storytelling (and hopefully they will take some time to really improve the graphics though I will say, the pokemon actually look decent with the way they did their textures with special shout out to the steel types) 

Characters: This is definitely one of the best casts they’ve ever had, which is really surprising because it is also one of the biggest casts they had, but they did a good job giving the characters enough time to shine without getting grating. Most of the gym leaders are still a bit forgettable as they tend to be, but the friends, Team Star, academy staff, and elite four all had enough development that I actually could remember them and liked them by the end.

Academy Staff: Funny that the number one academy staff they showed case was Jacq, but I actually think because of how they did his interactions (locked behind pokedex) he was hardest to bond with. The others though actually had some really nice interactions and I enjoyed taking the time to get to know them. 

Director Clavell: I am not including him in the regular Academy Staff because he is too big of a character. I was not sure what we were going to get from him when I started, but I loved him by the end. He was so earnest, hardworking, and dorky. He really tried so hard for the students and I appreciated that about him. 

Team Star: For yet another fake out evil team, I actually liked the bosses and how they were handled (not actually causing any mischief really). They had some personality and it was nice getting a chance to actually get to know them and understand why they formed Team Star. Do I wish there was a proper evil team, yes, but I am happy these five were not actually evil. I also appreciate the fact they dropped the pretense that these guys were evil by the end of the first base.

Elite Four: Hassel may be the best elite four member since Lance. You actually get quite a bit of time with him, get to know who he really is, and I really believe that he cared about the main character. He was just so well developed compared to most elite four members. Larry and Rika were were also great. Larry is probably the funniest elite four member period (I’m putting him here since you get more time with him as an elite four member) and I liked Rika’s design. Poppy...well they were going to make a child elite four member eventually, hopefully this will be the last one. The one thing I will say about her is her ace fits her well. 

Penny: Penny had a great story and I really loved her personality, I just wish we got to see it a bit earlier. I think giving those supply drops scenes a few more lines would have helped boost her character. 

Nemona: She is probably the best of the friend rivals and I love the way she was purposefully scaling herself to your levels. HOWEVER, I do wish she had a little more of a story. I think a Volkner storyline, were she is a little bored, and wants a new real challenge would have worked, especially if she was still upbeat about it. She is great though.

Arven: Arven has one of the best stories in all the pokemon games. They did such a great job turning him from a jerk to someone I really cared about. The explanations for why he is like he is also works well. It is interesting, your journey is the main game, but his story is the heart and driving force of this game and the friendship that actually developed there felt real and natural and seemed like the central relationship in this game. 

The Squad: I loved their interactions and I wish we could have more of them. They really did feel like the main characters best friends and I am glad that instead of forcing this friendship from the beginning (X&Y) it really developed over the journey and felt a lot more natural. 

Ending: That might be the most bittersweet ending I’ve ever seen in a pokemon game and I loved. Like yes, you won, but Arven still lost his only parent and I definitely felt the sadness around it even as the five friends move forward together. They still ended it on an upbeat note, but it wasn’t parades and parties which felt appropriate. It was so surprising for this series and I really appreciate it. 

Gameplay and Graphics: I know some people had issues with graphics and gameplay and while both could definitely be improved, I didn’t find the issues too distracting either

The Professors: Great story, I still hate them for what they did to Arven. 

[sendlong]

Whist card games

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You guys need to fix that! In the time it takes for it totally add up I could have played two or 3 games! It takes a long while for the chips to total all the way up to 3 or 4 million when you begin with 100! I often leave this game and go to Spades or something. I find myself bidding No trumps often and the robots never do, although some of their hands are a great No Trump, even a Boston! But they often miss the Boston, because the only cards missing are the Jokers! But the BIGGEST HASSEL is waiting for the chips to total up! Why is it, if my chips are over a million, I now have to wait for 100 or 200 new chips to be added in? Instead of just adding them into my million, they start from 100 and keep adding in chips until it reaches the millions again! This is very aggravating. This is entertaining for me, but hardly like a real Bid Whist game! First of all real people will bet No trumps and a five often! Bid Whist Online Card Game can played with friends & family.

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Play bid whist free games & challenge intelligent opponents without worrying about lives, timers or other limitations. It offers you a great experience against 2 player. It is one of the traditional games are played in pairs in which trump is chosen by players. Whiz: No one bids! Trump suit changes automatically in each round. Download It fun games on your iOS devices!īID: Make your bid with your partner and challenge other teams. Play 2 player whist against simulated opponents playing with high-level artificial intelligence.

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It comes to your mobile device with all-new rules, pleasing design, modes of play and much more! Download Now. It is traditional trick-taking card games also known as Hamburg, Contract, German Whist and Whiz. It will brings you a really unique gaming experience.Select room of particular amount & winning points.Win free chips every after few minutes as Magic Box Bonus.Get free chips everyday as Daily Bonus.Get Highest Chips as a “Welcome Bonus”.Place a bid, get more points than the opponent and win chips. It is an exciting classic whist game that any player is sure to enjoy. Play now to improve your skills, gain experience and become the best card game player! In 2 player whist game players determine the Trump suit by bidding higher than others. It is the competitive fun games which you can play with family & friends online. It is trick-taking 2 player game that you can play with joker & trump. Let’s PLAY BID WHIST FREE classic whist card game played in pairs.

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Since there are 13 tricks in each round and you get points for number of tricks above 6 that means that if you get all 13 tricks you will be able to win in one round.Play bid whist spades plus send emoji to other players in this reverse card game! Spades rules are tricky, you can learn how to bid in spades & charge it to the game. Points are tracked between rounds and the first team to get 7 points wins the entire game. So if John and Lisa get 8 tricks and You and Bill get 5, then John and Lisa get 2 points but You and Bill get no points. The tricks of each team are counted, and they get a point for each trick over 6 tricks. The player who takes the trick will then lead in the next trick.Īfter a round is finished the score is calculated. The player who puts out the highest card in the suit takes the trick, unless someone has put out a trump card, in which case the highest trump card takes it. If they have no cards in the same suit they may put out any card they want. The players that follow must put out cards in the same suit if they have at least one. The order of trumps goes: Hearts, Spades, Diamonds, Clubs, No Trump.Ī player leading a trick can put out a card in any suit he wants, even the trump suit. In each round there is a special trump suit, whose cards are considered higher than all the other suits. starting a new round is when all the cards are finished and are dealt again). The first player to start is chosen randomly, in the next round the person to start will be the next person to the left of the person who started the current round. The players sitting across from each other are a team and together they try to get as many tricks as possible.Įach player gets dealt 13 cards. First team to get 7 points wins! Whist is a simple trick taking game, played in pairs. Play in a team and try to take the most tricks with your partner.

[meanderings0ul]

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[atowing2]

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[joneswilliam72]

Meet Halt and Catch Fire composer & former member of Tangerine Dream, Paul Haslinger.

I caught up with Emmy-nominated composer,  and former member of the classic German electronic band Tangerine Dream, Paul Haslinger, for a chat on composing challenges, his career, what makes a great score, what it was like composing for Netflix's much-lauded Mötley Crüe movie The Dirt,  and more, as it relates to his latest project, "Halt and Catch Fire Volume 2 – Original Television Series Soundtrack", which can be ordered here courtesy of Lakeshore Records.

Paul Haslinger.

Tangerine Dream in Minneapolis, MN in 1986. Paul Haslinger is pictured in the middle with Edgar Froese. Source: welt.de

Haslinger is an LA-based, Austrian composer and electronic musician known for his involvement with legendary German group Tangerine Dream from 1986 till 1990, as well as his extensive work for film, television, and video game scores. During the 1990s, he also released a few solo albums (three under his own name and one as Coma Virus) that explored various ethnic influences as well as industrial, dark ambient, and triphop. He has collaborated with Nona Hendryx, Jon Hassell, Lustmord, Fennesz, and many others. 

Haslinger began scoring short films in the late '90s, in addition to programming and arranging film scores by Graeme Revell, including The Siege, Pitch Black, and Lara Croft: Tomb Raider. Starting with 2000 HBO film Cheaters, Haslinger scored several films by director John Stockwell, including Crazy/Beautiful and Blue Crush.

He began scoring video games with 2005's Far Cry Instincts for Ubisoft Entertainment. Haslinger's music for the Showtime series Sleeper Cell was nominated for an Emmy Award in 2007. Other notable soundtracks Haslinger has composed include Shoot 'Em Up (2007), Death Race (2008), Underworld: Rise of the Lycans (2009), The Three Musketeers (2011), Underworld: Awakening (2012), Resident Evil: The Final Chapter (2016), The Dirt (2019) and Halt and Catch Fire.

Halt and Catch Fire—the AMC Studios series that ran for four seasons – captures the rise of the PC era in the early 1980s, focused on four main characters attempting to innovate against the changing backdrop of technology and Texas’ Silicon Prairie. The series was created and is executive produced by showrunners Christopher Cantwell and Christopher C. Rogers.

Catch "Halt and Catch Fire Volume 2 – Original Television Series Soundtrack" out now, courtesy of those most-excellent purveyors of always spectacular film music, Lakeshore Records; also enjoy the exclusive track – titled "Dreamers and Misfits" – that The 405 premiered from it embedded below the interview here. 

HALT AND CATCH FIRE Season 1 trailer.

Hello Paul and welcome to The 405! To start things off, I was hoping we could get an idea of what your creative process as a composer looks like when you start a project.

I usually start by looking for creative sparks - could be a new sound, a conceptual idea, a script, some footage I see… or a combination thereof. Once there is a spark, there is usually fire and then you just need to make sure the wind does't blow it out.

Very true. On a somewhat related question, your approach. What are the main things that a great score needs to do?

Functionally speaking, score supports story. And a big part of that is to not get in the way of story. I find most projects over-scored. Music should have its moments to shine, but it should be content at other times to stay extremely simple and understated if that's what supports the picture the best.

I agree. The best is not distracting. It does not snap you out of suspending your disbelief with the movie itself. You still forget you're watching a movie – if it's a good one.

Pivoting just a bit, you have quite the variety of film genres under your "composed by" belt too. Do you consider one genre easier to score than another? Why or why not?

Not really. So far, I've found ways under any circumstances to have some musical fun – it doesn't really matter to me which particular country we're in, or where we're driving. One of the absolute perks of writing for film and TV is specifically the fact that you are not beholden to a particular style. You can try as many different things as you like. For someone who gets bored quickly, this is quite a gift. It also bears the risk of getting lost on occasion, a price I'm happy to pay.

That seems to be the consensus among many of the composers I've put that question to. I admire your adaptability there too Paul, I'd imagine it's key in helping keep things interesting.

Does your time in Tangerine Dream influence your approach as a composer? Why or why not?

 It certainly was my start in film scoring and it laid the foundation for many things that came after.

Tangerine Dream at the time was understood as an alternative to traditional film scoring and it's a principle I kept applying in my work after leaving the band. On the other hand, Tangerine Dream was asked for the same type of alternate score over and over again. Leaving the band allowed me to cast my net wider, to keep exploring and discovering.

Interesting. Did your time in Tangerine Dream color your approach to Halt and Catch Fire with it being an '80s period series? What else initially attracted you to it?

At the start, it was obviously just a project that seemed like a good fit, a great chance to have some fun. Once I began working on the show, it became clear very quickly that this was not just an opportunity to revisit some '80s music, but that the writing, the cast, the whole crew, was one of those lucky coincidences where the right elements come together at the right time. One of the best teamwork experiences I ever had, it really fuelled everybody to work extra-hard and come up with something special.

That's fantastic. I remember really enjoying the series when it first came out. That kind of atmosphere really bleeds over into the final cut. What were the challenges like on scoring it?

There was great mutual respect between all creatives on the show, and the biggest challenges were typically the ones I set for myself, wanting my work to match the quality of the material I was scoring. The show's creators, Christ Cantwell and Chris Rogers, are both huge music fans, so we would regularly geek out on all aspects of sound, mix and general sonic architecture of the show. We definitely kept challenging each other, in the best and most creative ways.

Cool! A twist on a question I usually ask, what films, scores, composers and musicians would you say most molded you as a composer and musician?

If you're asking who inspired me, that's a ridiculously long list…

Yeah, it's a big question.

I am not sure if anybody "molded" me –

Substitute "influenced."

I see myself in a long chain of musicians and music history, where certain composers and events always influenced and inspired the next generation – it's a fluid structure with no hard delineations.

Absolutely.

Picking a few favorite composers of recent times (and with a spotlight on film), I would mention Bernard Herrmann, Ennio Morricone, Georges Delerue, Jerry Fielding, Ryuichi Sakamoto, Warren Ellis, Arvo Pärt, Edgard Varése.

Cast of HALT AND CATCH FIRE. Source:AMC

One title you scored that jumped out at me because I consider the film a bit of a guilty pleasure is 2007's Shoot ‘Em Up. The film is pretty brilliant, high-octane, action movie satire and the "bullet ballet" moniker for it was very fitting. I'm curious, what were the unique challenges with that as a project?

It was a tricky project, for sure. They had tried a variety of music approaches and found that they wanted a more modern approach than the usual Hollywood orchestral score. The film had some edge and they wanted the music to reflect that.

Absolutely. That scene with Motörhead’s “Ace of Spades” absolutely embodied that edge, musically-speaking, as an example.

My approach was to go into a studio here in LA and to form a band for the project (Justin Meldal-Johnson of Beck and NIN fame was musical director).

Nice.

We recorded a lot of material, some of it to picture, other parts just as free track developments. I then pre-mixed and went on writing the score based on these recordings, adding new parts. It was the first time I worked in this open, modular style (cycles of writing - recording - arranging) and have stuck with it ever since. It combines my knowledge of working in studios producing records, with writing for the specific purposes of film.

Monica Bellucci and Clive Owen in 2007’s SHOOT ‘EM UP. Source:YouTube

Fascinating how a movie like Shoot 'Em Up would help you find and refine that new way of working.

You've also scored great movies like The Dirt. What were the challenges like on that when much of the main music is Mötley Crüe level legendary? Does that put an interesting kind of pressure on a composer?

The Dirt was a lot of fun, in part, again, because we had a great team working on it. Knowing there would be a lot of featured and on-camera MC music, it was clear the score would function as a supplement, or glue, if you will, tying the story together and keeping the energy going in moments that did not feature any songs. It was a lot of fun, despite some of the gory details.

Interesting. Yeah, it's getting a lot of very justified praise. Our last question Paul, what's next for you?

I am finishing a new album project with Peter Baumann (ex-Tangerine Dream, like myself) which we hope to release later this year.

Wonderful.

I am also starting to work on the film Monster Hunter, which will reunite me with [director and writer] Paul W.S. Anderson and Milla Jovovich. Monster Hunter is based on the computer game of the same name. Set for release in early 2020, it will be larger than life and a great opportunity to come up with more musical monster madness.

  Follow Paul on Twitter and Instagram. Like his page on Facebook too!

”Dreamers and Misfits” from “HALT AND CATCH FIRE, Volume 2 – Original Television Series Soundtrack.

THE DIRT (2019) trailer.

SHOOT ‘EM UP (2007) trailer.

from The 405 http://bit.ly/2I768VU

[gluecoast44-blog]

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The one thing missing is any type of campaign system. It gives a simple drag-and-drop base-building concept, which makes it simpler for gamers to concentrate just on strategy. An enormous warehouse stored over 3000 line products, they were tracked by the resources of information processing, utilizing the old punch cards.

A different registration form for income tax has to be delivered. The expression offshore company or offshore setup doesn't have any precise legal, company or tax meanings. No share capital is vital to begin such a business.

Generally, offshore assets could be safeguarded. Although it's a fact that some offshore businesses are set up for questionable purposes, it's unfair to judge that ALL offshore organizations are questionable. Certainly, offshore businesses and assets are way more challenging to find and can offer added protection against litigation suits.

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