We need to put the “I’m in prison for killing a cop.” energy back in country music. We need to put the “I really hate the establishment so much. Abolish prison. Beat up your boss.” energy back in country music. We need to put the “I feel so bad for disappointing my mommy.” energy back in country.


    The “I killed my husband/boyfriend/best friend’s husband and I regret nothing” energy


    Controversially, the “I shot my girlfriend and now her ghost has come back to seek revenge.” energy too.


    The “Holy shit, Hank Williams Sr.’s ghost is driving this fucking car. What the fuck.”


    The “I’m fighting Satan with my fancy fiddling.” energy.



    Well… I got carried away, but here you go, anon. And for all you other aspiring magical girl creators out there!!

    Crash course on Magical Girl Uniforms!

    Please check it out on deviantaRT here!

    Plus a heck of reference material and tutorials!

    Magical girl 30 day challenge list | My 30 Day magical girl challenge is here

    also… you could commission me to design some… mayhaps?  (و。・//ω//・。);;


    i looove dragon names you meet a dragon in your adventures and he tells you his name is the great pontiferusexhilstrax of the crystalline valley and you just have to accept that. breath attack breath attack breath attack breath attack breath attack


    Meanwhile real historical dragon names are just… Big Worm. Big Yawner. Big Mouth. Paw Worm. Cityname. Mountain Stump. Salted Meat.


    those are just what humans call them. Ask a Big Yawner his real name and he’ll be SO touched that a visitor finally cared enough to know that he is Vraxagladrionne XII of the Weeping Spire and you must be truly special compared to the usual barbaric peasants breath attack breath attack breath atta

    Like to be honest I cannot read YA novels anymore purely because YA worldbuilding in recent books is so low-effort and bad.

    I tried to read Witchlands and got through 2 books but I can't read a fantasy novel with exactly 3 imaginary animals (whose names explain what they are, because god forbid we momentarily don't know what something is). Children of Blood and Bone's fantasy creatures were like, "Lionaire" and "leponaire" and other real animals with funny spellings, and the super-powers were all just, the most basic and well-known powers with nothing interesting done with them. Both of these series get criticized for being worldbuilding-heavy when There Is Nothing There.

    Like, I get it, fantasy is faddish right now and you want to appeal to the largest possible audience, and involved worldbuilding often takes a long series to fully explore, which publishers are unwilling to take chances on very often.

    But I wish people would stop saying things like "no one wants to open a book and be hit with a bunch of words they don't know" and speaking like having to learn about the world in a SFF book is bad.

    For one thing, it makes people expect to immediately understand everything that gets introduced, which is a vicious cycle because then of course they'll be initially uncomfortable when they read a book with actual worldbuilding.

    And for another, it's just not true? YA books published in the era post-Harry Potter but before YA was really "codified" are often VERY heavy on worldbuilding. The How to Train Your Dragon series included 80+ dragon species. There were little info boxes with their descriptions and stats. Even Harry Potter had a lot of spells, terms, creatures and so on. Literal 8 year olds have no problem just...being patient about having worldbuilding revealed to them and existing with unfamiliar stuff being name-dropped.


    it's ok to keep secrets, everybody has some skeletons in the closet. Wraiths in the attic. Ghosts in the bedroom. Mummy in the kitchen. Enchanted armor on the stairs. Slimes in the basement. Maybe a giant spider in the backyard. Beholder or two in the garage. Vampires are also in the closet


    my house is very unsafe


    The vampires aren't in the closet we know they're gay


    You're outing them


    This is why she’s my favorite author.


    Check out Barry Lyndon”, a film whose period interiors were famously shot by period lamp-and-candle lighting (director Stanley Kubrick had to source special lenses with which to do it).

    More recently, some scenes in Wolf Hall” were also shot with period live-flame lighting and IIRC until they got used to it, actors had to be careful how they moved across the sets. However, it’s very atmospheric: there’s one scene where Cromwell is sitting by the fire, brooding about his association with Henry VIII while the candles in the room are put out around him. The effect is more than just visual.

    As someone (I think it was Terry Pratchett) once said: You always need enough light to see how dark it is.”

    A demonstration of getting that out of balance happened in later seasons of Game of Thrones”, most infamously in the complaint-heavy “Battle of Winterfell” episode, whose cinematographer claimed the poor visibility was because “a lot of people don’t know how to tune their TVs properly”.

    So it was nothing to do with him at all, oh dear me no. Wottapillock. Needing to retune a TV to watch one programme but not others shows where the fault lies, and it’s not in the TV.


    We live in rural West Wicklow, Ireland, and it’s 80% certain that when we have a storm, a branch or even an entire tree will fall onto a power line and our lights will go out.

    Usually the engineers have things fixed in an hour or two, but that can be a long dark time in the evenings or nights of October through February, so we always know where the candles and matches are and the oil lamp is always full.

    We also know from experience how much reading can be done by candle-light, and it’s more than you’d think, once there’s a candle right behind you with its light falling on the pages.

    You get more light than you’d expect from both candles and lamps, because for one thing, eyes adapt to dim light. @dduane​ says she can sometimes hear my irises dilating. Yeah, sure…

    For another thing lamps can have accessories. Here’s an example: reflectors to direct light out from the wall into the room. I’ve tried this with a shiny foil pie-dish behind our own Very Modern Swedish Design oil lamp, and it works.


    Smooth or parabolic reflectors concentrate their light (for a given value of concentrate, which is a pretty low value at that) while flatter fluted ones like these scatter the light over a wider area, though it’s less bright as a result:


    This candle-holder has both a reflector and a magnifying lens, almost certainly to illuminate close or even medical work of some sort rather than light a room.


    And then there’s this, which a lot of people saw and didn’t recognise, because it’s often described in tones of librarian horror as a beverage in the rare documents collection.


    There IS a beverage, that’s in the beaker, but the spherical bottle is a light magnifier, and Gandalf would arrange a candle behind it for close study.

    Here’s one being used - with a lightbulb - by a woodblock carver.


    And here’s the effect it produces.


    Here’s a four-sphere version used with a candle (all the fittings can be screwed up and down to get the candle and magnifiers properly lined up) and another one in use by a lacemaker.


    Finally, here’s something I tried last night in our own kitchen, using a water-filled decanter. It’s not perfectly spherical so didn’t create the full effect, but it certainly impressed me, especially since I’d locked the camera so its automatic settings didn’t change to match light levels.

    This is the effect with candles placed “normally”.


    But when one candle is behind the sphere, this happens.


     It also threw a long teardrop of concentrated light across the worktop; the photos of the woodcarver show that much better.

    Poor-people lighting involved things like rushlights or tallow dips. They were awkward things, because they didn’t last long, needed constant adjustment, didn’t give much light and were smelly. But they were cheap, and that’s what mattered most.


    They’re often mentioned in historical and fantasy fiction but seldom explained: a rushlight is a length of spongy pith from inside a rush plant, dried then dipped in tallow (or lard, or mutton-fat), hence both its names.

    Here’s Jason Kingsley making one.


    1. Superhero

    2. Species of Monsters

    3. Evil Overlord/Overlady

    4. Quirky/Bizarre/Ludicrous Secondary Character

    5. Magician/Wizard

    6. Robot/Computer/Machine

    7. Biological Experiment

    8. Anthropomorphic Animal

    9. Hired Killer/Hitman/Assassin

    10. Eldritch Abomination

    11. Singular Monster Character

    12. Unique Fantasy/Sci-FI Race

    13. Organization based on a Table of Correspondences

    14. Setting

    If you’re stuck on one of the entries, or just aren’t into that subject enough to design stuff around it, feel free to replace that day’s entry with one of these substitute-entries:

  • Lovable Rogue
  • Warudere
  • Clown
  • Sexy/Kink-Based
  • Toyetic
  • Expy Of A Character You Love Who’s Been Neglected/Ruined By Their Rightsholders
  • Further explanation stuff/FAQ below the break.

    Keep reading

    educational resources (eg museums) about prehistory as well as about modern creatures and ecology suffer greatly from forced hyper-masculinization of a few select creatures. this forces the “masculine” apex predators or otherwise “most dominant-est” animals into a narrow range of discussion (how STRONG were they, how much could they KILL) and ignores any available evidence that might conceivably seem “feminine” (eg, t. rex very possibly had feathers). similarly prehistoric creatures will sometimes disappear from frequent coverage when they are learned to be herbivorous (eg gastornis.) meanwhile all other non-apex animals, past and present, are hardly focused on at all, diminishing the communication of knowledge about their great ecological importance. in this essay I will


    Still bothered by the US cultural idea that men can only be non-romantically intimate with one another in war-like or competitive circumstances.


    I'm pretty quiet about the fact I'm a transman usually, but holy shit I need to tell you about the culture shock I'm going through because it's blindsiding me.

    There's a huge sense of social isolation that comes with being perceived as male, because now people are subconsciously treating me as a potential predator. All strangers, no matter their gender, keep their guard up around me.

    It made me realize that there is no inherent camaraderie in male socialization as there is in female socialization—unless, of course, it's in very specific environments. And the fact I don't amnbiently experience this mutual kinship in basic exchanges anymore is an insanely lonely feeling.

    You know how badly this would have fucked my mind up if I had grown up with this?


    It is 4:30am and I'm mourning the loss of a privilege I didn't even know I had.


    Anyway, I'm going to figure out how to navigate this. Don't know how yet, but I'm gonna.


    Absolutely, because it's an extremely sticky issue.

    Frankly, this is something I would've never understood without living the experience.

    It's now blatantly clear to me that most cis men probably experience chronic emotional malnutrition. They're deprived of social connection just enough for it to seriously fuck with their psyches, but not enough for them to realize that it's happening and what's causing it.

    It's like they're starving, but don't know this because they've always been served 3 meals...except those meals have never been big enough.

    This deprivation comes from all sides of aisle, by the way.

    In the case of women: When I'm out in public and interact with women, all of them come off as incredibly aloof, cold, and mirthless. I have never experienced this before even though I know exactly what this composure is—the armor that keeps away creepy-ass men.

    As someone who used to wear it myself, I know this armor is 100% impersonal. Nobody likes wearing it, and I can say with absolute certainty that women would dump the armor in favor of unconditional companionship with men if doing this didn't run the risk of actual assault. (Trust me when I say women aren't just being needlessly guarded.)

    But I only have a complete understanding of this context because I've experienced female socialization. If I hadn't, I would've thought this coldness was a conspiracy against me devised by roughly half of the human population. Even now, with all that I know about navigating the world as a woman, I'm failing to convince my monkey-brain that this armor isn't social rejection.

    And as for male socialization? Again, it seems taboo for a man to be platonically intimate with men for reasons I have yet to fully understand, but I think it boils down to a) the fact society teaches boys that it's not okay to be soft with each other, and b) garden-variety homophobia. Our media only shows men being intimate with one another when they're teamed up against a dire situation, and I'd bet real money it's a huge reason why men gravitate toward activities that simulate being teamed up against an opposing force.

    But men are not machines of war. Yes, testosterone absolutely gives you Dumb Bastard Brain, but that just makes you want to skateboard a wagon down a hill or duct-tape your friend to the wall, not kill someone.

    The human species looks so much colder standing from this side.

    I can see how men might convince themselves that their feelings of emotional desperation is personal weakness as opposed to a symptom they're all experiencing from White Imperialism. Because this human connection, this frith, is as essential for our wellbeing as water is.

    So sick. How sick. I want to destroy this garbage.


    Guys who get mad at discussion of "toxic masculinity" don't understand that this is what it means. Grown men are conditioned to feel weird if they're too personable or too easygoing or otherwise too human. Humans evolved to want to be kind and happy and open but a mix of paranoid religious and military culture is devoted to mercilessly crushing healthy emotion in half the population.