Bullet Train 2022, dir. David Leitch
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Today's Document
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Peter Solarz

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@fvlmen
Bullet Train 2022, dir. David Leitch
kiss me goodbye, I'm defying gravity
Aaaaahhhhhhhh
trying to be studious frank n furter from the rocky horror picture show for day 9 of kimodameshi i posted this on reddit and some people wanted prints of it so I set up inprnt for it: https://www.inprnt.com/gallery/mondayzc/floatin-frank-n-furter/
as an archivist I am begging you
put dates on everything
don’t believe digital stuff is preserved forever - if it’s really important (documents, photos, etc) print it out
name your files accurately I know it sucks but please
don’t destroy the original just bc you scanned it
rubber cement is the devil’s adhesive use photo corners and quit gluing shit
you will NOT remember write it down
if you staple things to the inside of a folder I will find you
your public library probably has equipment to digitize old media for free or can at least get you connected with somewhere that does!
show don't tell...
...is shit.
Personally, I'd rephrase that as know what to tell.
When it comes to descriptions or detailing actions, it's most important to decide how much the POV character knows, and what you want to convey.
For example, if I have a character that's furious, I will tell the audience that they are furious, that red is clouding their vision, and that they are trembling, hands in fists: i.e., everything that they are explicitly aware of. Because I think they'd know if they're angry, like a normal person...
But I won't tell the audience that they are jealous, because they don't currently know that they're in love with their best friend. They only know that it's upsetting them, and that seeing the best friend kiss someone else feels wrong. So that's all I'll tell the audience, and leave the rest up to context and nuance, because audiences are not stupid. They can figure that bit out.
As a general rule (but remember that there are always exceptions), it is best to only describe or tell what the POV character is aware of, to the level that they have self-awareness. You could think of it like how a child or emotionally stunted individual might not have a perfect grasp of their self-awareness and hence not realise what emotions they are experiencing — and that's when you don't explicitly state their emotional state — while an assassin or trained politician who's constantly monitoring their own and others' emotions might immediately identify that they're feeling upset, sad, happy, or furious.
All information should be filtered through their perspective, and hence the description and prose should reflect this.
Please, for the love of everything fruity and whimsical, do not shy away from writing 'I'm furious' or 'I want to cry' because an english teacher told you 'show don't tell'.
I think of a character's perspective of their story as the ocean — while you don't tell the audience the deep-sea currents, or the true, underlying cause of their actions and emotions unless the character is also aware, you can instead describing the water's surface. Describing or telling the audience things that the characters are explicitly aware of, as though they are someone swimming in the shallows — the waves, the warmth of the sun, things that are immediately relevant and known — is more immersive.
If you ONLY ever describe actions, and never state a character's thoughts, they are more likely to come off as emotionless. They should be making emotional judgements on their surroundings, other characters, and events, because all of these things will reflect their characterisation and context. The medium of writing is unique from other mediums in that it allows introspection into characters' thoughts; if you do not utilise this, you are essentially writing a screenplay.
Hope this was useful, and have a great day :D
i 💓marginalia
The Empress Theodora's Codex (9th century)
This is one of the only two surviving minuscule manuscripts written on purple parchment paper with gold ink. It contains various Gospels from the New Testament and it dates over 12 centuries ago.
If a fantasy setting has both fantasy races like dwarves, elves, and halflings and contractible vampirism, I think vampire dwarves, vampire elves and vampire halflings should have their own bespoke weaknesses and powers from human vampires.
Vampire dwarves burn in pure darkness and must always carry a lit candle. Vampire elves can turn into owls. The only way to kill a vampire halfling is to feed it a soup it loved in life. Etc
Staying up late is not scary, the scariest thing is forgetting your dreams.
Another comic based on a favorite post of mine, because what can I say? I love posts
Original post by @cryptotheism
Brass astrolabe with Kufic script, assembled and disassembled. Syria, 900-1100 AD
Onion Knight Psyduck
remember when fruits basket was like kindness isn’t a weakness it’s a strength and there’s nothing wrong with vulnerability and love
working on commissions 🫶
FINAL FANTASY IX 25th anniversary celebration art by Toshiyuki Itahana