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Being Alone, Apparently, and Bad: Sp3ctre7171 points 3 hours ago You are absolutely correct 1) Miro learned to use the mobility of Winston, as well as his primal, to invent modern dive. He learned all of the tips and tricks and extracted extra value out of the hero that few realized was there. In doing so, he created a role that used main tank as an offensive centerpiece and threat to the backline, and all of a sudden flank heroes weren't alone. A poorly protected ana in the back could be beset by multiple members of the enemy team without much warning. However, this required both new gamesense from miro, and innovations in lucio play from Tobi. Specifically, tobi was able to peel for jehong better than many players thought was possible, compensating for the lack of defensive shields. The compounding innovation led to LH being an offensive threat at every position, and it made it possible for them to do the miraculous turnarounds that defined their APEX championship runs Playing against them was exhausting, as is expected from a team where any one member can wipe you out if left unchecked. 2) Gesture's contribution was twofold. Firstly, he extracted more value out of winston's kit on the defensive side, learning how to use primal both to continue an attack, and to peel for his own back line, which leads into his second main development. That being, under Gesture the final decision was made to transfer shotcalling duties from the main support (lucio and later mercy) and onto the main tank, primarily because engagements were no longer dictated by speed boost, but by the dive from the main tank. Together with the rest of GC Busan, Gesture planned, called, and executed crisp dives that were far better timed and aimed than those of old LH. Whereas Miro's dives were a terror because you would be under attack from multiple divers, the style that Gesture led the way on involved being instantly deleted by a full dive, where a healer pair could be hit with burst from multiple heroes in the same instant. This in turn changed the Winston interplay into a mind game, where there was a choice to be made between deleting the enemy's backline and attempting to save your own. Winston players were forced to learn how to make each leap and pincer engage perfect, or they would simply lose the fight Permalink Embed Save Parent Report Give Gold Reply Sp3ctre7160 points 3 hours ago (Continued) 3) what guxue is introducing is a Winston as the focus of a dive, not just the linchpin. While that sounds like the same thing previously, the Winston would be used to coordinate dives and call the timing, but with Guxue, resources are poured into the Winston to make sure that he can have offensive value. Both because Winston can do damage to the whole team at once (and thus build ult insanely fast against teams pocketing a zen, or against GOATS comps), but also because Winston can simultaneously disrupt the escape methods for healers AND bypass most of the ways in which healers are protected, such as matrix and shields Guxue's innovations are most similar to miro's in that they are mostly focused on a single player's style and that one hero's impact in a game. Changing the offensive presence of a hero is impactful and increases the visible skill gap between good and bad teams, but the effects are mostly limited to that one hero. For that reason, I think that the innovations brought forth by Gesture (and many others) are the most important to the development of modern Winston play, in that they represented a fundamental change in the whole shotcalling and tactical philosophy of dive teams, and opened the gates to the more complex and match specific strategies that we saw in the overwatch league owldesk: some really good tank playstyle analysis on reddit (as a side note, this guy is apparently gonna have analysis articles out soon and you better BELIEVE i’m gonna link them bc if they’re anything like this write up they’ll be great)

owldesk: some really good tank playstyle analysis on reddit (as a side note, this guy is apparently gonna have analysis articles out soon a...

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A Dream, Crazy, and Fucking: mister-smalls Petition to sit down all the people who make coma theories about Adventure Time and tell them "listen, this fucking show is about the last human living in a post-apocalyptic world where deadly magic has been reawakened following a global thermonuclear war that wiped out the rest of the human species, how much fucking darker do you want it to be" Even though I thought my first Creative Writing professor was kind of a douche he made a good point about this. One of our first assignments was to write in this eerie, otherworldly style (we were mimicking a specific author whose name escapes me), so we had to write about eerie otherworldly things happening. Its no exaggeration to say that more than half the class had a "big reveal" where we find out that the story's strange events and themes are all in the mind of some person in an insane asylum, or someone having a drug trip. My professor said something like, "you just successfully wrote a world that feels separate from our own, but got frightened last minute and shoe- horned in normalcy. You showed that you were afraid to commit to something different and interesting." Though I'm typically a contrarian and a piece of garbage, I am inclined to agree with my professor. I feel like people who write coma theories and the like are afraid to accept that the world of the story is separate from our own. They like everything wrapped up in this crazy little realism box where nothing out of the ordinary happens in fiction. mister-smalls you win the Best Addition to a Post prize Thank you :) This pretty well hits the nail on the head as to why I generally hate coma/dream theories and people who think they're so fucking deep for coming up with it. In my book its LAZY, plain and simple judiops I think the only times I can think of where lt was all a dream really works are in pieces like Over the Garden Wall, Ink, Coraline, and Mirrormask. In all of those the characters wake up again in their normal world, but there's a very strong implication that the dream world is as real, if not more so, than the real world, and the things they did in the dream world had a very direct impact on the waking world-not in an "Tm gonna be a better person" sense, but literally who lives and who dies at the end of the story Notably, in most of those, its stated flat-out within the first couple of minutes that the character in question is dreaming. It's not a big reveal, it's a fundamental detail of the setting If you're gonna do a dreamworld, actually commit to doing a dreamworld. Whatever it is you do, ACTUALLY COMMIT TO IT. Take Notes, Aspiring Authors
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Anna, Brains, and Church: SKILL HARD WORK TO ACHIEVE A LEVEL OF SKILL IN ANYTHING YOU HAVE TO STAND ON A PILLAR OF HARD WORK. OH, I JUST STARTED HERE TALENT & I HARD WORK TALENTHARD WORK owLTURD.com violent-darts: charlesoberonn: jelloapocalypse: These bother me sometimes. We all start as literal useless babies. No one gets a magic ticket that makes them better at anything. If someone says they “never practice” it’s probably because they like doing the skill and see it as a fun use of their time instead of “practice”. I will qualify this a small but I think important amount, because what it is is actually complicated:  Some people’s brains and nervous systems are wired for better hand-eye coordination. Some people’s brains and nervous systems are wired for better pattern recognition. Or translations of audio input. Or whatever.  What this does is combine with @jelloapocalypse‘s EXTREMELY WELL-OBSERVED COMMENT (If someone says they “never practice” it’s probably because they like doing the skill and see it as a fun use of their time instead of “practice”.) in a way that can be both invisible and give this kind of person a massive leg up while being really discouraging to someone who doesn’t have that wiring.  It doesn’t get to the actual original comic’s level of “oh I just started here”. But let’s take two people called Riley and Kennedy, and we’ll do singing, since that’s what I teach.  Riley and Kennedy have exactly the same kind of background: parents who listen to the radio sometimes, the usual social stuff around popular music of whatever genre, etc, but no formal training. Neither of them sings in a church choir, neither of them falls into a formal disability category, whatever.  The first time Riley shows up in my studio and we sing a really simple song I use as a diagnostic, she gets it mostly right. She can follow the tune; she can hear pitch, and it takes very little work for her to chivvy her voice into matching that pitch as long as there’s not something pulling her off. (In other words: as long as I’m singing the same notes as her and playing them on the piano, and as long a she can hear both herself and those notes).  For Riley the lesson is really fun and validating and she goes home and sings along to her own music for a while and comes back next week with six songs she wants to try learning. And most of her lessons are like that: pretty easy positive feedback. That means Riley “practices” a lot in exactly the way @jelloapocalypse describes, even if she doesn’t think she’s actually practicing (that is, sitting down to sing the songs we’re working on together in a systematic way) at all.  In contrast, the first time Kennedy comes to my studio, she struggles. It’s harder for her to hear the difference between notes, and it’s much harder for her to make her voice actually match the pitch she wants to sing at. When we pull out the diagnostic tune, she mostly manages to drone a few clusters of semi-tones, and while she can hear that she’s Off, it’s actually very hard for her to tell HOW she’s off, or what she should do to correct it.  In most cases, for Kennedy, lessons - and in fact the overall experience of singing - is not fun. It’s not validating. It’s a whole process of Not Being Good, of Doing Things Wrong, and given the way humans are often in casual situations being laughed at. When Kennedy goes home she doesn’t sing along with any music she plays: she keeps her lips pressed together and at best enjoys other people singing (and maybe feels envious and demeaned because she can’t do it).  Now the thing is, the practical “skill” difference for Riley and Kennedy here at the beginning is minimal. But the Rileys will tend (if they like what they’re doing) to ROCKET UP THE SKILL LEVEL, because of the “practice is fun so it’s just the thing I do” - because there is always a bunch of validation and positive reinforcement in the act of doing whatever it is, be it doodling or singing or math.  The Kennedys won’t. In fact if they’re not lucky enough to have a good teacher, and one who can put a lot of this into perspective for them, they will tend to be inhibited. The worst time is when a Riley and a Kennedy are friends and sign up to learn together, and Riley takes off and Kennedy’s left sitting there feeling like she’s somehow Deeply Flawed.   And in fact the whole Doctrine of “It’s Just About How Hard You Work” will in and of itself become part of what inhibits them, because they will watch the Rileys - and even the Annas, Anna in this metaphor being the Totally Normal Student who never really exists - grasp things faster than they do, even if they ARE working hard. And this will HAPPEN. They will watch this reality happen in front of them … and then people say to them “oh, it’s all about how hard you work, dear.” And it’s like being gaslit. (Well, to be fair: it IS being gaslit, just without malice intended on the part of the people doing it.)  And that message is horribly horribly toxic: here Kennedy is, and she IS working hard, but she’s still not progressing as fast as Riley or Anna no matter what she does! But it’s All About Hard Work, right? So that must mean that no matter how hard she THINKS she’s working, she’s actually just lazy, or doesn’t want it enough. It’s clearly a moral flaw in her.  I actually have, personally, really good luck with teaching the Kennedys because I literally have this conversation with them when they come to my studio. I actually outright tell them: firstly, anyone who has working vocal chords can sing. Anyone who has working vocal chords and the ability to distinguish audio pitch can even sing on key in tune! But some people have an easy time learning this and some people have a hard time, and sometimes which it is has some relationship to, say, “early exposure to music” or whatever but sometimes it seems to be utterly fucking random - pure luck of the draw.  You CAN SING. The capability is there. And if you want to we will find out how to make it happen. It might not happen as fast as for some other person, it might take more work, it might take more care, but that’s okay: that’s not your fault, that doesn’t mean you’re NOT working hard, but it does mean that here at the beginning we do things like recalibrate victories, we make your progress about YOU, not about Riley or Anna.  But I’m also not going to gaslight you or make you feel like you’re either delusional or somehow especially So Terrible You Don’t Fit In The Rest Of The World: sure, I’ve got some Riley-types who walk in here, noodle around, and we go on to Art Songs. They exist.  So what? Tall people exist. People with broad shoulders exist. People with dark hair exist. Physical embodiment and neurology hand out luck of the genetic roulette with no interest in outcomes. If you’re born blonde, it’s always going to take more work for you to have brown hair than someone born with brown hair, but much like dyeing your hair to match what you want, we can train the muscles of your voice and the neural pathways for hearing to do what you want.  The differences between Rileys and Kennedys are very small. If Riley didn’t discover she liked singing and Kennedy worked at it for years then no, Riley would not “start out” as good as Kennedy is after those years. And you can be Riley and if you DON’T do the fucking work, the Annas of the world especially will blast past you and leave you in the dust.  But on the other hand the Rileys get this wonderful cycle of positive reinforcement that does often start from a place of their coincidental physical embodiment giving them a slight leg up. And pretending that’s not the case does a big disservice to the Kennedys.  We just absolutely do need to reframe that for what it is (a tiny fundamental difference and then a HELL OF A LOT OF “this is fun so I practice more so I get more validation so I -” and more or less no moral meaning at all), what it doesn’t mean, and how to compensate for it. 
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Aladdin, Animals, and Ariel: Because it's never too Late to teach girns to silently wait for a man to help them... <p><a href="https://tenderuk.tumblr.com/post/157073205204/stickit" class="tumblr_blog">tenderuk</a>:</p> <blockquote><p>#StickIt</p></blockquote> <p>*cracks knuckles*</p><p>I don’t know why ya’ll keep trying to play this game, but fine, let’s play:</p><p>From left to right</p><p>Jasmine- Got tired of her palace life and took control by disguising herself and running away to spend a day in the markets. Openly expressed her contempt for the idea being married off without her consent. Was initially disinterested in Aladdin because she thought he was just another arrogant prince. Fell in love with him for his heart to the point that his pauper origins didn’t matter to her.</p><p>Rapunzel- Wanted celebrate to her birthday by not being imprisoned for once, nothing to do with a man. In fact when a man broke into her home she swiftly knocked him out and tied him up. That man ended up loving her so much he was willing to die for her and her passionate love brought him back to life.</p><p>Snow White- Was a young girl being chased around by crazy old lady who was angry that she was pretty. Ended up negotiating her safety with some dwarves by offering her services as a cook and housekeeper in exchange for room and board. Was only “waiting“ for a man in that she was literally unconscious after being poisoned by a witch and a kiss was the only thing they could save her.</p><p>Mulan- Are you fucking serious? What about her story is her waiting for a man to save her? She literally saved her father, her love interest, and then her whole damn country. You could not have watched two seconds of that film and come away thinking she was waiting for man to save her.</p><p>Aurora- She was a 16-year-old girl forced to live in seclusion her whole life. Sue her for daydreaming a bit about romance. She still showed kindness to animals and loved her adoptive caregivers and was fairly content with her life. Definitely not pining away for a man every second.</p><p>Cinderella- Cinderella probably gets the the worst of being dragged through the mud by Edgy™ feminists trying to make a point. Literally she never asked for a prince to save her. She didn’t even really complain much about being forced into slavery by her evil family. She just wanted one damn night off and meeting the prince was ancillary. And in fact the person who first shows her kindness and empowers her to achieve her goals is another woman.</p><p>Pocahontas- Again now you’re just making shit up. She was not waiting for prince, in fact she was bored at the prospect of living an ordinary home life and disinterested in marrying the handsome warrior her father had set up for her. She ends up striking up a friendship with someone her entire tribe hates and distrusts, up to and including saving HIM from being murdered.</p><p>Tiana- You are not ABOUT to do my girl Tiana dirty like this. She worked her ass off to achieve her dream of being an independent restaurant owner, something practically unheard of for a young black woman in the 20s. Romance was the absolute LAST thing on her mind and again, her actions were fundamental in saving the life of the prince.</p><p>Belle- Again, she wasn’t interested in the big strong handsome man that everyone was saying she should be interested in. Because she saw past looks and recognized that he was a sexist and generally unpleasant person. It was her willingness to see past the exterior that saved Prince Adam.</p><p>Ariel- She wanted to be a human before she knew about Eric. She saved him from drowning. She defied her father the KING in a fight for her own independence. But sure she was waiting around for man.</p><p>Merida- Merida didn’t even have a love interest and the entire film was built around a rejection of that premise. This one is barely worth the time to acknowledge.</p><p>Tl;Dr: Your weak edgelord attempt to discredit Disney princesses and make girls feel shitty for enjoying them is bad and you should feel bad.</p>
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Family, Friends, and Future: According to all known laws of aviation, there is no way a bee should be able to fly. David Karp 1:00 PM to Team Friends and colleagues After nearly 11 years, I've decided that 2017 will be my last year at Tumblr. It is truly overwhelming to write those words. But I have the comfort of knowing I leave Tumblr in better hands than my own. Jeff is the most capable and caring leader l've ever met, which I say with no exaggeration. Simon has worked tirelessly to support us and everything that makes Tumblr special. But even more, they are both true believers in what we've built and how much we can still do. I look back with so much pride. At a generation of artists, writers, creators, curators, and crusaders that have redefined our culture, and who we have helped to empower. There are no words, though, that can express how sincerely grateful I am for the privilege of working with you. This team and place has been my family and home for most of my adult life. That I have gotten to spend this time working with people so spectacularly talented and unstoppably optimistic is a blessing I hope you have shared, and will continue to share. I beg you to understand that my decision comes after months of reflection on my personal ambitions, and at no cost to my hopefulness for Tumblr's future or the impact I know it can have. The internet is at a crossroads of which this team can play a fundamental role in shaping. You are in the driver seat, and I am so excited to see where you go! Thank you for allowing me this honor, David david:Letter I just sent to my team ♥️

david:Letter I just sent to my team ♥️

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