You're breathing in centuries of destroyed solar systems. Collapsed red giants, magnetic comets, and five million metric tons of stardust are filling up every misshapen corner of your lungs. You may have cancer. We don't know. We haven't tested you for it. We can't get close enough to you, you keep threatening to use that sharpened spork in your hands. Henry, your friend from the accounting department, is calling the cops. You could be nice enough to whisper "Fuck you", instead of yelling it out like a maniac. We don't have time for this. YOU don't have time for this. Tranquillise him.
Had a couple of costume redesigns I’d had in my head for a while, decided to whip them up last night. Above is Alpha Flight’s Puck, below is what is maybe a second- or third-generation Daredevil (If you’re curious about the holster, i picture it as a nearly-silent air-powered pistol. Thought it’d be neat to have some more weapons on the guy…)
I don’t think anyone could possibly imagine what having these would mean to me
theres too much you could do with this i wouldnt know what to do oh god
this is so fucking COOL
The Mi.Mu Glove is on Kickstarter, the campaign ends May 3.
@3:03: ”It’s really exciting to see what people might do with hacking them. So, the software is gonna be open-source, and so is the hardware.”
Considering how much data the gloves are able to process (right down to specific gestural input), and the fact that the gloves are wireless, this could go far beyond music. Mix these gloves with the Oculus Rift, and they might just become the solution for controller-free VR Input.
In the West, plot is commonly thought to revolve around conflict: a confrontation between two or more elements, in which one ultimately dominates the other. The standard three- and five-act plot structures—which permeate Western media—have conflict written into their very foundations. A “problem” appears near the end of the first act; and, in the second act, the conflict generated by this problem takes center stage. Conflict is used to create reader involvement even by many post-modern writers, whose work otherwise defies traditional structure.
The necessity of conflict is preached as a kind of dogma by contemporary writers’ workshops and Internet “guides” to writing. A plot without conflict is considered dull; some even go so far as to call it impossible. This has influenced not only fiction, but writing in general—arguably even philosophy. Yet, is there any truth to this belief? Does plot necessarily hinge on conflict? No. Such claims are a product of the West’s insularity. For countless centuries, Chinese and Japanese writers have used a plot structure that does not have conflict “built in”, so to speak. Rather, it relies on exposition and contrast to generate interest. This structure is known as kishōtenketsu.