Life is better when shared

A little PSA about ASL for ‘Thank you’! I’ve had all of these signed to me accidentally hahaha. And when I sign thank you to non signers, sometimes they thought I was blowing a kiss to them. T_T ✩ Twitter ✩ Tapastic ✩ Facebook ✩ Patreon ✩ [Image description under the cut:]

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*blows kiss*

1. your suffering can’t end until you stop identifying with it. if your sense of self is tied up in your suffering, anyone or anything that attempts to separate you from it will become the enemy because, whether consciously or subconsciously, you will on some level believe they are trying to take away a part of who you are.

2. read the above again.

This is so important to understand. It’s a key part of healing.

It is HARD but it’s so worth it.

you know you can tell jaskier is a freelancer because the song he writes for his boyfriend isn’t just “my bf is awesome” but “my bf is awesome and you should pay him for the services rendered in a timely fashion”

Jesus: i am the bread of life! But only kinda. It’s like, idk, it’s like a symbol. Eat the symbol bread, like as a memorial. Disciples: this teaching isn’t so hard. Jesus: tru

#misquotedScripture. #seejohn6:48-58 #symbol? #ithinknot

Also, Heaven is *literally* a mustard seed, and the word of God is literally seeds that fall on the ground, and Jesus was literally just a Word.

brother, you will need a stronger argument than “the Bible uses metaphorical language.” the early Christians for at least a thousand years were labelled as cannibals for their belief in the Eucharist. those who lived within only a couple generations of Jesus and his Apostles practiced and believed in the Real Presence of the Eucharist. to assume it is obvious (as your comment implies) that Jesus was speaking metaphorically, neglects these historical facts.

Here, it seems pretty clear that the Jews immediately understood him to be speaking literally. And if he is not, we expect him to clarify it (just as Jesus did on other occasions, clarifying parables where his followers misunderstood).

Jesus repeats himself many times. He does not “clarify” the metaphor or demonstrate it in different terms. He repeats the very same language and same terms, and three times repeats that one must eat His flesh and drink His blood.

Something else is noteworthy here. The Greek word for “eat” is not the classical Greek verb used of human eating, but that of animal eating. Literally, it is “munch” or “gnaw.” Artistically, John is not focusing on merely taking of the “Bread,” but the physical notion of chewing on it. We might more accurately translate His words as saying “Whoever gnaws my flesh and drinks my blood.” That is certainly some strange and corporeal imagery for just a spiritual or metaphorical notion.

Jesus let many of his flock leave on account of this teaching rather than explain it away, suggesting that there was nothing to explain or clarify, because he already said three times what he meant. If they immediately understood it as metaphorical, why would this teaching be difficult? His disciples already followed him and called Him “Master.” It would be hard to make the case that they just couldn’t comprehend the truth somehow, or couldn’t accept *him* as the Messiah. 

Although there are other defenses of the Eucharist, this is the one OP was referring to. 

I’m reblogging this now so that tomorrow, when I am hopefully in less pain and therefore able to better handle my mental state and therefore word choice, I can write up a good response to this.

I enjoy these discussions with you - despite the fact we disagree on most things, you’re obviously a smart person, and whenever you take the time to write out a full response, it’s always one that itself warrants a response.

— John Joseph Ray

Theres a reason the Russians called the Nazis a sister ideology before they were enemies.

“That Lion only eats good food”

Wait this rules.

I thought this was some weird Christian game but wow

There is literally no way to anticipate how this video ends

Jason : *hits Tim while training* Are you ready to fuckin’ DIE bitch ?!

Tim : idk kinda

Jason : *softly* oh no, Timmers, we talked about this bro

I don’t know if any of y’all know this but there’s supposed to be a “guns-rights” rally in Richmond, Virginia today. Yep, you heard me, right folks, they decided that out of all days of the year, they chose Martin Luther King Jr. Day to do their Boo Boo shit. Dr. King himself was assassinated by, you bet, a white guy with a gun. 

Now, as a person of color who actually lives in the South, I just want to say that the redneck gun freaks do not represent what the South actually is, nor do I condone their actions.

Actual white supremacists and hate groups have already said they’re attending the event, and I just wanna say that they can get the hell out of Virginia, and anybody who thinks what they’re doing is okay can get the fuck away from my blog.

Martin Luther King Jr was assassinated, after being denied a concealed carry permit, and attempts of blackmail by members of the US government which specifically told him to kill himself.

Do you trust the US government, or the police, to protect you?

I heard that Virginians have been doing this on January 20th every year, but I can’t verify

MLK told people to defend themselves and their homes, owned several guns himself, and was literally denied the right to the permit to do so in public BECAUSE OF THE COLOR OF HIS SKIN.

Gun control’s roots are racist, classist, and intended to allow people to die.

I hope op learns an important lesson on inciting hate without doing any research into a topic. This is some top level exposure of contradictive clownery

It’s December 7th, 2019 – it’s a cold, fresh morning in London, England and a horde of world-class musicians are descending on the prestigious AIR Studios. Established by Sir George Martin (producer of The Beatles and Oscar-nominated composer in his own right), AIR Studios London nestles within a repurposed church that’s nearly a century and a half old. Within the walls of this gorgeous listed building, decades of incredible sound and music have been performed and captured for television, radio and cinema. And, on this Saturday – it is host to the sound of Warhammer.

Yep, that’s right. That particular chilly winter morning saw a phalanx of sound engineers, scores of musicians and an entire choir combine their talents to give voice to a Warhammer ident. The Warhammer ident.

This act was the culmination of nearly a year’s work, drawing on talents and skills across not only Games Workshop, but an industry-leading animation studio and… as we’ve mentioned, a veritable army of musicians. As was befitting such a momentous occasion, the Warhammer TV team were there to capture it on film…

Space Marine with bolt rifle? Check! Stormcast Eternal with a two-handed hammer? You betcha! There are times, here at Warhammer HQ, when we see such awesome stuff for the first time, that we need to pinch ourselves and check we are awake. This was one of those times.

So, how did all this come about? Well, for that answer, we spoke to the head of the Warhammer Media team, Andy Smillie. Warhammer Media is a new team at Games Workshop that’s hard at work bringing the worlds of Warhammer to film and television. For his part, Andy’s been steeped in Warhammer for almost thirty years, and while many of you may know him from his visceral Flesh Tearers work for the Black Library, he also headed up the Warhammer Community team. That commitment to the fanbase runs deep: even a few minutes chatting with him shows how passionate he is about doing justice to the Warhammer universes for them.

Andy Smillie and Jonathan Hartmann look on in delight as the first chords are played.

“It’s no secret that we’re working on some really exciting projects right now. We’re animating Angels of Death, developing Eisenhorn for live-action, and have just put pen to paper on a 40K anthology show. Actually, don’t quote me on that last one – it’s not announced yet.” He smiles, leaning back in his chair. Scattered around his desk are reams of paper, scripts and storyboards for forthcoming projects, and on his computer monitor, the trailer for Angels of Death sits paused, awaiting signoff.

“We really wanted a Warhammer ident so that, when people are watching one of our shows, they’ll know that what they’re seeing is part of the Warhammer brand. It’s a mark of quality, if you will, something to tie what you see on your screen to the Warhammer hobby and to Games Workshop.” He pauses a moment, fiddling with the Warhammer Community mug that substitutes for a pen holder on his desk. “It’s more than that though. We really just wanted to take the opportunity to do something special for the fans… I mean, imagine one day you’re sat in the cinema and up there on the screen emerging from the gritty fog of war is a Space Marine. A cinema full of people cheering at Warhammer – that’d be great.”

With the need for an ident… ahem… identified, the only real question that remained was what should go into it. “Warhammer Age of Sigmar and Warhammer 40,000 are our key properties – they’re what people know us for,” Andy says. “So this really had to bring together both of those universes.” That meant a Space Marine and a Stormcast Eternal. “Space Marines are our most famous and recognisable archetype, and the Ultramarines perhaps the most recognisable of all.” Likewise, Stormcast Eternals are the epitome of Warhammer Age of Sigmar – celestial warriors wreathed in lightning and sent to drive Chaos from the Mortal Realms. “We wanted the ident to capture these key characters, to really embody their might, their steely determination and their pathos.”  

Space Marines and bolters. They go together like strawberries and cream… or heretics and bonfires, whichever analogy you prefer.

The Stormcast Eternal brings the “war hammer” to our new Warhammer ident.

“With all of our media projects, we want to enrich and grow the Warhammer community, making it more fun and ‘real’ for those already involved and reaching people who’ve yet to wield a paintbrush in earnest. Strong, recognisable images like those in our ident will help people connect with the universes,” Andy explains, before moving on to address the weapons the heroes in our ident carry. “The bolter is about as uniquely 40K as the Space Marine itself.”

Andy is referring to the iconic wargear of the Space Marines Chapters, incredible weapons that have an almost religious symbolism within the Imperium. These over-the-top hand-cannons fire self-propelled, armour-piercing mass-reactive shells. They’re unashamedly bombastic, brutal and totally awesome.

The bolt rifle in all its glory, as rendered by M2

“Having him firing his gun directly into the screen, and showing the size of that mass-reactive shell, was a fun way to immerse the viewer in the action,” Andy says. “And that enormous, lightning-wreathed celestial weapon used by the Stormcast Eternal… how could we not literally have a war hammer in the ident?!”

“To help us with the visuals, we needed to work with folks every bit as passionate about their craft (in this case, animation) as we are about designing miniatures – so we turned to M2, an international animation studio with an incredible pedigree. They have done everything we could have hoped for, and more,” Andy says. He’s right too, the quote provided by M2’s Executive Producer Ole Holm Christensen speaks volumes:

“For the developing team at M2 Animation, it was both fantastic and daunting being allowed to create CGI content for something as legendary as the Warhammer brand. Warhammer is all about extreme attention to detail. Building the Space Marine and the Stormcast Eternal and bringing them to life in CGI has been no exception to that fact.

The base inspiration is, naturally, the marvellous painted miniatures, but for the characters to work and perform in an animated reality, it is certainly not just a matter of scaling up a digital version of the models. Everything needs to be rebuilt and sculpted in 3D to make proportions and the way they move look believable.

M2 artists, from Director and Art Director to modellers, animators and VFX crew, have brought loads of passion to the project, and we all have a hard time imagining anything cooler than telling stories with animated Warhammer characters.

With the open-minded and collaborative approach from the good people at Games Workshop in the mix, this has indeed been a privilege.”

With the content and imagery of the ident nailed down, Andy turned the conversation towards the sound. As he talks about helping fashion the music for the Warhammer ident, his excitement and emotion are tangible.

“When it came to scoring the piece, the stars really aligned,” he says intensely. “We had begun preliminary work on Angels of Death with Boman Modine and Richard Boylan, and that brought us together with world-class composer Jonathan Hartmann. Jonathan, as it happens, is a through and through Warhammer hobbyist. His Instagram page is filled with intricate modelling projects, glorious paint jobs and everything else you’d expect from a passionate Warhammer fan. What we realised within minutes of meeting him was that he not only shared our love for Warhammer on a deep level, but he understood how to translate that to music. We asked a lot of Jonathan, especially with only 16 seconds for him to work with. Thankfully, he’s an overachiever! As I said, the stars aligned.” 

Jonathan and the team discuss the finer points of using an anvil to make just the right impact.

When we reached out to Jonathan for a comment about his work, he was effusive – brimming with infectious energy and a love of his craft. “I’ve been a fan of Warhammer since Rogue Trader,” he says, referencing the original edition of Warhammer 40,000 published back in 1987. “I’ve come to realise there is no such thing as too large’ when it comes to Age of Sigmar and 40K. They’re gigantic settings for players to explore, and we all collectively live in that shared dream as fans, new and old.”

“This piece starts with some disturbing gritty analogue synthesizers that provide an undulating sense of dread or discomfort,” Jonathan says, referencing the finished ident. “Then it expands with orchestral elements, low strings, brass, which culminate in a strong statement across the Stormcast Eternal and the Warhammer hammer and eagle logo. It balances the darkness of the 41st Millennium represented by the choir and the electronic, with the more traditional brass and sense of hope within the Mortal Realms.”

“This was a massive undertaking, with creative and technical challenges,” Jonathan adds, musing on the project. “On the creative side, there was the daunting task of tackling the question of ‘What Is Warhammer?’, as well as the long history of the brand, and trying to distil that into a clear, concise essence. A single musical gesture of just 16 seconds that encapsulates all of it.”

“For example, I believe this was the largest percussion recording in all of London in 2019. The last thing this big was Hans Zimmer over a year ago. Warhammer is MASSIVE, and we have the drums to prove it,” Jonathan quips. “All that was terribly exciting – but the logistics of finding those musicians, securing them, and loading dozens of massive Japanese Taiko drums, African Djuns, timpani, gongs, and more… It was a lot of coordination and planning. When we went to edit and mix this, it was insanely large. 950 unique tracks in surround sound for a full orchestra. It’s amazing to hear Warhammer expressed in this powerful way.”

That sentiment rings true as we’ve watched the ident with our colleagues around HQ – a quick jaunt into the Warhammer Studio gave us access to some of the folks who have become truly synonymous with the worlds of Warhammer over the years. We couldn’t wait to hear what they thought:

“It’s very stirring,” says Jes Goodwin, the godfather of the world-famous Space Marines and one of Warhammer’s longest-serving and most highly regarded miniatures designers. In fact, Jes had a hand in the project, giving direction and signoff to the 3D Space Marine and Stormcast Eternal renders created by M2, but this was the first time that he’d seen the full ident. The music had barely died down, but already he was considering what he’d seen. We played the video again.

“There’s a dissonance to Warhammer that you see played out in this,” Jes adds, as he watches it through for a second time. “In the Space Marines, you have high-tech armour and a brutal weapon, both quintessentially futuristic, juxtaposing with the medieval influences and clashing cultures present in the music. Jonathan loves our worlds, and he’s managed to bring in elements that are really subtle, and really ‘get’ what Warhammer is all about.”

Phil Kelly, Jes Goodwin and Pete Foley experience the new ident for the first time.

“Goosebumps,” adds Jervis Johnson, a veteran of the Warhammer Studio and originator of many of Warhammer’s best-loved rules and lore. “I was walking past the concert hall in town recently, and there was a science fiction and fantasy concert going on, where they play all the theme tunes from the films. I remember thinking at the time that it’s not quite right really, it felt like there was something missing because there was no Warhammer. Now, this? This feels like the start of something.”

“It’s got a great sense of gravitas and presence, hasn’t it?” asks renowned Warhammer writer, Phil Kelly. The question is purely rhetorical, but as the lead background writer for Warhammer Age of Sigmar (and a talented drummer in his own right), Phil has a keen interest. “It had to be classical music, with that sense of antiquity. The music has a sense of legend and history to it. I like how both Warhammer 40,000 and Warhammer Age of Sigmar are represented. 40K is, by its very nature, grim and dark… while Age of Sigmar has that air of hopefulness and that majestic swelling that completes the movement.”

“It’s an exciting time,” says Pete Foley, one of the heads of the Warhammer Studio. “This ident heralds something very exciting when you think about it. It’s thrilling that we even need it – that there will one-day soon be enough high-quality media content to warrant this. As with anything that draws on a well-known intellectual property, you want to retain it’s essential nature, what makes Warhammer… well, Warhammer. The gritty, beautifully rendered characters, the choice of music, the fact it’s performed in the minor key – these all help the portrayal retain its dark fantasy aspect.”

As some of the most influential and highly regarded creatives in Games Workshop reflect on the ident, and what it means for Warhammer in the future, we’re left with the words of Jervis Johnson in his distinctive, booming voice ringing in our ears… underpinned by the refrain from the new ident.

“It really is the start of something special.”

Idk why but I’m just not getting into Darwin’s Game. The first episode was great but idk I’m not feeling the rest. It’s not like there’s anything wrong with it, I’m just. Not feelin it. Rip.

I read the manga when it first came out. When the Anime got released, I remember going “Huh. I think I remember that one. Don’t think I ever finished it.” then shrugged and kept going.

To be fair, I’d initially found it because I had just read Future Diary and was looking for similar things, so it was recommended purely on a “People get superpowers from their phones, and then Death Battle” standpoint.

“this makes me personally uncomfortable”, “this seems in poor taste”, “this is somehow harmful but presumably because you’re misinformed” and “this is actively malicious” are all different things. remember that

“can men and women really be just friends??” straight people are so weird

It is a fact that bisexuals can’t make friends. There is only prey.