”She is in on the joke. You apparently are not.”
- Dated: late Edo Period: 1603-1867
- Culture: Japanese
- Medium: steel, copper, ray skin, silk, wood
- Measurements: blade length: 55 cm. Tang lenght: 12 cm
The tang (part of the blase encased by the handle) measures 12 cm. The koshirae (mounting) has two menuki, a bird and a crescent, and two seppa and habaki in copper. The tsuba is also made of copper, featuring vegetal decoration. The kozuka of the sword is also of copper and shows a fishing scene. The tzuka is covered in ray skin and silk rope, while the sheath in brown wood with enlarged tip, featuring a decoration of small black birds.
- Dated: early 20th Century
- Culture: Chinese
- Measurements: length 90.5 cm
The sword has a slightly curved, single-edged, damask blade, with a double groove, engraved with the effigy of a dragon on a face and ideograms on the other. It features a flat, brass hilt of lobed shape with relieved border, decorated with bas-relieved floral motifs en suite with all other mounts. The grip is black, made of wood while the wooden scabbard comes with mounts decorated en suite.
- Dated: circa 1475-1500
- Culture: Italian
- Medium: partially etched and gilded steel, copper alloy [blade]; iron, wood, velvet, cord [hilt]
- Measurements: overall length: 46 3/4 inches (118.7 cm). Pommel: 3 1/4 × 1 1/8 × 3 3/4 inches (8.3 × 2.9 × 9.5 cm). Width (Quillons): 11 15/16 inches (30.4 cm). Depth (Quillon Block): 3/4 inches (1.9 cm). Blade: 2 11/16 × 37 1/16 inches (6.8 × 94.2 cm)
This is one of the finest knightly swords surviving from the late fifteenth century. Particularly outstanding are the mighty forms and harmonious proportions of its pommel and blade, the embellishment of the latter with delicate etched and gilt ornaments, and the overall condition of the entire sword, which retains its original velvet-covered grip.
"I assure you, I had a perfectly evil reason for saving those orphans."
-A player who just can’t seem to get the hang of our Evil-campaign.
is it a good show or is it just dark and gritty with a high production salary and middle age white dudes?-a question y’all need to ask yourself
Tropes I hate: Killing off D-list characters in order to “up the stakes”. It never works, and if a character’s dying for someone’s story other than their own, that’s generally bad writing.
Tropes I loathe: Killing off entire cities, countries, planets, or in extreme cases universes in order to “up the stakes”. No. Stop. Ixnay. This is the same thing only moreso, and it’s terrible and stupid and writers keep coming back to it.
“I can’t believe that you’re asking me to kill Batman.” — the party’s chaotic good ranger (via outofcontextdnd)
If you weren’t aware, Brett Dalton is hilarious on Twitter.
”Oh yeah, him dying was a thing that happened. Was kind of difficult to acknowledge at the time, what with the all the gaudy weapons being shot at my head. Why didn’t you help Saber with that again?”
”Was attempting to recover from the multiple cases of impalement, one of which you were responsible for, enough to help destroy the Grail. In all honesty, it’s really the best end he has. He had faded away completely before anyone had a chance to fight him again in my timeline. Let’s not even get started on that other one.”
”It always makes me worried when you don’t speak in overly cryptic, passive aggressive bullshit. So what? Is Sasaki more Lancer’s level of screwed or your broody, self-inflicted eternal damnation?”
”First, he’s not really Kojirou, and the man himself was only a fictitious entity to serve as an enemy for Musashi to slay. Second, have you at all been paying attention to what goes on here? Nobody gives a damn about what actually happened to us because they are the audience. Their lives are not affected by any of our struggles because they hold no claim in it.”
”If you’re done being cynical and boasting of your medium awareness in the same breath, how about you get to the damn point while some of us are still young. You’re so long winded my background has changed since my last line.”
”If you insist. In short, defying the canonical events of any story becomes necessary if you are at any time focusing on a character who is not the lead and/or does not survive till the credits roll. Most authors even do so through retroactive continuity or, as our writers do, simply not give a damn and play fast and loose. To sort out any egregious cases of this, we have the Carnival.”
”What the hell was that!?”
”A title card. It further solidifies the impact of a title drop within the series. Most people are smart enough to know how obnoxious it is and save it for comedic effect. It’s best to insert them near the beginning or end of an episode to not allow the audience’s thoughts to linger on it.”
”Less meta-fictional commentary and more answering the damn question!”
”Make some shit up, kid. Try to make it sound believable, but don’t kill yourself in the process. TYPE-MOON sure as hell won’t care one way or the other.”