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globallover2021 · 5 months ago

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The Ultimate Guide to Wholesale Plus Size Two-Piece Sets

In the world of fashion, inclusivity has become more than just a trend—it's a necessity. As a retailer or boutique owner, offering a diverse range of sizes is crucial to meeting the needs of all customers. Wholesale plus size two-piece sets are a fantastic addition to any inventory, providing stylish, comfortable, and versatile options for plus size individuals. This guide will explore the benefits of stocking these sets, trends to watch, and tips for selecting the best wholesale supplier.

Why Stock Plus Size Two-Piece Sets?

1. Demand for Inclusive Fashion

The demand for inclusive fashion is higher than ever. Consumers are seeking clothing that fits well and makes them feel confident, regardless of their size. By offering plus size two-piece sets, you cater to a broader customer base and demonstrate a commitment to inclusivity.

2. Versatility and Style

Two-piece sets offer incredible versatility. They can be mixed and matched with other wardrobe pieces, providing multiple outfit options from just one set. Whether it’s a casual day out or a formal event, there’s a two-piece set to suit every occasion.

3. Comfort and Fit

Comfort is key for plus size clothing. Two-piece sets often feature stretchy, breathable fabrics that provide a comfortable fit. High-waisted pants, flowy skirts, and tops with adjustable features ensure that each piece fits well and flatters the body.

Trends in Plus Size Two-Piece Sets

1. Athleisure and Loungewear

The athleisure trend continues to dominate, and plus size two-piece sets are no exception. Think matching leggings and crop tops, joggers with hoodies, or shorts with oversized t-shirts. These sets are perfect for both working out and lounging at home.

2. Bold Prints and Patterns

Bright, bold prints and patterns are very popular in plus size fashion. From florals and animal prints to geometric designs, these eye-catching sets make a statement. Offering a range of patterns ensures there’s something for every taste.

3. Sustainable Fabrics

Sustainability is a significant trend in the fashion industry. Look for suppliers who offer two-piece sets made from eco-friendly materials like organic cotton, bamboo, or recycled fabrics. These options appeal to environmentally conscious customers.

4. Mix and Match

Two-piece sets that can be mixed and matched are highly desirable. Customers love the flexibility of pairing a skirt from one set with a top from another. This trend encourages creativity and maximizes the value of each purchase.

Choosing the Right Wholesale Supplier

1. Quality and Fabric

The quality of the fabric is paramount. Ensure your supplier uses durable, comfortable materials that wash well and retain their shape. High-quality fabrics enhance the longevity of the clothing, leading to satisfied customers and repeat business.

2. Size Range

A comprehensive size range is essential. Your supplier should offer sets in a variety of sizes, from small to 5XL or beyond. This inclusivity allows you to cater to more customers and helps build a loyal customer base.

3. Price and Minimum Order Quantity

Consider the price point and minimum order quantity (MOQ) required by the supplier. The MOQ should be reasonable and within your budget. Competitive pricing allows you to offer attractive retail prices while maintaining a good profit margin.

4. Trend Alignment

Ensure your supplier stays current with fashion trends. They should offer the latest styles, colors, and patterns that appeal to your target market. Regularly updating your inventory with trendy items keeps your store fresh and exciting.

5. Ethical Practices

Ethical manufacturing practices are increasingly important to consumers. Choose suppliers who are transparent about their production processes and adhere to fair labor practices. Ethical sourcing builds trust with your customers and enhances your brand reputation.

Marketing Plus Size Two-Piece Sets

1. Highlighting Versatility

Showcase the versatility of your two-piece sets. Use social media platforms to create lookbooks or videos demonstrating different ways to style each set. Highlight how pieces can be worn separately or together for various occasions.

2. Influencer Collaborations

Collaborate with plus size influencers to promote your products. Influencers can provide authentic reviews and showcase your sets in real-world settings. Their endorsements can significantly boost your brand’s visibility and credibility.

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3. Customer Testimonials and Reviews

Encourage satisfied customers to leave reviews and testimonials. Positive feedback from real customers is incredibly powerful in building trust and encouraging new customers to make a purchase.

4. Size-Inclusive Marketing

Ensure your marketing materials reflect size inclusivity. Use diverse models in your photoshoots to show how your clothing fits different body types. This representation resonates with a broader audience and attracts more customers.

5. Promotions and Discounts

Run promotions and discounts to attract new customers and reward loyal ones. Special offers, bundle deals, and seasonal sales can drive traffic to your store and increase sales.

Conclusion

Wholesale plus size two-piece sets are a valuable addition to any retail inventory. They offer style, comfort, and versatility that appeal to a broad customer base. By staying attuned to fashion trends, choosing the right supplier, and effectively marketing your products, you can successfully tap into the growing market for plus size fashion. Prioritizing quality, inclusivity, and ethical practices will set your store apart and foster long-term customer loyalty. Invest in plus size two-piece sets today and watch your business thrive.

#Wholesale Plus Size Two Piece Sets #plus size two piece sets #two piece sets #Youtube

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sevynlyons · 1 year ago

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Buy womens fashion two piece stack pants wholesale design 2 piece stacked pants set Online in USA at Sevyn Lyons in best price.

#Buy womens fashion two piece stack pants wholesale design 2 piece stacked pants set Online in USA

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elismor · 7 months ago

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I see a lot of posts going by about comments and kudos and hits and...well... I've been thinking about the three quite a lot lately--as both a fic author and someone who spends a lot of my professional life looking at web metrics and determining which are actually important/accurate measures of user engagement.

Mileage varies, of course. And this is all just MY opinion, so do feel free to ignore it wholesale.

What I think when I see someone say that sorting by a hits to to kudos ratio is a good way to find "good" fic:

Hits are a measure of quantity (how many times your story or art has been viewed), but without knowing how AO3 defines a hit, it's actually kind of a meaningless number. We know that our own views of our work do not count toward hits, but...if my BFF looks at my story 7 times in one day because she keeps trying to read it but getting interrupted...is that one hit, or seven? And if it's seven, then the numbers are artificially inflated because it's really just Bestie trying to get her Codex fix. And...if Bestie looks at it three times today and four tomorrow...is that 7 hits total, or two?

Some transparency on the part of AO3 could clear this up handily, but until we get that...shrug. All it is is a number that may or may not be an accurate reflection of how many actual people looked at the page your fic is on. Did they READ it? Or did they nope out? No way to know.

Kudos are intended to be slightly more qualitative, but there is no way of knowing why the reader gave them. (Similar to likes here on tumblr.) It might be that they loved the piece. It might be a simple acknowledgement that the reader was there. It might even be a pity kudo. We have no way of knowing. It's, again, just a number.

Obviously, everyone is free to interpret both hits and kudos as positive reaction/interaction. I might do that myself if I didn't spend my workdays explaining to people that 50,000 "hits" to the website could be 50K people who came to learn about us or...simply the result of the computer labs on campus having the university homepage set to default.

Bigger numbers are just that....bigger numbers.

Comments are the only objective way to judge how someone is reacting to your fic or art.

So, what then? Sort by number of comments?

You can do that, sure. (I think. I confess I have never once gotten the AO3 search to work as well as people rave about.) But do keep in mind that many authors answer their comments. So, something with, say, 20 comments may be 20 people telling the author they loved it. Or it might be ten people and ten author-replies. OR, it might be three people having a conversation in the comments. You have to look and see.

Bigger numbers are just bigger numbers.

Okay, fine Elis. What am I supposed to do then?

Look, I'm not your mother or your therapist and you are free to assign whatever meanings you like to these things. I, personally, find "good" fic through a combination of things including: recs, the fandom grapevine, dumb luck, events, and just...reading some of it and not feeling guilty if I nope out for some reason.

This all sounds a little depressing when laid out like this, huh? Especially when you take into account the downward trends in interacting and the rise of folks treating fic and art as content to be consumed.

Here's what I have learned from writing fic for 30 years (well, 28 and counting):

As an author (and an artist, I would presume), you have absolutely no way of predicting which of your work will land and take hold and which will not. It's alchemy and luck and the weird (and not actual) algorithm of fandom. Sometimes, the piece you whipped out in 30 minutes and posted on the fly will land in the right person's inbox and they will share it and their friends will share it and it will get big. Sometimes, the piece you slaved over for weeks and weeks will do that...sometimes it won't. Sometimes your genius manifests and resonates, sometimes it does not.

My personal favorite fic of my own--the one I think is probably the best thing I have done in SW fandom-- has like 8 kudos and 4 comments (2 of which are my responses). Is it disappointing? Yes. Is it an indication that the fic is objectively "bad"? No.

The mercenary in me suggests that if you want to get lots of comments and kudos, you should pick the pairing that is THE pairing in the fandom and write for that--because that's where the eyeballs are, because that's where the connections are. But that is not why I write, so it's just that--a very mercenary way of looking at things. Not that there is anything WRONG with doing it that way. Supply and demand run the world. If the people want Codywan and you want the people....give them Codywan. No shame in that.

And there is no shame in wanting or seeking validation for your work, either.

But it breaks my heart to see authors (and artists) give up on themselves when they do not receive piles of kudos and comments. It's not you. It's...the luck of the draw. It's...fandom. It's...an artificial and murky set of measurements that have almost no basis in anything meaningful.

Keep writing. Keep drawing. Keep sharing. You are what you make, not how people respond to it.

#let's talk about fic baby #fandom #kudos and comments

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scotianostra · 3 months ago

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On August 23rd 1913 work began on the rebuilding of Eilean Donan Castle.

The castle, at Loch Duich was destroyed by the Royal Navy during the minor Jacobite Rising of 1719, when Jacobites and their Spanish supporters garrisoned the stronghold. A number of Spanish soldiers were taken hostage with the remainder fighting at the Battle of Glenshiel in June 1719, which ended in a defeat for the Jacobites.

Eilean Donan Castle, once the traditional seat of Clan Mackenzie, lay a ruin for the next 200 years. Lt. Col. John MacRae-Gilstrap (on the left in the second picture with the kilt) of the MacRae’s of Conchra, the traditional bodyguards to Clan Mackenzie, bought the castle in 1911 and launched the restoration in 1913. The job was to take almost 20 years. Stones, some weighing about 1.5tons, were taken from the hills by Lochlongside and carried to the castle by horse and boat. Those working on the long restoration job were charged with rebuilding walls that were 13-feet deep in parts.

The restoration was praised at a time when Scottish castles were facing wholesale demolition given the rising costs of maintaining such properties. I love the pic of members of the MacRae-Gilstrap family check in on progress - along with the family dog. Lt Col MacRae-Gilstrap was praised individually for his vision and his never-dying love of the Gael…and determination that the clan spirit shall live.

The restoration of Eilean Donan has been described as a “phoenix rising from the ashes. Over two decades, one of the most recognisable landmarks in Scotland took shape.The final piece of the job was adding the now-famous bridge to the island castle.

The opening ceremony on a rainy day in July 1932 drew hundreds of people from this part of the Highlands. An account from the opening queried whether any castle in the world could surpass the "natural grandeur of the the rugged setting” of Eilean Donan. Today, Eilean Donan Castle attracts in the region of 550,000 visitors every year and in 2019 reported its highest ever August visitor numbers, it will probably take some time to reach the pre-pandemic numbers.

If you want the latest from the castle visit their web page here https://eileandonan.wordpress.com/

Pics show the castle as it was before restoration, and how it now looks.

#scotland #scottish #history #castle #restoration

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veilantares · 2 years ago

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Arachne Centaur

Spider, spider crawl around, skitter, scatter then leap and bound, in a web they stay and glare, eight shining eyes are over there

In my sketches these kinds of weird centaur things tend to be my compromise between making more humanoid sketches against maing more monstery designs - that way I still get practice at drawing monsters and vehicles even though I mostly post person shaped designs online. That being said I hardly ever take any of them to completion, which I dont feel too bad about since theyre kinda simple.

This one in particular came about from me wholesale ripping some organic jet and tank sketches I made and just mashing them in for a character I only drew the upper torso of. Initially it had two extra set of legs, but I couldnt figure out a way to make them look good while overlapping the ones in the sketch.

To compromise so I could still say it had eight limbs (even though spiders have more than eight), I added those clawed tendrils to the back - the idea is that they can grab things more easily while suspended above them with those than the “regular” arms.

I think that the silhouette looks incredibly striking as a result but to me its noticeable I took a lot of shortcuts, and this one feels somewhat unfinished compared to my other completed pieces...

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heliosthegriffin · 6 months ago

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Shadow Knight Chapter 23

AN: Sorry for the Hiatus, real-life stuff happens. Anyway, back to our irregularly scheduled program.

A03 Link

A red-headed man walked down the Museum hall.

He moved at his own pace, slow, steady, and soothing in its consistency.

Every few steps he’d stop to look at an exhibit for a moment, nod to himself, then continue on, smiling at the sight, as his heels clicked against the floor.

Behind him, his shadow rolled out from behind his feet, expanding far, far down the hall and beyond, overtaking the floor behind him far beyond eye-shot.

An unfathomably number of things moved in the darkness, creeping out from the spilling darkness behind the man, moving to the exhibits and dragging them wholesale into the endless darkness.

From a distance, they almost looked like normal people, but the clothes they wore looked like they belonged in the exhibits they were looting, as some wore armor from Mistral’s Warring Cities Era, while others looked like they had been taken off the tundra of Solitus a thousand years ago, others were dressed like turn of the century Vale. It was a disorientating sight to see, they almost looked like people dressed up for a historical event, if not for the grotesque changes to their bodies.

A bone mask with red tribal-esque lines was attached over their face, so deeply attached to the face, it melded into the bones of the skull itself, rendering it impossible to remove. How much of the face it covered varied from creature to creature, with it ranging from just covering the eyes and nose, to totally overtaking the skull in one bony growth, to anything in between, with random growths of the mask like tusks or horns also appearing every so often. Though, one thing that they all shared regarding those masks, was at least one set of burning red eyes, and underneath the mask and across the body, was tar-like skin that was littered with bone growths under their clothes.

Other than the common features, they ranged greatly in size from hardly changed child-like figures wearing impossible elegant and expensive clothes to literal giants covered in armor like growths across their body wearing rags of former clothing, and everything in between.

They were falling upwards and out of the darkness, dozens at a time, being birthed from that shadow as that man walked slowly forward, inspecting and enjoying the exhibits that were laid out for him. Once out they stood there dumbly, looking back at their former home, before shambling away, their dull, red eyes focusing on something through the walls. Occasionally, walking into the walls, and the stronger ones, right through the thinner, weaker ones, leaving gaping, crumbling holes in the old, venerable building.

The man stopped purposely at a crossroads, He smirked, holding his chin with one arm supported by the other. “Now, now, now, here I was, enjoying myself, harmlessly, all by my lonesome. What cause for action is that? Don’t you know how hard it is to get a Museum all to yourself?”

From the opposing three hallways, a maiden appeared with flaming eyes and outfits of excessive amounts of singular color, along with the respective smells of fresh flowers, ozone, and icy air. They faced him, eyes unreadable under the fire, blocking his way. The Yellow one with golden fire, twitched looking at him, as if ready to spring into action, but stopping herself. Crimson and White, looked at Yellow, in what he could only assume to be surprise.

Roman’s eyes shifted, as he took in that little detail. He turned to Yellow, with his eyes darting between them all. He opened his mouth, to say his aggravating piece-, only to dodge backward, as a scythe and curved sword rose up from his shadow right where his head had been, followed by two girls with glowing eyes, he frowned noticing one had Silver-eyes, as he stomped his foot on the ground, making the shadows thicken.

“That was rude! Don’t I have a right to a jury, before you execute me?” Roman smirked at them.

The one that carried the Silver-eyes through his shadow, Black, looked at him coyly. “For the crime of overwhelming mass murder, you've been preemptively judged guilty.” He noticed this one carrying the scent of sweet decay, of dead leaves and loamy soil on the breeze.

He took another step back, looking at the quintet of girls before him. “Well, well, the whole gang's here, isn't it? Lucky me, right?”

The SIlver-eyes blinked out of existence, reappearing right in front of him, swinging that scythe at his neck. Underneath the silvery-light radiating off of her, burning him, she looked murderous. “You monster, how could you do this, to all these people, and-”

Her form was imperfect, she had lunged at him, leaving her hanging in the air as she swung. If it was anyone slower, it would have been a fine, effective even, attack. Against, Roman though?

He slid under the slash, sighing, he hardly needed to aim, as he delivered a cross-straight into her solar-plexus, while she practically tackled her body into his knuckles. The air left her lungs, and she was sent flying down the hall with a cry of pain. He waved his hand, silvery smoke pouring off his right hand, her light bypassing the protective darkness around his hand, light burns covered his hands.

Roman could practically hear whatever little restraint in Yellow snap and fall to pieces, the other girls cried out for her to stop, and she flew straight at him, fists blazing.

----

The search to find some weapons didn’t take long. This was a Museum dedicated to Vale’s history, afterall. It wasn’t all that long ago, relatively speaking, that Vale was nothing but a series of dozen warring micro-kingdoms. It wasn’t uncommon for a homeowner doing some landwork to find an old arrowhead, broken swords, or even an intact weapon and donate it to the museum (or keep it as a personal relic).

“Mine!” Velvet watched as Nora grabbed a warhammer and held it like a teddy-bear. She turned to her with a toothy grin. “I’ve always wanted one of these growing up,” She turned to Ren. “But, someone insisted I didn’t need one!”

The lithe man shrugged. “I’m not stopping you now, am I?”

“I’m not giving it back after we leave.”

“If we survive, I’d say you earned it.”

She held it over her hand. “Yes!” The ginger girl gave Velvet a look, holding out the warhammer. “Want to give her a swing?”

Velvet looked at the brutal looking head of the hammer and the cruel looking spike coming off it, she shook her head. “I’ll pass,”

“More for me, then!” Nora shrugged, then started swinging her hammer in the air with a mad laugh. Velvet looked towards Ren who sighed softly. “I’ll make sure she doesn’t exhaust herself.”

“Right,” She looked at Ren, at his hands, then back at him. “Don’t you need to find something for yourself.”

He followed her look. “I can handle myself,”

For a moment, she thought they glowed, but shook her head, it must have been a trick of the light. “I’ll trust your judgment, then.”

She looked around the room, seeing the other scant survivors helping themselves to the bounties of Vale’s history, noticing that they were gravitating to spear-like weapons, one with a long reach and sharp end, not that she’d blame them. If she had to pick a weapon, and most likely would, she would take one of those as well.

Strangely, though, as almost if following the same line of thought, only to verge backwards at the finish line, she saw Jaune holding a short-sword. He held the odd blade in his hands, it looked like someone had taken a spearhead and attached it to a sword handle, so it wasn’t very long, around a foot and a half long, with a narrow leaf-shaped blade that merged effortlessly into a dark wooden handle. The blade itself was both decidedly plain, but also charming, with a dull gray body marked with small scratches and nicks across its body, but it also held a presence of undeniable lethality, as if its damage only added proof to its unsaid claims that it was a tried and true weapon of war.

“That doesn’t look like it comes from Vale.” Velvet stated idly.

“It’s listed as an anonymous donation, it might have been made yesterday for all I know.” Jaune told her. “It’s more than that, though.” He said quietly.

“What do you mean?”

His fingers rubbed against the wooden grip. “I can’t explain it, not very well, but it feels very ancient.” He turned to her with a smile. “It’s mine now, though.”

Velvet couldn’t help but return the smile. “I’m glad you found something you like,” Her eyes caught something next to his leg. “A shield?”

She thought he looked a bit nervous for a second. “Yeah,” His eyes darted around. “You find anything you want to use.”

“N-no, not yet.”

“Don’t feel pressured, but remember this, the best person to protect you, is yourself.” Velvet looked away. “I will protect you, just like I would for anyone else here, but if you can protect yourself, it puts us just that bit closer to victory.”

“I know,” She felt her heartbeat raise a bit, while her stomach sank.

She felt a warm, heavy hand on her shoulder. “You’re stronger than you think you are,” She looked up into blue eyes. “Also, don’t stand around Nora when she gets going, you’ll go flying.”

“Pfft,” Velvet felt herself relax, a laugh escaping from her. She felt his hand leave her shoulder, immediately missing the warmth, watching him walk pass, she couldn’t help but compare his figure with another, for a second the way they moved looked identical to the local legend she obsessed over.

----

Roman leaned under a fiery punch, as a mask slowly grew over his face in the mockery of a fox with burning eyes. Leaning back far enough to almost be horizontal with the ground, Roman swung two fingers up across the floor. A pillar of shadows erupts under the Yellow Maiden throwing her up into the ceiling.

The other Star-Chosen rushed forward, he threw his hands forward as a tidal wave of darkness and bodies flew forward, as his power collided with them, his minions inside trying to drag them into the abyss inside.

Bursts of light and elemental power detonated inside of it, as the other three Star-Chosen flew up, shooting rays of power at him, he dodge back, and flung his shadowy power in front of him.

A growing heat above him gave him just enough of an early warning to evade critical damage, as the one he tossed up came roaring back down in a burst of fire. She hit the floor like a meteor, a shockwave hitting him with a wave of air, as she looked about ready to charge him down.

But, to his surprise, she snarled and threw a wave of fire his way, retreating back to the rest of their group.

They eye’d him up, and Roman mentally felt how many servants he had lost in his tidal wave, less than 10%, which wasn’t bad, he had many, many more stored away in his Shadow Den. But, it wasn't like he could instantly bring them forth.

Down the hallway, he saw something flying forward at him, and sidestepped a bolt of silver energy, burning through his shadows like they were just normal shadows, leaving a trial of wispy silver smoke. He frowned, as the Silver-Eyes flew towards them, only slightly injured.

He needed time, if he wanted to break-even here, he still hadn’t obtained his prize, the source of the power-built up here. So, with a wave of his hand, he unleashed his remaining servants on hand, as they rushed the Star-Chosen, as he got to work summoning his meaner minions.

----

Jaune looked behind himself, having just finished checking up on the other survivors, he thought he saw something watching him. Was his mind slipping? Normally, he felt that someone would justify it as their imagination, but since it had kept him alive this far, he went to go look.

The room they were currently in, had a large diorama in the center of it, depicting some old battle, pelt wearing warriors native Valeans fighting a group of armored men from one of Mistrals City Empires around a stone circle. According to the diorama, the natives won that somehow through some sort of soul ritual. He thought he saw the shadow of one of the models move.

He got closer, nothing there, other than a sense of unease. His eyes then caught movement again, it was a small, feminine shadow moving behind the stones. He leapt over the stone, and was confronted with nothing but silent rocks, and the faint smell of honey and cream.

“Doing some parkour for a warm-up?” Jaune rose up from behind the stone circle, seeing Ren standing outside the diorama.

“No, just going insane.” He noticed something on Ren’s wrists. “Find something useful?” He had never seen his old friend wear bracers before.

Ren held them up to the air, even from several yards away there was an unnatural feeling coming off of them, similar to the short-sword he found earlier. “Yes.” His friend looked at the aforementioned sword. “You know how to use that?”

Jaune shrugged. “Stick ‘em with the pointy-end, cut ‘em with the cutty side.”

“Ah, a true master then.” Ren nodded.

“You flatter me,” He said with a bow, then raising up, he took in their small group of survivors scattered across the room. For a moment, it didn’t feel like their lives were in danger, it felt like it did earlier today, just another day at the Museum.

“Ren,”

“Yes?”

“I’m never entering a museum again,”

“I never thought we’d get you this far in,” He shrugged.

“And, now, I have every reason never to return.”

“Such a loss,’ He smirked, then it slowly fell as they both looked at the others who were slowly gathering back together. “What is the next step?”

Jaune’s hand strayed to his new sword, gripping the handle tightly. “I’ve checked the map earlier, and there’s a way out not too far away from here,”

“So, we’re going to make a break for it?”

“Not quite,” Jaune’s vision hopped from person to person. “I was going to go scouting, see if the way is safe or not,”

“That’s a terrible idea, our strength is in numbers, we lose you, and we’re that much weaker for it.”

“Yes, but, it’d only be one person, versus all of us, being eliminated if there's way more monsters than we can handle.”

“And, if you don’t come back, what’s to stop us from seeking you out?”

“I’d say-”

“We’d look for you anyway,” Ren looked at Nora and Velvet, “The rest of these people here might not care, but we do. And, tell me this, what if we go the other way, if we do decide to go another direction, and then all die, anyway. Because, you weren’t there? There are no good options, Jaune, just least worse ones.`

Jaune sharply inhaled, his knuckles going white from strain. “You’re right,” He exhaled. “I just,”

The building shook, dust falling from the ceiling, as the lights flickered for a moment, some of the men and women screamed, but it went unheard as a roar suffocated any other sound as it over took the building.

Ren swore, as he turned to Jaune. “We’re running out of time.”

“I know, what way do you think it came from?”

“I couldn’t tell you, but-”

“We need to leave,” Jaune started walking towards the center of the room. “We’ll just take the shortest path to the exit, and deal with the consequences as they come.”

Ren followed behind. “If that’s what gets us out of here alive, so be it.”

----

White thrust her hand forward sending a wave of icicles forward, impaling and destroying the minions of the Grimm General, though, no matter how many she was destroying, they always came back in heavier numbers.

She flew upwards, lifting her arms up to summon a rotating sphere made of razor-sharp ice, a trick she had picked up after an unfortunate encounter not too long ago. It gave a small reprieve as she took in the situation.

Yellow, was of course, rampaging across the enemies, but, she would give her credit in holding back this long, and also, for not leveling the building. Still, she wasn’t breaking the lines as much as hoped she would, instead she was just hanging around the back keeping the horde from spilling down the hall.

Black was struggling, her normal stratedgy of striking from the shadows wasn’t working, The General had done something that prevented her from entering the shadows, which in any other situation would have brought a smile to White’s face, but right now, she would give any amount of Lien to Black if she could just take the monster down. Instead she was limited to using magic she had far less affinity towards, like lightning and wind, which just left her in a similar situation to herself.

Crimson, of course, was the only one actually putting pressure on the General, flying above the crowd, summoning metal to herside from across the building, to create a whirling barrier of metal, that she fired at the horde and the General, forcing him back every so often, but, it seemed even beyond her to do any actual damage, which left, unfortunately, Red.

Red was currently flying through the air, trying to cut her way toward the General, but was being harangue by Grimm jumping at her, and trying to pull her down into the horde, which would be problematic, as while she had the highest anti-grim power, she had the lowest in raw magical power. Thankfully, she didn’t, it just slowed her down, as these Grimm were nothing but peons.

Still, White wasn’t sure how she could get to the General and strike him down; the other girls could handle the peons, if only they’d made an opening for her.

There was a sound of air shattering, as the General slid back, holding a steaming piece of iron that had been shot at him, arms one with the shadows around him. Metal was coated in dark powers, then shot back with even greater force, as Crimson had to evade it, the piece of dark-coated metal exploding against the ceiling shaking the hallway, while leaving a new, crude skylight there.

The General smiled at them, a sense of foreboding in the expression, then stomped a foot to the ground. White’s eye widened as his shadow spread down the hallway again, widening and splitting the hallway in two, and she internally braced for another wave of Grimm, but to her surprise, all the Grimm they were fighting fell in. But, the shadow remained, pulsating and rippling.

“It's been a pleasure, ladies, but I must go!” He bowed, he had the audacity to bow! “But, I found what I”m looking for, and I must be off!” A inky black skeletal hand, the size of a limo, shot out of the darkness, punching through the ceiling. “I’ll leave my friend here to entertain you all, don’t fear, he’s grand company!”

Another hand rushed out, punching through the ceiling as well, as the rest of the arms followed, as behind it, its summoner disappeared with a swish of his arm, shadow enveloped him and he vanished from sight.

The hallway broke open, as head emerged, a pitch-black skeletal giant, looking at them with burning flames in its eye sockets. Rubble rained down upon them, as the entire building fought to stay together, it roared at them, air hitting them like a hammer of wind.

----

Jaune stared at the shaking ceiling, what in the world was going on? Then he looked at the gathered people before him, he tried his best to look strong, and not let his voice betray his doubts as he called out to them. “Everyone here?” There was a quick call out of names. “Things don’t look too good right now, do they? We’re all by ourselves, with the way out looking farther away by the moment, surrounded by monsters, and have nothing but the clothes on our backs, the weapons in our hands, and each other.” He thrusted his sword up through the air. “So what?! We didn’t even have these an hour ago, and we held our own! With just our drive to live, with just the person you stand next to, with everyone here, we have survived!

“Now, we’re going to thrive, we are going leave this place, and not let a single of those pathetic things stop us, we got better things to do today, we got dinner at home, we got loved ones outside, pets, and whatever else you can think of, but we have them, we have our obligations to get out of here and destroy whatever gets in our way! You all have trusted me this far, right? Then, I need you to trust me just a bit longer, then we’re out of here. If you can’t trust in me, then trust in yourself, the person next to you, or just trust Nora!”

“Yeah! Trust in me!” Nora lifted her warhammer over head.

“Have faith in something, yourself, your god, or your weapon, just put it to work, don't fall behind, and struggle on! You will survive this!” Jaune pointed his sword to the door. “Now, are you going to stay here and die, or will you follow me and live?”

““LIVE!””

“Then let's get out of here!” Jaune screamed, marching towards the door.

Just as it was thrown open, a small horde of lanky monsters ran towards them. Not slowing or rushing to meet them, Jaune banged his sword against his shield, inviting them towards, to which they obliged, rushing at him in a stream of long limbs, red eyes, and uncanny movement.

The first to meet him head on was welcome with a shield bash to the head, knocking it backwards so hard that it’s skull split open, the second was greeted by him side-stepping it’s claws and beheading it, the third had it greeted by a heel to the chest then cut from head to hip, the fourth punch with shield knocked to the ground then beheaded, the fifth, the six, and so on, were dealt with till none remained. Leaving Jaune’s standing over their fading bodies, he turned to his people. “See? Look how easily they can be beaten?T they are nothing! What I’ve done to them, any of you could as well!” His eyes seemed to glow for a moment, his voice loud as a trumpet, as everyone stepped back before him. “The only thing stopping you is yourself!

There was a tremble among the survivors, among Ren, Nora, and Velvet, as a certain weight was lifted off their hearts. As they lifted their hands and weapons to the ceiling, they cheered. They stomped, as they moved forward, following after Jaune, they lost all uncertainty, as they walked beside him, and left the room.

Leaving it empty, aside from a small shadow with mismatched eyes watching from the stone circle.

-----

In the depths of the Museum, a single lanky Grimm stood in the depths of the storage, standing alone, staring towards the center of it, where a tangible thick amount of magical energy was in the air. The shadows next to it rippled and trembled as Roman rose from the depths as the minion sank below, though not without, giving it a soft pat on the head as it sank. “Good job,” It didn’t respond.

Roman walked forward, going past a series of crates and boxes, until he was face to face with a long, slim, and somewhat innocuous box, he touched it gently, putting his hand to the top, shadows rushed over it, pulling the screws and nails out of the boxes top, then casually pushing off the top.

What lay in the center, on a bed of packing peanuts, was a simple cane, Roman looked at it softly. “Oh, old friend, it’s been too long,” He picked it up, holding it to his face. “We’re back together, and now, I”m complete.”

The cane thrummed with an orange glow, as fire appeared in the depths of Roman’s mask. With a swift stab down, the building jolted. Not the walls, not ceiling, not just the floor, all of it, the ancient Museum that covered the entirety of a city block suddenly moved.

Downwards.

The building started to sink, as shadows stretched from the sides and corners of the building, till the whole circumference of the building had a visible black outline. The building began to fall into darkness.

Roman smiled, then waved his cane in a figure eight. “This oughta do as a declaration of war,’ Then disappeared.

#Shadow Knight #Jaune Arc

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fuzzkaizer · 9 days ago

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BOSS - CE-1 Chorus Ensemble

"... yeah, there’s a reason why they occupy so much Cabinet real estate. The company created the “first” of a variety of effects, and was certainly the first to offer many types in compact boxes. However, one such pedal is a stone-cold all-time classic despite never being offered in Boss’s trademark compact enclosure. That pedal is the CE-1 Chorus Ensemble.

Released one year after parent company Roland’s flagship Jazz Chorus amplifiers, Boss did what was once considered the unthinkable. Following the rapid and perhaps unexpected success of the aforementioned amp series, Roland wasted no time with ripping a circuit straight from them and putting them in a floor unit. In fact, this circuit ended up being the first pedal to bear the Boss name, and what a first it was.

Back when the CE-1 was conceptualized, the idea of mains-powered pedals was pretty commonplace. Mu-Tron effects used them, and so did MXR on some of its more ambitious models. Onboard and oftentimes custom-wound transformers ensured that voltages would be stepped down at precisely the right increments in order to preserve tonal integrity and headroom.

Of course, most pedals of the time also ran on nine-volt batteries, establishing a standard that continues today. But before these standards were established, the idea of grandiose effects thrived under the usage of mains power. Such a boundless canvas allowed companies like Boss to rip entire hunks of circuitry straight from larger silicon conglomerates and put them right at a player’s feet. These days, very few manufacturers offer such exacting circuitry, and the few that do charge exorbitant prices.

The CE-1 is one particularly exceptional example of this practice, because it expands on the original circuit, with the added bonus that you can play it through an actual tube amplifier. It also adds an extra functionality that the Jazz Chorus just couldn’t match. The Jazz Chorus gives players both Chorus and Vibrato modes, and to that end, serves up three knobs, of which Speed and Depth are two. The third knob is actually a rotary switch that chooses either mode. While the JC-120 offers a footswitch input to toggle the effect on and off, the CE-1 does one better and converts the rotary switch into a stompable button, meaning you don’t have to do the Angus Young duckwalk back to your amp mid-set to change modes. Nobody wants to do this.

Roland’s Jazz Chorus—and thusly the CE-1—couldn’t have come at a better time for end-users or commerce. Californian semiconductor company Reticon developed the first bucket-brigade device (BBD) and distributed them through the usual suspects, including Radio Shack under the store’s in-house Archer brand. The only problem—again for end-users and commerce—was that each one cost a crazy amount of 1970s dollars. Even at wholesale prices, Reticon’s SAD series of BBD chips made effects a bit on the expensive side.

Shortly after in Japan, Matsushita released the genesis of the Japanese BBD boom that ended up sinking Reticon and all pedals that relied on it. The first chip off the Matsushita line was the MN3002 and found its way into the CE-1 tout de suite. With the combination of the relatively inexpensive BBD and the full-strength brawn of the circuit itself, the CE-1 made a splash in the effects world and primed the pump for Boss’s compact series to take the effects world by storm.

The most unsung piece of the CE-1 puzzle is the onboard preamp that preps the signal for its impending modulation. While many effects and amplifiers (especially of this era) features “high” and “low” inputs, they usually correspond to a brute force approach that swaps out resistors in the signal path. However, the CE-1 preamp section starts with an op-amp preamp circuit that sweetens the signal, and switching over to high mode inserts a transistorized gain stage between the input and the op-amp section. This adds a velvety gloss to the signal before it ever sniffs the BBD chip, catapulting your tone into heights unreached by lesser devices.

It’s not often that almost 50 years later, no effect of a given type has surpassed the first one ever created, but such is the case with the CE-1. Its combination of unsurpassed tonal brilliance, component count and wacky power requirements has cemented its place in the effects hall of fame, leaving even the most modern refinements squarely in the rear-view mirror."

cred: catalinbread.com/blogs/kulas-cabinet/boss-ce-1-chorus-ensemble

#boss #CE-1 #chorus ensemble

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jptclothing · 1 year ago

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Wholesale Women’s 2-piece Sets in NYC | JPT Wholesale Clothing

Shop women's wholesale sets on JPT Clothing. Perfect for women who want the whole outfit. at market leading prices for know more please visit at www.jptclothing.com

#wholesale two piece sets NYC

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global-lover2 · 2 years ago

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What's the latest in online business?

One of the latest online business trends is the rise of subscription-based models. Many businesses now offer subscription services, where customers pay a recurring fee to access a product or service. This model is popular in industries such as entertainment, education, and software. For example, Netflix offers a monthly subscription service for streaming movies and TV shows, while Masterclass offers online courses taught by experts in various fields. This trend appeals to customers who prefer convenient, regular access to products or services rather than making individual purchases. It also provides businesses with a predictable stream of income and the opportunity to develop long-term relationships with them.

#wholesale two piece sets

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summonhouse · 4 months ago

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Stop doing everything. Don’t say anything or be anything. Get as small as you possibly can without disappearing. Don’t exist. Or keep existing, but differently than before.

Remember: criticism is the same thing as wholesale condemnation and also murder, so react accordingly.

Apologize, but don’t really mean it, and plant a seed of secret resentment so deep in your own heart that years later you can’t even remember that you’re the one who nurtured it and made it grow, it seems that much like a native part of you.

Sink into a hole so deep that no one can ever find you.

No. No. No. No no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no NO. NO.

JUST DIE. JUST GET SICK AND DIE AND THEN YOU’LL FEEL TERRIBLE YOU EVER SAID THOSE THINGS BECAUSE I’LL BE DEAD AND YOU’LL BE SO SO SO SORRY AND YOU’LL WISH YOU COULD BRING ME BACK BUT YOU CAN’T.

Give up on all of your goals immediately.

Tell everyone you know about the criticism, but in a way that makes it clear that you expect them to publicly find it ridiculous and assure you there’s not a shred of truth to it. Do this repeatedly, first while sober, then later after several glasses of wine on a Wednesday afternoon when no one else is really drinking except for you. “Can you believe it?” Ask them that repeatedly. “Can you believe that? About me?” Ask until no one will meet your eyes.

Spit until your throat bleeds.

Remember that life is a rich tapestry.

Become so rich and strong and tall that you’re a giant made out of gold and nobody can hurt you and everything you do is perfect and you can use your laser diamond eyes to melt the lungs of your enemies.

Dwell on it.

You can either be perfect or the biggest piece of shit who ever existed but not both, so if the criticism is right, you are the biggest piece of shit who ever existed. If it is not right, you are perfect and everyone else is wrong.

Fall in love with whoever criticized you. Don’t walk away until you’ve ruined their marriage.

Whisper their criticism every night to yourself until you have it memorized, word for word. Remember it forever. Have the words stitched into the shroud that covers your body before you’re lowered into the tomb so you and your criticism can embrace one another for eternity.

Do not rise above it. Never rise above anything. The sky is no place for a human.

Be sure not to separate the tone of the criticism from the content. If it was said ungracefully, it cannot be true. If it was said reasonably, it cannot be false.

Send an email explaining why you don’t deserve to be criticized, then another six emails after that, each one explaining the last, like a set of Russian nesting dolls that don’t think it’s your fault.

Set fire to something that was once beautiful.

Run into a cave and break your ankle so that people have to come find you and they see you lying at the bottom of this beautiful cave and maybe there’s a waterfall and the light from the crystals makes you look really beautiful and they say “Are you okay?” and you say “I think so” and they say “oh my God have you been here alone this whole time with a broken ankle” and you say “it’s okay” and they say “you’re so brave” and you are brave and you look so beautiful surrounded by cave crystals and everyone stands over you and says “oh wow” and “you poor beautiful thing” and “I’m so sorry we let you run into the cave but I’m so glad we found you” and let them carry you home and promise to be your best friends forever and that everything’s their fault and also they named the cave after you and you’re prettier than all of your enemies and your enemies all died of jealousy while you were in the cave.

Remember that there are only two kinds of people in the world: fans and haters. No true fan would ever express a criticism of you or your work; conversely no hater could ever seek to engage in a good-faith debate about something you said or did they disagree with. Dismiss everything everyone has to say about you.

Move away.

If it’s a close friend, say “Thank you for being so honest with me,” and then never talk to them again.

Do something with your feelings right away. It doesn’t matter what. Lash out, make a sculpture, whatever.

Log into YouTube and call someone “living Hitler” and “a waste of skin” until you feel better about yourself.

Remember, if someone doesn’t like your work, that means they don’t like you, and they wish that you had never been born, so just lay down in the road and die.

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ottiliere · 2 years ago

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what are your go-to resources for phantom blood fashion historical accuracy...... ...

ok I'm glad you asked this because I've been writing up a whole other post on dio's fashion sense and i wasn't sure how much of the period's fashion trends to explain since I didn't want to make an assumption that nobody knows anything about late victorian fashion. this will be a good reference post for me...and you... and anyone else who wants to use it.

regardless; I hate to say it but the best way to start drawing period clothing is to do a little reading on the fundamentals of [late] victorian dress because it will seriously assist you in the long run, e.g., you won't have to scratch your head and spend time wondering why you keep coming across two different lapel types on tailcoat fashion plates if you're aware that both peak tips and shawl collars were in vogue in the late 1880s and the '90s.

I'll put some basic information that I've collected for myself here so you don't have to go looking for it; I'm going to write this assuming you're a newborn baby deer poking your nose into the victorian era for the first time in your life fully unaware of the customs.

reference links for the wayfarer so you don't have to scroll all the way to the bottom:

Etiquette books. Look for anything written in the 80s/90s; again, period trends change. There's usually always a section on how men should be dressing on different occasions (weddings, funerals, daily casual travel, etc.) in these. In an ideal world one would only have to reference books written/published in London, however I've found that there are many more from US. This is fine though IMO, there was a lot of cross-talk between countries due to the implementation of the telegraph and hence a lot of etiquette standards are "universal" (it's why fashion between EU/US/AU can look pretty similar at the same time--they were all talking to each other). If there's a difference between the "New York" way of doing things and the "London" way of doing things, the authors usually point this out. kind of funny. I love reading these, they're also very good for understanding the general quirks of late Victorian society and how the standards at the time characterize their behavior.

The National Portrait Gallery (link is an advanced search; you can change the dates. I set the results to be located in "london")

Victoria & Albert museum online gallery

The Met museum online gallery (in general for clothes on mannequins, but they also list an archive of fashion plates here, separated by year. A lot of them are misfiled though so be wary of that)

Alamy website. genuinely one of the most all-encompassing resources I've used, I use it for everything and especially when I'm into period pieces. "boy 188*" "man 1880s portrait" "man 188* suit" etc. you find a lot of illustrations from the time period this way too. it fucking rules. my computer is on the brink of crashing 24/7 because I keep too many alamy tabs open at all times. A lot of really good Vanity Fair illustrations are on here too, just plug it in with a year and see what pops up.

Sites like this (Gentleman's Gazette) with little articles giving a run-down of period clothing can be helpful...... to an extent. idk. I don't really trust them. GG is solid for the most part and so is The Black Tie Blog and Victorian Web, but I've spotted too many errors on other sites to trust anything they say wholesale. Fashion Institute of Technology is worth mentioning as well, though, despite their coverage on men's fashion being pretty brief. Goes by decade, though, with a lot of information on women/children's fashion, too (it's very interesting! I linked their 1880s fashion rundown, highly recommend going through it, especially the Aestheticism segment). TL;DR: My advice when it comes to website hopping is "stick with primary sources".

How to Read a Suit (A Guide to Changing Men’s Fashion from the 17th to the 20th Century) by Lydia Edwards. Look this up on libgen. It's broken down into chunks of decades; REAAALLLYY recommend reading the introduction to "Chapter 4: 1860-1899". Probably the most historically informative consolidation of relevant fashion information in one place. Very interesting writing, pretty short too. If you're gonna read one thing out of this whole list, make it this.

The Dictionary of Fashion History by Valerie Cumming. look this up on libgen. for when you don't understand what some article or book is talking about and google will not give you answers. as it is it wont to do. (could not wrap my head around top frocks until this point; the wikipedia article for it is quite frankly embarrassing.)

here's my google drive of fashion for this time period, I had just been keeping these on local folders but I think drive would be better so I started transferring them here... compiled myself. this is a "work in progress" and will be updated.

I am going to write a bit about men's fashion at the time period under the cut because I think it's important to understand, if you don't know much about the victorian period, that the dress decorum was heavily emphasized and if you wore the wrong ensemble in the wrong setting everyone WOULD think you were ill-bred and would not invite you back into their home again. because just seeing you exist like that was impolite and quite frankly very embarrassing to witness. these resources are great but not if you don't know where and when these guys would be wearing these things... for instance i know the fashion plate archive there are some drawings of men in livery and you may be tempted to put dio in something like this because WOW! they do look kind of cool. with the big brass buttons... but I think he would more readily batter another human being physically than dress up like a butler at a dinner party and get mistaken for a butler. it's the little things.

first thing: you were expected to dress differently for different times of day. This consists of: morning dress, afternoon dress (semi-formal; not really "mandatory" except at special events, like weddings, at least for men), and evening dress (anything past 6 o'clock or "by candle light" is the general rule).

here are overview excerpts from Modern Etiquette in Public and Private published by Frederick Warne and Co. in 1887:

and excerpts from The Complete Bachelor: Manners for Men by Walter Germain, written in 1896:

Cecil B. Hartley states in his Book of Etiquette and Manual of Politeness (1860) that "by dress we show our respect for society at large, or the persons with whom we are to mingle".

He advised men that there were “shades of being ‘dressed;’ and a man is called ‘little dressed,’ ‘well dressed,’ and ‘much dressed,’ not according to the quantity but the quality of his coverings.”

Black was "the" color. As Lydia Edwards writes in How to Read a Suit (2020), "while it is unrealistic to imagine that all men everywhere only wore black, the acceptable color palette was certainly more limited at this point than it had been for the first half of the century. The rising professional middle classes seemed to embrace a centuries-old association with black for certain professions, which perhaps made this an inevitable choice for the evolving and expanding world of work in the nineteenth century."

I'm going to add illustrations now; humbly request you ignore how terrible the paint canvases i threw things in. Things to note moving forward:

there were three different types of shirt collars in vogue at the time: stiff, high stand collars that hugged your neck, wing-tip collars, and one that's closer to the "regular" collars you typically see nowadays (banker collar). don't really see the last one in any of the fashion plates but you do see it in portraits.

Do note that walking sticks were commonplace and in fact expected to be touted around, hence why they (in addition to umbrellas) keep reappearing in the illustrations;

(1890)

Frock coats were the most "formal" of the daywear. When going through the National Portrait Gallery website you'll notice that most men are wearing either a morning coat or frock coat; the lounge coat was still too informal to be considered for how much money you'd spend to get a photograph taken. Don't you want to look nice?

Lounge suits, again, were the ultimate "informal"; they were viewed with distain by the frock-coat. (here's a good thread on this, actually; i love this fucking guy lol). really, really don't think Dio would be wearing one that often. maybe a double-breasted one? i really think he's too much of a snob to wear what he sees as filthy poor people rags. appearance is everything, etc.

~~~

waistcoats you have a lot of freedom/liberty with, at least in regard to design (except for evening waistcoats). different lapel shapes, no lapels... unfortunately shifting into the later decades of the 19th century it was pretty much expected that the fabric of your waistcoat match the fabric of your suit (along with your trousers; called a "ditto suit"). jonathan would conform to this mode IMO, i don't think it stops dio. he has a vision & his waistcoats are likely very extensively detailed. actually I just remembered that we do see one as depicted by araki's tenuous grasp of historical fashion and it is. awesome. i, too, love to wear cravats directly underneath my shirt

(1891 / 1892)

~~~

Evening dress is (comparatively) much more simple & men had much less artistic freedom in their choice of dress: black tailcoat, white gloves, white tie, waistcoat in either black or white, black button boots. Regardless, it was its own beast in the fact that this was something that you really weren't supposed to dick around with. (Dio would've found a way, but that's a discussion for a post that isn't crashing every 3 minutes.) From A Gentleman by Maurice Francis Egan (1893):

If a young man is invited to a dinner or to a great assembly in any large city, he must wear a black coat. A gray or colored coat worn after six o’clock in the evening, at any assembly where there are ladies, would imply either disrespect or ignorance on the part of the wearer. In most cities he is expected to wear the regulation evening dress, the “swallow-tail” coat of our grandfathers, and, of course, black trousers and a white tie. In London or New York or Chicago a man must follow this last custom or stay at home. He has his choice. The “swallow-tail” coat is worn after six o’clock in the evening, never earlier, in all English-speaking countries.

(1885 (misfiled) / 1888 / 1888 / 1890)

MET evening suit ca. 1888; different aspects of the ensemble displayed solo at this link.

In the 80s the "dinner jacket" ("tuxedo" in US) was introduced. It was used for more informal occasions.

final evening dress "tips":

~~~

Outerwear was pretty varied… you can get a pretty wide dynamic of form depending on choice of coat, so keep that in mind. chesterfields tended to be pretty formless, top frocks a bit more fitted. Length/density would change depending on season, too.

~~~

Children's fashion:

end notes:

everyone would be wearing suspenders, not belts; belts were pretty much only worn with military uniform at this time (except in america)

sweater vests were really only considered sportswear until the first few decades of the 1900s. they would not be wearing these casually under jackets, they'd be wearing waistcoats

button boots were buttoned using a special button hook. video demonstration

NOTE: trousers being "creased" began to be more in vogue in the 90s; this is because they finally invented the trouser press. read article for more information--you sometimes see creases in the 80s, really not before then though. look at how they bunch at the knee (c.1880s)!

When it comes to gloves, different colors denoted different occasions to wear them. In the text screenshots provided in previous sections, it usually states which colors are appropriate for whichever situation. The paragraph I am about to end this on is relatively useless, but I thought I'd include it anyway:

#ask #dio brando #jonathan joestar #phantom blood #I make myself sick going through fashion plates and the costume archives on museum websites identifying dio outfits regularly #that one image in the frock coat graphic reminds me so much of jeremy strong...kendall will get his day on ottiliere someday. but not today #I'll probably add to this post as I remember or discover more things to add. we're all on a journey of learning...together #posts that crashed one million times while editing #there was a lot more I wanted to add to this but every time i click something in here the entire post crashes. so i am leaving it #also FYI: i don't have a degree in this or nothing. I am a hobbyist victorian enthusiast. don't think anything is wrong in here especially #considering I cite sources but yaknow. <-disclaimer

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inventors-fair · 2 months ago

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Secondary Effect: Modal Flavor Runners-Up ~

Our runners-up for last week are @bergdg, @feyd-rautha-apologist, and @piccadilly-blue!

@bergdg — Clearance Sale

I would never have thought about this kind of flavor, but having both of these options on this kind of card is oddly wholesome? Or should I say, wholesale! Ha. ... But I really like this card, actually. Having these go-wide effects are oddly decent in Limited in the right environment, and having the impulse effect on top of them makes this a great uncommon indeed. I think that it's probably okay at uncommon to make it attacking creatures, and I think the question of what kind of push you can do to make the pump slightly more powerful is...negligible. Which is good! I think that Trumpet Blast vs. Burn Bright effects is super niche, so that's the nitpicky portion of me wanting to make an excellent card perfect.

And the second effect mirrors the flavor pretty excellently as well! I think you can simplify the wording, but I think that it brings up the question of what exactly you want this effect to do. I'm not sure right now if you want nonland cards to cost {1} less, OR if they only cost less if both cards exiled this way were nonland cards. If it's the former, you can say "Spells you cast this way cost {1} less to cast." after the second sentence. If it's the latter, you can say "Those spells cost {1} less to cast if two or more nonland cards were exiled this way." I...think? Maybe the "if" should come first, like Bonehoard Dracosaur. That said, I'd also get rid of the second line of FT, and then...yeah! Pretty darn perfect for the sides of the sale that you described: mad rushes and hot deals. Great work.

@feyd-rautha-apologist — The First Empire

I honestly didn't think that something like this could work. Looking at this, the more that I read, the more I'm enjoying it, and the more that I can't help but feel that this would be too much for a premier product but would be excellent for a supplemental product. Possibly, anyway. The mechanics of myth and truth are interesting here. If I follow the myth, then if someone takes the monarchy it's kinda representative of the kingdom being lost forever. If I follow the truth, the empire doesn't have the same permanence as the myth, but the temporary gains may still be impactful. Isn't that just plain cool?

It's still a lot of text, honestly, and I don't know if there would be a cycle of these things, but I imagine there could be a deciding factor between myth and truth that makes a world of these cards quite flavorful and interesting at the same time. What do choices matter when everything is destroyed to dust in the end? Choices matter because one has an effect that lasts forever and one does not. Like, the enduring myth is a fantastic way of going about these two options, and I love that. Monarch and its related abilities, having been a frustration in constructed sixty-card formats before, is probably not coming to standard anytime soon. I want to still highlight this card as an excellent design exercise and a neat boardwipe to boot.

@piccadilly-blue — Time Gentlemen, Please!

You know, as a translation of real-world action and gameplay mood, this one is a lighthearted play that I feel works oddly well. (For those unaware, the name is essentially "Last call" for bartending purposes.) Either everyone vacates, or everyone goes for another round. That's really the gist of it! Mechanically, this card's quite the upper end of control pieces. If this was printed in a premier set, hell, I'd even start investing in control again. Extra turns allow for big finishers like Teferi to lock the game down, but on the aggro receiving end you get to wipe everything away. Boom goes the readiness for Sphinx's Rev (RIP).

And then we get to this notion of comparable MTG in-world mechanics. The mood is so lighthearted, and the effects would be almost ironic compared to what they usually depict. "Yeah, there are two cards in my deck that wipe the board. One depicts the descent of a corrupted god annihilating the innocent—and one's about a bartender kicking folks out 'cause the night's over." And that's, like, not out of the ordinary for the game. Sometimes Naturalize removes the horrors of the Eldrazi, and sometimes it's a broken piece of pottery. Effects like these are a little more grandiose, of course, and I think it's my own preconceived notions of what massive effects 'have to' look like that's the stumbling block. Maybe we're not going to see bar-themed references in the game anytime soon, but as for levity? I'm not too opposed, oddly enough.

And finishing soon, double-prommy. @abelzumi

#magic the gathering #mtg #custom magic card #inventor's fair #commentary #runners up #flavor mode contest

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