{ wandering around lake braies }

Dolce Gabbana ss14 + hair colors | inspired by (+)


best ship only ship???



I accidentally bumped into a Red at otakon and promptly apologized. 
I got a “sorry doesn’t do me shit.” in response.




I accidentally bumped into a Red at otakon and promptly apologized. 

I got a “sorry doesn’t do me shit.” in response.




at work today this girl was at my counter and she had owl earrings and a matching owl necklace on so of course i complimented her and we started chatting about the wols and she was like “they’re so popular now? owl are like everywhere!”

and i went “yeah somewhere Athena is going ‘aww yeah’” while…

Any recommendations for fabrics for assassins creed robes? Specifically female novice?


If we’re talking Renaissance Italy, natural fibers like wool, leather and linen are period accurate; cotton didn’t hit broad/common usage in much of Europe until the 1600s and so on, and even then for quite some time, cotton was considered a cheaper and less durable alternative to wools. (Earlier usage of the word “cotton” in European texts is generally referring to the texture/weave of a textile rather than the fibre.) Italy was basically the textile centre of the universe in that time period, too, so your novice shouldn’t have much trouble accessing a whole variety of those fabrics, though you might today! If you’re talking Ottoman Empire, cottons would be a bit more common.

If you’re not going period accurate, I’d go for a nice cotton twill. Ezio’s tunic in AC2 has a very similar texture and it’s a breeze to work with, as well as being fairly durable for someone who is gonna be running, jumping, climbing things, etc. You want to steer towards something heavier in weight (though obviously still clothing weight) so it doesn’t look flimsy, so twill works for this as well. Me, I’m using matte cotton sateen because I want my Ezio costume to look a lot like a nobleman’s clothing, but whether you go the same route depends on how wealthy your novice is.



I was fem-Connor from AC3 last year for fan expo and I strive to be as historically accurate as possible when it comes to fabric.  I saw a lot of tutorials where people were using plain thin cotton (or old bedsheets…) and while that doesn’t bother some people it bothered me, so I spent more money on the real (ish) stuff (I realise not everyone can afford to go this route).

I used a combination of what felt like thick-weave white denim on the outside (kinda like broadcloth, I wanted something that was thick enough to not feel flimsy but not too thick that it would look too stiff) and a navy blue faux-suede on the inside (and for the panels and tails.  I consulted my dad, who does civil war reinactments, and he talked to the uniform makers on what kind of fabrics were used at the time of the Revolutionary War.  When I went to my fabric store all of the fabrics I was looking at for the outer shell were super expensive BUT I wandered into the outdoor fabrics remnant section and found the broadcloth-ish material - enough to do the whole coat with some to spare - for super cheap!  It was exactly what I wanted: an off-white medium-weight textured, woven natural fabric (mine was 100% cotton).  Now don’t do what I did with lining the whole coat in faux suede.  It looked awesome but the coat weighed, I kid you not, 10lbs… and while I was not sweating to death I was definitely pretty toasty and moist after a couple of hours.  Use a lighter cotton in a matching colour for the inside to match the coloured/detailed areas on the outside.

From what I’ve seen of the novices I agree with the matte cotton sateen or a more plain/slightly rougher looking cotton depending on the look you want.  The costume looks well made but not particularly fancy - it’s pretty utilitarian except for the brocade detailing on the edges of the outer coat and the hood and the trim on the shoulders.  Cotton twill will give your coat a nice structure while also draping nicely in the back of the coat. 

Would you ever make the hyrule warriors scarf and sell them online?:O if so id totally buy one!!!!

I have honestly thought about it because I get asked this question A LOT.  The only reason I haven’t is because of how much money I would have to charge versus how many I would have to sell to make my money back (let alone make a profit).  

The material I used I believe cost me about $20 and I was able to make 2 scarves out of it, so lets say $10 per scarf.  Then the transfer paper I get 5 sheets in a package for for about $25 and I need at least two per scarf (one for each end if the buyer wants double ended, or single ended double sided) so there’s another $12.50.  So far 22.50 isn’t terrible but when you factor in the time it took me to prepare the fabric, print the design, PAINSTAKINGLY (because this was annoying as heck)cut out all the little pieces from the iron-on sheets, assemble them on the fabric, iron them on then sew the sides together, it was a lot of work.  At least 3 hours.  If I were to pay myself just minimum wage (where I am it’s $11 I believe) that would mean another 33 on top of that.  That’s also not factoring in printer ink or my time designing the original pattern, and assuming I find that fabric again for the same price.  I’d at least have to charge $55.50 for the scarf, before tax and shipping and I’m not sure how I feel about that.  

I would ultimately love to sell the design to a company/retailer that does this type of manufacturing regularily and can purchase supplies in bulk at much lower rates and has more efficient ways of assembling them.  Or, in best case scenario, a company that could use my pattern to embroider the design onto scarves to look much more realistic, be of higher quality and be much more durable.  I would love an embroidered Hyrule Warriors scarf.

So there’s my long answer to a short question.  It’s because of the above I, for now, offer my design for free (with donations happily accepted) to individuals who wish to make their own scarves to save them some money until some of the options above become available.  Or if in the future I find a better, more cost-efficient way of making them myself I will sell them on a commission basis in my etsy shop.  Stay tuned!

Where did you purchase the iron-ons for Link's scarf? : )

I made them myself!  In this post I mentioned I designed them myself when the first teasers of Hyrule Warriors came out (and all I had to work off of was a low res version of the Asian logo…that was fun).  I made the design using Adobe Illustrator and then printed them on iron-transfer paper I purchased from Walmart.  If you want the zipped file of the illustrator file, a printable pdf and and a hi-res png, just email me at missacedia@hotmail.com and I’ll send it to you!  I also include some tips about how to use them in the email I send with it! :) 

The 10 best modern directors from mainland China, Hong Kong and Taiwan


Ann Hui

Ann Hui has amassed a considerable body of work despite often going against the popular tide of her local film industry. A prominent member of the Hong Kong New Wave, with an interest in familial strife, national identity and social issues, Hui explored cultural displacement with her Vietnam trilogy, consisting of the television episode Boy from Vietnam (1978) and the features The Story of Woo Viet (1981) and Boat People.

This concern also permeates more commercial works such as the crime thriller Zodiac Killers (1991), in which a Chinese student living in Tokyo is sucked into the dangerous world of the yakuza. Hui’s humanistic melodramas often address the ageing process: The Postmodern Life of My Aunt features a retiree who is swindled out of her savings, while A Simple Life beautifully details the relationship between a film producer and his elderly servant when the latter falls ill.



A Simple Life (2011)

Essential movies: Boat People (1982), The Postmodern Life of My Aunt (2006), A Simple Life (2011)

Tsui Hark

A wild fantasist often referred to as ‘the Steven Spielberg of Asia’, Tsui Hark would become a leading purveyor of escapist fare with Zu Warriors from the Magic Mountain, which mixed local ghost legend with Hollywood-style special effects. Hark is a master of mining Chinese history for crowd-pleasing storytelling: the hectic action-comedy Peking Opera Blues takes place during the democratic revolution of the 1910s while Once upon a Time in China (1991) follows the adventures of folk hero Wong Fei-hung, and the martial arts epic Seven Swords (2005) is set after the founding of the Qing dynasty.

But his stylistic masterpiece is The Blade, a near-psychedelic reimagining of One-armed Swordsman (1967). Following a run of disappointments in the 2000s, Hark has returned to form with the mainland co-productions Detective Dee and the Mystery of the Phantom Flame (2010) and The Flying Swords of Dragon Gate (2011).


Peking Opera Blues (1986)

Essential movies: Zu Warriors from the Magic Mountain (1983), Peking Opera Blues (1986), The Blade (1995)

Tian Zhuangzhuang

Tian Zhuangzhuang graduated from the Beijing Film Academy in 1982 alongside Chen Kaige and Zhang Yimou. His early work evidenced a fascination with ethnic minorities: On the Hunting Ground (1985) is a documentary-style account of life in inner Mongolia and The Horse Thief (1986) explores the rugged landscape of Tibet.

One of Tian’s most acclaimed works in the west would also stall his career as the The Blue Kite ran afoul of the local censors for illustrating the impact of the Hundred Flowers Campaign, the Great Leap Forward and the Cultural Revolution on a Beijing family. Banned from directing until 1996, Tian mentored Sixth Generation filmmakers, eventually returning to the director’s chair for the contemplative drama Springtime in a Small Town. Since then, Tian has applied his consummate craftsmanship to the handsome biopic The Go Master (2004) and the ambitious historical adventure The Warrior and the Wolf (2009).


Springtime in a Small Town (2002)

Essential movies: The Horse Thief (1986), The Blue Kite (1993), Springtime in a Small Town (2002)

Hou Hsiao-hsien

Exquisite compositions, long takes and languid moods are characteristics of Hou Hsiao-hsien’s work, even when dealing with tragic ruptures. Many of Hou’s films take place at times of turbulent social-political transition: The Time to Live and the Time to Die (1985) follows a boy’s coming of age after his family leaves the mainland for Taiwan in 1947; A City of Sadness chronicles the post-Second World War impact of the Chinese Nationalist government on a Taiwanese family; and The Puppetmaster (1993) finds a master puppeteer being forced to use his craft as a propaganda tool under the Japanese occupation.

Hou’s recreation of the past reached a feverish peak with Flowers of Shanghai, which takes place in the brothels of the English concession in 1884. His meditations on contemporary Taiwanese society include the deceptively lackadaisical small-time crime study Goodbye, South Goodbye and the hypnotic nightlife odyssey Millennium Mambo (2001).


Goodbye South, Goodbye (1996)

Essential movies: A City of Sadness (1989), Goodbye South, Goodbye (1996), Flowers of Shanghai (1998)

Edward Yang

The films of Edward Yang were sadly little seen in the west during his lifetime because the director was not concerned with selling his work for profit. Often utilising the multi-stranded narrative format, Yang took the urbanisation of Taiwan as his subject: The Terrorisers is a mystery concerning the connections between an assortment of amoral strangers; A Brighter Summer Day follows the activities of 1960s street gangs; A Confucian Confusion (1994) critiques materialistic young professionals; Mahjong (1996) takes place in the modern underworld; and Yi Yi examines the life of a middle-class family over the course of a year.

Yang came to wider international attention when he was awarded the best director prize at the 2000 Cannes Film Festival for Yi Yi, but a lengthy battle with colon cancer meant he was unable to make another feature before his untimely passing in 2007 at the age of 59.



A Brighter Summer Day (1991)

Essential movies: The Terrorisers (1986), A Brighter Summer Day (1991), Yi Yi (2000)

Zhang Yimou

Zhang Yimou’s enduring associations with ravishing rural landscapes and iconic leading lady Gong Li would begin with his debut feature Red Sorghum (1987) after which he collaborated with Gong on a run of celebrated period dramas. Ju Dou (1990), Raise the Red Lantern and To Live were sometimes seen as pandering to the foreign gaze with their sumptuous visuals, but very much foregrounded the struggles of the individual while criticising state policies from a historical distance.

In the 2000s, Zhang brought his painterly touch to China’s burgeoning blockbuster market with the resplendent wuxia epics Hero, House of Flying Daggers (2004) and Curse of the Golden Flower (2006). Although he is synonymous with stately drama and stirring spectacle, a more eccentric side to Zhang’s talents can be found in his frenetic urban comedy Keep Cool (1997) and slapstick farce A Woman, a Gun and a Noodle Shop (2009).



Hero (2002)

Essential movies: Raise the Red Lantern (1991), To Live (1994), Hero (2002)

Wong Kar-wai

Wong Kar-wai became an arthouse favorite in the 1990s with such aesthetically invigorating cinematic love letters to Hong Kong as Days of Being Wild, Chungking Express and Fallen Angels (1995). Famed for his protracted production process – both In the Mood for Love and 2046 (2004) would take more than a year to shoot as footage was scrapped, plot strands were dropped, and locations were changed – Wong has kept his company Jet Tone afloat by taking on various advertising assignments alongside his dream projects.

Wong’s vivid style was pioneered in partnership with the Australian cinematographer Christopher Doyle with their collaboration on the melancholic romance Happy Together (1997) transforming Buenos Aires into a hyper-saturated space for unfulfilled longing. Such charismatic local stars as Tony Leung, Leslie Cheung, Maggie Cheung and pop diva Faye Wong have thrived under Wong’s idiosyncratic direction to create the memorably lovesick protagonists who populate his intoxicating universe.


Days of Being Wild (1990)

Essential movies: Days of Being Wild (1990), Chungking Express (1994), In the Mood for Love (2000)

Tsai Ming-liang

Reflecting the fact that he was born in Malaysia of Chinese ethnic background and later relocated to Taipei, the films of Tsai Ming-Liang are often concerned with dislocation as his lonely characters lack a sense of belonging. Vive l’amour follows three alienated people who unknowingly share an apartment; What Time Is It There? alternates between the life of a Taipei street vendor and a woman who is visiting Paris, with the two people linked across time by the sale of a watch; and I Don’t Want to Sleep Alone (2006) concerns a homeless man who is cared for by a Bangladeshi migrant worker after being beaten by a street mob.

A master of stillness and silence – Goodbye Dragon Inn (2003) features only a dozen lines of dialogue – Tsai also has a fondness for neo-surrealist musical numbers, as seen in The Hole (1998) and The Wayward Cloud.


Vive l’amour (1994)image

Vive l’amour (1994)

Essential movies: Vive l’amour (1994), What Time Is It There? (2001), The Wayward Cloud (2005)

Jia Zhangke

A fierce critic of China’s transformative society, Jia Zhangke’s studies of problems at grassroots levels have blurred the line between fact and fiction due to his integration of documentary elements. Jia was an early convert to digital video who extended the postmodern aesthetics of Xiao Wu (1997) and Platform when he switched formats to chronicle disenfranchised youth in Unknown Pleasures.

Since then, he has turned his attention to the encroaching effects of globalisation with The World (2004) and Still Life, the latter of which takes place against the backdrop of the transformative Three Gorge Dam project. Jia’s documentary works include Dong (2006), a portrait of the artist Liu Xiaodong that overlaps with Still Life by sharing the same setting, and I Wish I Knew (2010), a history of Shanghai that spans the 1930s to the present which was officially commissioned for the 2010 World Expo.


Unknown Pleasures (2002)


Still Life (2006)

Essential movies: Platform (2000), Unknown Pleasures (2002), Still Life (2006)

Lou Ye

Although his frequent clashes with China’s restrictive censorship board have cast the Sixth Generation filmmaker Lou Ye as a figure of controversy, his work is more defined by its sensuous quality. From his mesmerising noir Suzhou River to recent Bi Feiyu adaptation Blind Massage (2014), Lou has conflated sex and politics to emotionally devastating effect as alienated characters navigate eroticised urban landscapes.

Summer Palace follows the experiences of a hedonistic female student at a Beijing university in the late-1980s and the traumatic impact of the post-Tiananmen fallout on her social circle; Spring Fever concerns a gay Nanjing travel agent who casually flits between lovers to maintain his sexual freedom; and Mystery (2012) follows an upwardly mobile businessman who is leading a dangerous double life. Such films never fail to linger in the memory due to the manner in which Lou filters bold social provocation through uniquely seductive atmospherics.


Suzhou River (2000)

Essential movies: Suzhou River (2000), Summer Palace (2006), Spring Fever (2009)


So will we :(


hello ok so u all kno wat happened, and if u don’t then message me off anon here

so yah reposting!!!1 



  • first choice to 3 out of 5 of the big prizes (sony vaio laptop, iphone 5s, instax mini 8, canon rebel t3i, mcm backpack in black stark nappa)
  • $100 gift voucher to sheinside.com
  • $100 gift voucher to choies
  • $30 gift voucher to yesasia.com
  • $50 gift voucher to w2beauty.com
  • two pairs of circle lenses + 1 wig from uniqso
  •  3 beauty products from 3CE on stylenanda.com


  • second choice to 1 of the remaining 2 big prizes (sony vaio laptop, iphone 5s, instax mini 8, canon rebel t3i, mcm backpack in black stark nappa)
  • $50 gift voucher to sheinside.com
  • $50 gift voucher to choies
  • $30 gift voucher to yesasia.com
  • $30 gift voucher to w2beauty.com
  • one pairs of circle lenses + 1 wig from uniqso 
  • remining of the big prizes (sony vaio laptop, iphone 5s, instax mini 8, canon rebel t3i, mcm backpack in black stark nappa)
  • $50 gift voucher to sheinside.com
  • $30 gift voucher to yesasia.com
  • two pairs of circle lenses from uniqso 
  • mbf cxlty (do not follow this blog unless you would like to ask or read questions about the giveaway)
  • you can reblog this as many times as you would like but do not spam your followers
  • likes will not count but you can use it as a bookmark
  • winners will be chosen by random.org
  • must be comfortable with telling me your shipping address and information / have parents permission if under 18
  • i will be shipping internationally so it does not matter where you live
  • winners must reply to their inbox message within 48 hours or a new winner(s) will be chosen
  • giveaway ends september 15th at 11:59 EST
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5) Blade vs. Wolverine by Marko Djurdjevic

6) Luke Cage by Alex Ross

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For anyone who doesn’t have a supportive cosplay community

So I’ve been getting together a cosplay for Lara Croft from the newest Tomb Raider and since her costume is mostly regular clothing heavy on distressing and gear, I’ve been thinking about how important it is to have a good cosplay community IN PERSON around you.  

I grew up watching Indiana Jones, Star Wars, Back to the Future, Lord of the Rings, playing Tomb Raider, Assassin’s Creed and maybe it’s the rampant consumerism in our media but I came to think that the objects/gear/equipment you choose to keep with you in dangerous and exciting circumstances come to define you.  Whether it’s Indy’s hat or Lara’s pistols or Marty’s Hoverboard (still waiting for that to be a thing) and their iconic getups it marks them as badass in their own little worlds, just like dressing up as Batman or Wondy on Halloween makes you feel pretty super…at least for a couple of hours.

The pull to cosplay for me is being able to replicate the costumes and the items.  I absolutely love taking something fake, like a plastic water pistol and using some paint and sealant, making it into an exact replica of Lara’s pistols.  Or taking a halloween pirate prop gun and repainting it to look like an authentic flintlock pistol used by Connor in AC3.  I love doing what I do and occasionally I get paid for it.

For anyone who cosplays, most of us (if we’re lucky) have a group of fellow geeks/cosplayers around us, as well as a circle of friends/family who don’t understand/support what we do and never will.  We’ve all had that interaction where they ask what you’re ordering a wig or buying spraypaint for, and when you tell them, they nod slowly and (if they’re polite) change the subject, or (if they’re not) make statements like “You have too much time on your hands” or something just as rude or worse.  While my Mom is supportive in a distant doesn’t-understand-but-loves-me way, my dad thinks it’s pretty cool (he participates in civil war reinactments), my sister does the dismissive eye-roll + “you’re such a nerd”/”you have too much time on your hands.”  The only time I’ve seen her even try to understand is when showing my older cousins, who she respects and looks up to, my before and after pictures and they wouldn’t stop telling me how cool it was that I did that and they wish they had the time/skills to do what I do.  I’ll never forget the confused look on her face when she heard it called a “skill” and saw that other people enjoy what I do.

It sucks not feeling like you’re not able to talk about something you love with your family members/coworker/friends, or feeling like you can’t tell the salesperson at Forever21 why you need that exact shade of blue tank-top without being made fun of to your face or later behind your back.  Things have been easier on cosplayers since the geek=cool revolution started in the mid 2000s but people around us aren’t always as understanding or as kind as we’d like them to be.

So whether you do cosplay for yourself or for other people, remember what YOU choose to do in YOUR free time with YOUR money as long as it isn’t hurting anyone is no one’s concern but yours.  Fan Expo is my one vacation a year, who cares if I choose to go to a convention in costume while someone else goes to Florida?  I love the community (most of the time) and if I what I do makes myself or someone else feel badass or awesome at the end of the day:

then I’ll consider it a job well done.