Michael Fassbender NCS Manhunt Ep03
I DIDN’T LEARN ABOUT THIS IN DRIVING SCHOOL
Stop says the red light, go says the green
Wait says the yellow light, twinkling in between.
KNEEL, SAYS THE DEMON LIGHT WITH ITS EYE OF COAL SAURON KNOWS YOUR LICENSE PLATE AND STARES INTO YOUR SOUL
THIS IS ALWAYS FUNNY
@irritatedlifeguard I agree with your tags.
Helpful things for action writers to remember
- Sticking a landing will royally fuck up your joints and possibly shatter your ankles, depending on how high you’re jumping/falling from. There’s a very good reason free-runners dive and roll.
- Hand-to-hand fights usually only last a matter of seconds, sometimes a few minutes. It’s exhausting work and unless you have a lot of training and history with hand-to-hand combat, you’re going to tire out really fast.
- Arrows are very effective and you can’t just yank them out without doing a lot of damage. Most of the time the head of the arrow will break off inside the body if you try pulling it out, and arrows are built to pierce deep. An arrow wound demands medical attention.
- Throwing your opponent across the room is really not all that smart. You’re giving them the chance to get up and run away. Unless you’re trying to put distance between you so you can shoot them or something, don’t throw them.
- Everyone has something called a “flinch response” when they fight. This is pretty much the brain’s way of telling you “get the fuck out of here or we’re gonna die.” Experienced fighters have trained to suppress this. Think about how long your character has been fighting. A character in a fist fight for the first time is going to take a few hits before their survival instinct kicks in and they start hitting back. A character in a fist fight for the eighth time that week is going to respond a little differently.
- ADRENALINE WORKS AGAINST YOU WHEN YOU FIGHT. THIS IS IMPORTANT. A lot of times people think that adrenaline will kick in and give you some badass fighting skills, but it’s actually the opposite. Adrenaline is what tires you out in a battle and it also affects the fighter’s efficacy - meaning it makes them shaky and inaccurate, and overall they lose about 60% of their fighting skill because their brain is focusing on not dying. Adrenaline keeps you alive, it doesn’t give you the skill to pull off a perfect roundhouse kick to the opponent’s face.
- Swords WILL bend or break if you hit something hard enough. They also dull easily and take a lot of maintenance. In reality, someone who fights with a sword would have to have to repair or replace it constantly.
- Fights get messy. There’s blood and sweat everywhere, and that will make it hard to hold your weapon or get a good grip on someone.
- A serious battle also smells horrible. There’s lots of sweat, but also the smell of urine and feces. After someone dies, their bowels and bladder empty. There might also be some questionable things on the ground which can be very psychologically traumatizing. Remember to think about all of the character’s senses when they’re in a fight. Everything WILL affect them in some way.
- If your sword is sharpened down to a fine edge, the rest of the blade can’t go through the cut you make. You’ll just end up putting a tiny, shallow scratch in the surface of whatever you strike, and you could probably break your sword.
- ARCHERS ARE STRONG TOO. Have you ever drawn a bow? It takes a lot of strength, especially when you’re shooting a bow with a higher draw weight. Draw weight basically means “the amount of force you have to use to pull this sucker back enough to fire it.” To give you an idea of how that works, here’s a helpful link to tell you about finding bow sizes and draw weights for your characters. (CLICK ME)
- If an archer has to use a bow they’re not used to, it will probably throw them off a little until they’ve done a few practice shots with it and figured out its draw weight and stability.
- People bleed. If they get punched in the face, they’ll probably get a bloody nose. If they get stabbed or cut somehow, they’ll bleed accordingly. And if they’ve been fighting for a while, they’ve got a LOT of blood rushing around to provide them with oxygen. They’re going to bleed a lot.
- Here’s a link to a chart to show you how much blood a person can lose without dying. (CLICK ME)
- If you want a more in-depth medical chart, try this one. (CLICK ME)
Hopefully this helps someone out there. If you reblog, feel free to add more tips for writers or correct anything I’ve gotten wrong here.
How to apply Writing techniques for action scenes:
- Short sentences. Choppy. One action, then another. When there’s a lull in the fight, take a moment, using longer phrases to analyze the situation–then dive back in. Snap, snap, snap. - Same thing with words - short, simple, and strong in the thick of battle. Save the longer syllables for elsewhere. - Characters do not dwell on things when they are in the heat of the moment. They will get punched in the face. Focus on actions, not thoughts. - Go back and cut out as many adverbs as possible. - No seriously, if there’s ever a time to use the strongest verbs in your vocabulary - Bellow, thrash, heave, shriek, snarl, splinter, bolt, hurtle, crumble, shatter, charge, raze - it’s now. - Don’t forget your other senses. People might not even be sure what they saw during a fight, but they always know how they felt. - Taste: Dry mouth, salt from sweat, copper tang from blood, etc - Smell: OP nailed it - Touch: Headache, sore muscles, tense muscles, exhaustion, blood pounding. Bruised knuckles/bowstring fingers. Injuries that ache and pulse, sting and flare white hot with pain. - Pain will stay with a character. Even if it’s minor. - Sound and sight might blur or sharpen depending on the character and their experience/exhaustion. Colors and quick movements will catch the eye. Loud sounds or noises from behind may serve as a fighter’s only alert before an attack. - If something unexpected happens, shifting the character’s whole attention to that thing will shift the Audience’s attention, too. - Aftermath. This is where the details resurface, the characters pick up things they cast aside during the fight, both literally and metaphorically. Fights are chaotic, fast paced, and self-centered. Characters know only their self, their goals, what’s in their way, and the quickest way around those threats. The aftermath is when people can regain their emotions, their relationships, their rationality/introspection, and anything else they couldn’t afford to think or feel while their lives were on the line.
Do everything you can to keep the fight here and now. Maximize the physical, minimize the theoretical. Keep things immediate - no theories or what ifs.
If writing a strategist, who needs to think ahead, try this: keep strategy to before-and-after fights. Lay out plans in calm periods, try to guess what enemies are thinking or what they will do. During combat, however, the character should think about his options, enemies, and terrain in immediate terms; that is, in shapes and direction. (Large enemy rushing me; dive left, circle around / Scaffolding on fire, pool below me / two foes helping each other, separate them.)
Lastly, after writing, read it aloud. Anyplace your tongue catches up on a fast moving scene, edit. Smooth action scenes rarely come on the first try.
The most important lesson is to learn as much as you can so that you can learn where the flexible regions lie in your prose. Exaggeration of action, in all forms of media, requires an understanding of the basis of the action so that it can be taken to logical extremes that your reader can follow.
Galaxy Quest (1999) dir. Dean Parisot
hm actually i made a joke poll like this a while back but now im genuinely curious
First rule of reincarnation is to have insane sex with the guy who killed you last time
#literally how am I supposed to be normal about this
The Covenant (2006) // Sharper (2023)
I have to comment on the fact that when it comes to the serum, Bucky is souped UP on that stuff. Steve probably tones back how much he’s hitting normal humans, but GOOD LANDS. Bucky’s not just knocking someone down, he’s getting them air borne. With a kick. We know the cyborg arm is really strong, but BUCKY is insanely strong. Reminds me of the comic where he throws an arrow through someone’s face with his good arm, not even the cyborg one. Bucky is scary ramped up in the strength department.
This is why when people talk about Bucky having received an “inferior” version of the serum, I kind of raise my eyebrows. The overall effects of Zola’s serum might have differed from Erskine’s, but it certainly doesn’t seem to have left Bucky physically weaker. There are a lot of fics that assume Bucky would not be a match for Steve if Steve were actually willing to fight him, but Bucky more than proves his strength in Winter Soldier.
This should also make people realize that he isn’t some lost puppy. He can take care of hisself, even if he doesn’t have memories. He got the Smithsonian by himself right? He got those clothes himself right? He can take care of himself.
He was manipulated to be a predator. He is strong enough, swift enough to take down prey. He is intuitive enough to find who or what he wants. Even before The Soldier, Bucky was smart as a whip and could hold his own in a fight. But now? Now he is the perfect weapon, whether or not he wishes to be. He adapts, he fights, he wins.
You know what else bugs me? When people act in fics like he’s just going to snap and kill everyone around him. Bucky is not a violent person. I don’t think the Winter Soldier is a violent person either. He killed because he was ordered to, but if he wasn’t ordered to? TBH I think the Winter Soldier would probably be pretty chill and quiet. Like, you wouldn’t want to startle him or whatever, because yeah, scary ninja personification of death, but if you were just, like, sharing a train car? Or sitting in a waiting room? Not a randomly violent guy. No homicidal urges. Probably largely just wants to be left the fuck alone to, like, contemplate Dostoevsky or something.
I recently re-watched Cap2, and this scene — it’s basically Bucky’s equivalent of what Steve did on the Lemurian Star — he takes out a whole squadron (???) of pilots single-handedly. And it’s … stunning how brutallly effective he is. No fancy Cap parkour. Just straight up killing machine.
Which I think gets at the above meta/commentary — WS is not just a soldier, he’s a highy trained Super Soldier. He can go toe-to-toe with Steve on basically everything — hand-to-hand combat, leading a team (he leads a team when he’s tracking Nat/Steve), and taking down a large # of machines/men single-handedly.
The difference, then, is the drive. Which is that WS has none. He is a ghost that simply follows orders (and when he doesn’t, he gets wiped.) Bucky has no direction, so he goes where he’s pointed. One thing I find so interesting about mcu!WS is how neutral he is. There’s no Soviet brainwashing (we see Pierce giving him The Talk, but he doesn’t seem to actually care), no misguided sense of right or wrong. Just … nothing.
Of course, Steve was like that, too, at the beginning of the film — just following orders and muddling through life. But Steve knew enough to be dissatisfied by that, to Want Out. Which is why he’s Steve.
And this is one of the larger themes of CA:TWS — it’s about a bunch of highly skilled people who no longer find satisfaction in following orders, and want to find meaning outside of their jobs. Sam did it, Nat and Steve are looking, and Bucky is just starting.
I do think about this whole sequence more frequently than what's good for me.
After the adrenaline has faded from trying to run from a burning factory, inevitably Bucky would learn of three facts:
- Steve is the entirety of the rescue party
- Steve disobeyed orders to rescue them
- Steve isn't ready to leave the war
If Bucky (and the Howlies) weren't yet burned out by the war, I wonder if that was the moment Bucky became completely disillusioned and also deeply conflicted. In the bowels of the Hydra facility, no doubt one of the things that's kept prisoners going was the hope that their allies would come rescue them. That's part of the reason why Bucky was still doggedly repeating his number after days of torture.
But their allies had no plans to rescue them. They were meaningless numbers lost in the service of their country. The one person who did come was the person Bucky never wanted to see in the midst of war, and - while he wasn't surprised Steve chose to come - they had refused to give Steve any help for the mission. There were many ways Steve could have died on the way to Bucky's cell. There were many ways Steve could have had a fate worse than death, and Bucky already knows of fates worse than death.
Was Bucky angry or indignant? You can see the way he's tensing as Steve gets ready to face Phillips, and the steadying pat Steve has to give Bucky.
In that context, Bucky's shout isn't just a spur of the moment cheer. It legitimises Steve and his role as Captain America in a single moment. Steve, who the soldiers had mocked and Phillips had dismissed, had proven his worth with the prisoners he led back, and Bucky uses that moment to cement that change in opinion.
Steve is big and tough now, and his fights are bigger and tougher, and Bucky can no longer win Steve's battles for him. All Bucky can do is to ensure that Steve's words won't be ignored again by the likes of Phillips by making all the soldiers acknowledge him, that Steve would always have a trustworthy team behind him for his next mission by helping to recruit the Howlies, and that...as much as he tired of the war, he would be there for Steve. He'd lead the cheer for Captain America, but the one he's following is always Steve.
first 5 faceless emojis are how your summers gonna go
Magnus Archives fan I see
charle’s terrible, not good, very bad coping with erik’s death (it’s been a slowburn of him not acknowledging it until he blew up)
My redesign for Cherik I think it works great, what do you think?
A hitman who advertises his services the way a commission artist does
“Um hey guys. I’ve been hit pretty hard with financial difficulty lately. I’d really appreciate it if you’d consider commissioning me.”
Stabbings: $45
Gunshots: $100
Poisonings: $200
Thanks you guys please share if you can! ❤️❤️❤️
Commissions I will NOT take:
👎 Kids (Teens are fine tho)
👎 Bystanders
👎 Other Hitmen
If you want to know why, message me, but otherwise no hate pls ✨
hey guys, normally i try to keep drama off of my blog but this is really important. I just wanted to let you know that someone named WetWorkKing05 has been taking credit for MY kills over on redbloodle.com and is making money off of my hard work. When I messaged him directly he blocked me and threatened to kill ME >_> I’ve tried talking with the mods about getting his account taken down, but redbloodle has NO policy for this and they are no help at all. i don’t know what to do??
PLS signal boost if you can! And in the meantime, if you need somebody killed, do NOT hire WetWorkKing05! he is a THIEF!
repeat after me:
MURDER 👏 THEFT 👏 IS 👏 A 👏 WORSE 👏 CRIME 👏 THAN 👏 REGULAR 👏 MURDER 👏
Credits to the murderer
CHRIS EVANS as STEVE ROGERS Captain America: Civil War (2016)

























