'i write to give them weapons'

the bayard is the paladin is the lion: a season 3 prediction

Alternatively titled: Watch This Child Jeopardize Her GPA in Real Time As She Ignores Her Midterms to Write Yet Another Fucking Meta

The lovely @littleblackchats already wrote an awesome post about the symbolism of the bayards for each of the characters in Voltron. But I was wondering: could we take it a step further and use the weapons - and what they say symbolically about the paladins wielding them - to make an informed guess about who’s going to end up in what lion next season?

(even if the answer to that question is no, i’m already writing this so whatever)

Since Allura, Keith, and Lance are the most likely to be swapped into new lions (or, in Allura’s case, to be put into a lion for the first time), I thought it’d be cool to take a look at what the weapons each of them wields says about their personalities, and whether that can give us hints as to who’s gonna be the Black Paladin next season while Shiro’s gone.

Alright, so in episode 1, Allura tells us that a lion’s quintessence is mirrored in its paladin, and that the paladin shapes the bayard. So lion = paladin = bayard. The lion and paladin should be similar in personalty, and the bayard should be compatible to the paladin’s style of fighting and personality as well. This is shown really well in Hunk and Pidge: Pidge’s weapon is small (like her), electric (reflecting her interest in computers), and made for precision (Pidge is more interested in finding clever solutions than just brute-forcing problems), while Hunk’s is big (just like him), long-range (reflecting his wish to stay distanced from conflict), and packs a punch (Hunk is the strongest character on the team, after all).

So the weapons tell us something about the personalities of the ones using them. But what can their respective weapons tell us about Keith, Lance, and Allura?

Keep reading

wannabanauthor  asked:

Hi there! I love your blog! I've seen you mention a few TV shows and movies for research, and I was wondering what your opinion is on the show Leverage and it's accuracy for social engineering in potentially violent situations. I remember one character saying that "Thieves look for entrances, but grifters create them." They'll often use approaches like this to avoid violence.

If the question is: can you use social engineering in order to defuse or avoid violent situations? The answer is yes.

Grifters are conmen, and like spies, they don’t want to fight unless it is absolutely necessary. Whether they can fight or know how isn’t really the point: combat makes messes, big messes, and draws the kind of attention they don’t want/can’t afford.

As for the line, “thieves look for entrances, but grifters create them” the point of it is that grifters focus on people as the exploitative aspect to get what they want. After all, it doesn’t matter how good your security system is if your infiltrator is expected to be there. When someone opens the door for them, they didn’t have to break in.

It is worth pointing out though, being able to stop, defuse, avoid, or redirect violence via social engineering (especially when the character is the target) is very difficult and requires someone who excels at rapidly changing their story/manipulating under life or death pressure while also maintaining their consistency/re-establishing their innocence/regaining their target’s trust.

That’s masterclass social engineering. The average person, even the average grifter can’t do it. When we see Nate Ford, Sophie Devereaux, or Michael Westen on Burn Notice socially engineer their way out of potentially explosive and violent scenarios, we’re supposed to understand this level of manipulation is very difficult. You need a solid ability to read people, predict their behavior patterns, understand how to shift your role so you suddenly seem trustworthy, confuse them, and then redirect their anger somewhere away from you.

You can see another variant of this kind of social engineering on display in The Negotiator. Samuel L. Jackson’s character is a hostage negotiator. Deliberately maneuvering a man who’s taken a child captive around his apartment so he can be taken out. You can see him joking with the target, gaining his trust, distracting him, and guiding him off topic until he’s in a position to be neutralized.

The Grifter is not a fighter, they are a talker and their trick is getting people to move however they want. A skilled grifter can slip in, turn the best of friends against each other, and walk away without a care. Grifters don’t punch. They trick other people into doing the punching for them. When sitting down to write a Grifter, remember: their first instinct is getting others to act in their place, to create the openings they need, and be their fall guy.

On the whole, I’ve liked Leverage ever since the episode where Eliot pointed out that guns are ranged weapons, and the most common mistake people make is giving up the distance advantage by getting in too close. However, I’ve only watched the first season. I liked what I saw, it’s an enjoyable caper show in a similar vein to The Equalizer, Person of Interest, or Ocean’s Eleven. Not quite in there with the original Law & Order when it comes to accuracy (in this case for cops) but certainly better than White Collar, which uses similar techniques (though never, ever pay attention to White Collar’s usage of the FBI… ever). The X-Files, meanwhile, fudges a bit but it’s pretty good when you’re wanting to get a grasp of the FBI’s culture and what happens to someone who doesn’t come from a military/law enforcement background.

Of course, the patient zero for these types of shows is the original Mission: Impossible. The television show, not the Tom Cruise movies. Mission: Impossible is all about flipping people and manipulating them into positions to do what you want. The A-Team is its slightly more pulpy counterpart, but its a similar (though far less subtle) deal.

On the whole, Leverage tends to explain itself better, which is helpful when you’re trying to learn or take techniques from a television show rather than just absorb.

The reason why I often suggest Burn Notice and Spy Game is not necessarily just because they’re good, but also because they teach. The narrator on Burn Notice, especially in the first season will offer up a lot of helpful/beginner tradecraft for a variety of situations. This, ultimately, will help you more for taking pieces and creating your own characters than a show that’s trying for smoke and mirrors like White Collar. The same situation is there with Spy Game, where Robert Redford’s character is teaching Brad Pitt’s on how to be a spy. Ultimately, more helpful in the long run than just watching The Recruit. The Michael Mann films like Heat and Collateral are exceptionally good for learning tradecraft, but you have to know that’s what you’re watching/looking for. You’ll learn more by watching them together, rather than separately. The Borne Identity novels are also very good at showing the tradecraft, while the Le Carre ones tend to be a little more hit and miss.

When you’re new, you want sources that are free with their information. Who are good at getting you to think, to take what you’re seeing and apply it to new settings. You may not ever figure out how to build a car bomb, but learning about how the thought process of a spy, criminal, or conman works will serve you better for your writing than a hundred other movies that only show.

After you’ve drawn back the curtain then you can turn to those other shows, novels, and narratives with new eyes. Once you see what they’re doing, how they’re doing it, and why when they don’t explain you’ll get more out of those other sources than you did before.

When you’re watching a well put together show like Leverage, start questioning character motivations. Not just whether the social engineering there works, but why the characters are choosing to go that route or which routes they prefer. Leverage gives you five characters with different specialties, four thieves and the guy who made a career catching them. They all think in different ways and have different approaches when it comes to problem solving. Leverage offers up a heist per episode, so you have lots of opportunities to see the characters in action. Evaluate their problem solving methods and you’ll come away with more than just questioning whether or not it works.

How and Why.

Then, go find a good video on YouTube where a professional magician explains pickpocketing. It’s the art of misdirection.

Once you understand basic theoretical underpinnings (whether or not you could ever actually pull the real thing off) then you can apply it to many different situations in a fictional context.

When it comes back to applying this to the combat arts, learning to see the big picture is the first major difference between trained and untrained. The untrained only copy surface level, singular techniques, while trained delves deeper to understand how these techniques work together.

My advice for when you’re wanting to pick and choose television shows for accuracy is to check who their consultants are/were, and what experts in the show’s chosen field say about it. That doesn’t always guarantee accuracy, but it will help you flip through the rave reviews.

If you want to watch more fun shows with Timothy Hutton or just like detective shows, I recommend Nero Wolfe.


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My dear lgbt+ kids, 

I always appreciate when people try to learn more about lgbt+ topics, so i’m happy to explain and educate. 

But this morning, i received four especially cute transphobic messages, all by the same person, who ended every single sentence with “lmao” because apparently insulting others is so very amusing (yes, this is sarcasm). My first instinct was to try and write an answer, trying to educate and explain why that’s hurtful - and then i realized that they are fully aware they’re being hurtful, they’re being hurtful on purpose. 

I don’t want you to have to read through all their nonsense when most likely all attempts to educate them are fruitless because they’re in too deep in their hate - so i decided the best weapon is silence. 

Some transphobes (especially the online troll kind of transphobes) just crave attention. And the very best thing we can do is to not give them what they crave. 

We often have drilled into our heads that it’s our job to educate. That it is our job to stay calm and kind and explain again and again why it is mean to insult us. That somehow the hate we receive is our fault because we don’t educate enough.Those are lies. 

People decide to be awful to us because they are awful. It’s their decision, not our fault. And it is our right to put up boundaries and say “You know what, you crossed a line. I’m not going to bother entertaining you.” 

With all my love, 

Your Tumblr Mom 

anonymous asked:

I think it's more likely Cas was able to find the Colt by just looking around a little bit... Dean's room is pretty minimalist, and I don't think it would have been that hard to find it. I love Destiel, but I don't think Dean and Cas are secretly cuddling/fucking.

Heck, friendo. NONE OF US ////SERIOUSLY//// THINK THAT.

It’s called FUN. We’re making JOKES. We find that’s an effective way to manage sadness and tension and make each other laugh. Because we enjoy fun.

Or maybe they are secretly cuddling?

KIDDING. Okay, sheesh.

But really this is why they can’t be in the same room for more than five minutes, because the tension between them is that palpable. They’ve been at intense violin high note status for a comically long time now. Either something’s gotta give, they have to stay away from each other, or the violinist is gonna drop dead from holding that note.

This is why we write coda fic where they DO, because watching them together like that… we just want them to have nice things that they won’t let themselves have in canon.

But honestly? I think Cas just knew that Dean keeps important weapons close. He’s been doing it for years, since long before Cas ever met him. And if the Colt wasn’t out on display in Dean’s room, under the pillow is probably the first place *I* would;ve looked as well.

But I hope you get that my ridiculous post about how Cas found it was intended to be mostly humorous. I thought the winky finger guns emoji at the end of the post would convey that fact. Guess I was wrong…

alice-the-pedo-slayer  asked:

I'm writing an R-rated Disney fanfiction that deals with Jewish versions of Alice (from Alice in Wonderland) and Merlin (from Sword in the Stone) battling against zombie neo-Nazis and other threats. How do I write battle scenes? And what should I do if a toddler character is caught in a violent situation?

Hello, darling!  That sounds like a fantastic kinda terrifying fanfiction!  When it’s finished, be sure to let me know if you publish it online – I’d love to give it a read :)

So these are two very different questions.  For the issue of the toddler, I’d prefer a little more insight into what you’re asking – do you want to know how the child would react emotionally/mentally to the situation?  How the adults should react?  I’ll also need to know what kind of violent scenario you’re entertaining, since the answer would vary in differing degrees of violence, or in the presence of comforting adults, etc.

But your first question – how to write battle scenes – is a common issue that I’ve yet to discuss here!  So I’ll give you a few personal tips, then link you to other resources :)

The Rules of Battle (Scenes)

There are two types of “battle scenes”: duels and wars.

Duel: a battle between two (or, for the sake of the example, three or four) individuals, composing its own scene.  A duel involves people in the immediate vicinity, and, typically, main or secondary characters.  (Examples: lightsaber duels in Star Wars; the battle at the cornucopia in Hunger Games.)

War: a battle between two or more groups of people, which is composed of multiple scenes – either summarized overall by the narrator or shown through duel scenes.  A war involves many people, usually including stock characters or “bodies”.  (Examples: Battle of Helms Deep in Lord of the Rings; the battle at Hogwarts in Harry Potter and the Deathly Hallows.)

It’s important to recognize that while both types of battle scenes can stand alone, wars don’t tend to fare well in fiction.  Massive battles are riveting on a movie screen, but they’re difficult to capture on a page, without visuals – so the more you can lean on individual duels, involving characters your readers care about, the more tension you’ll be able to develop.

So I’ll lay out my… um… my ten duel commandments.

Originally posted by youforfeitallrights

Actually just five.

  1. Be quick and unspecific.  When two people fight, they’re not thinking full thoughts or planning what they’re doing.  They’re not noticing the feeling of their knuckles clacking against someone’s jaw.  They’re not admiring the shiny rose-colored blood as it trickles from their enemy’s nose.  What they’re doing is clumsy and half-instinct.  Feelings only appear in flashes – sweat gets in their eyes and blood rushes in their ears, and things take them by surprise.  If they’re thinking anything, it’s probably something along the lines of, “Oh, sh*t,” as they see their opponent’s fist heading for their face.
  2. Keep it physical.  I think everyone can agree that when you’re watching two characters face off and they keep stopping to exchange witty repartee, it’s eye-roll-worthy.  This trope needs to die.  If you want it to be realistic, have Character A start to monologue until Character B notices they’re off-guard and goes for the throat.  But please, don’t use a battle scene as a dialogue machine.  If words are kept rare, then when they are used – when Character A winds up backing Character B into a wall with nowhere to go, and A sees the fear of god in B’s eyes as they whisper, “Okay, okay, okay wait…” – they gain real weight.
  3. Mix it up a lil’ bit.  No matter how much people love your characters, they’re not gonna sit through a stereotypical, you-hit-me, I-hit-you, oh-look-at-that-we-both-hit-each-other-and-threw-each-other-off, so-we-back-up-and-stare-at-each-other-menacingly.  Seriously.  We’ve seen it all before.  Instead, interchange small blows with spats of violent throat-grabbing, kicking, hair-grabbing, shoulder-dislocating – if your characters have weapons, break them, or make your characters drop them.  Just don’t let be it predictable.
  4. Don’t forget mistakes.  Your characters will have varying levels of experience or training, and even a warrior with decades of training will make mistakes.  Opponents are unpredictable, and even their body can fail them.  If a character is newly trained, they should fall a lot.  They should drop their weapon, or scream, or try to reason with their opponent, or stumble into things because they aren’t totally connected to their surroundings.  They should scream out for help from their allies.  Mistakes are endearing and realistic, and they increase the stakes.
  5. Scare your characters.  There are no stakes if your characters feel confident in what they’re doing.  Let it hit your MC that just one miss, one bad decision, could take their life.  Let them notice the look in their opponent’s eye – that look that says they will kill your MC if they get the opportunity.  Don’t give them never-ending cockiness.  I don’t care how many years they’ve trained, what weapon they have, or what god they believe in – failure is always an option, and it threatens your character with every blow.  Don’t lose that tension.

Those are just basic thoughts, but if you have any more questions, my inbox is open!  As for resources for battle scenes:

If you need advice on general writing or fanfiction, you should maybe ask me!

The Ridiculously Detailed Inquisitor Questionnaire that No One Needed

Obviously not all of these questions are needed, but I tried to come up with as many as possible to use as a character reference for writing. Thought I’d share! I tried to keep things from getting redundant as much as possible.

Questions under the read more!

Keep reading

writerofwriting  asked:

Hi! I wanted to know about writing fight scenes where everyone is fighting with a gun?

Fight scenes with guns usually are shorter than sword fights because guns are more deadly, so the key is to make it fast paced and/or short.

If you want to elongate the scene, however, here are a few tips I suggest:

1. Have it in a place where there are a ton of barricades/barriers so everyone doesn’t die in one second.

2. Give characters bulletproof vests.

3. Make a limited supply of bullets an issue for them (they don’t have infinite clips!)

4. Make it a surprise attack

5. Make an uncountable amount of enemies- it takes more time to shoot more people

6. Know the basics of gun handling as well as how to describe getting shot. Also know which kind of guns they’re using. Pistols? Rifles? Assault weapons?


anonymous asked:

Ok your junkrat scenarios are like the best overwatch imagine I've ever stumbled upon, may I ask for a scenario how the little girl acts and how junkrat is when they all are in overwatch and she's allowed to go because junkrat and (road hog hopefully he's more fond of her) are like ok no we taking her with us. Thank you so much!!💜

I’m so happy you like them!! They’re so freaking cute to write Junkrat loves his daughter.

(His horrible thought came to mind that now Junkrat’s daughter is back in society, away from the radiated outback, what if they try to convince him to give her up, either to the state or a regular family. Like, they try to explain that she’ll have a nice normal life now that she’s here but he has to say goodbye. Omgno)

“No kids.” The grumpy old white haired man firmly says with his arms crossed. “A high tech facility full of weapons isn’t a place meant for kids. It’s too dangerous.”

Junkrat looks at 76 like he’s just grown a third AND a fourth head. “Well, we ain’t comin’ unless she comes wit us. That’s the deal. There’s the door if ya ain’t happy.”

Both look to Roadhog then, to which the hog just crosses his arms, heaving out, “The kid comes too. Take it or leave it.”

The man sighs heavily and his shoulders sag. “Fine.”


When Junkrat tells you that the three of you are moving, you’re kind of anxious. A new place means new dangers and new enemies that you know nothing about. But, when you voice your worries to him, Jamison promises that he’ll keep you safe.

“You’ll get to find new places for ya blankets. There’s also a lot of pretty things to see, and there’s nothin’ wrong with the water so ya can learn how to swim.” he says, “plus they’ve got a lot of food for ya to enjoy.”

So, just because Jamison promises that it’ll be fun, you bundle up whatever items you have and move into the new Overwatch base without complaint; which makes Roadhog quite happy. However, upon seeing the huge intimidating building and walking down its brightly lit, stark white walls, you can’t seem to find the fun just yet. Does your dad feels as dirty as you all of the sudden? Looking back, you see that you’re actually leaving a faint trail of footprints behind you and you quickly snap your attention forward, pretending that you didn’t see anything.

You don’t have shoes, always kick Junkrat in the face when he tries to make you, so your little feet make soft smacks against the ground with every step. It feels weird but much better then dirt and gravel, so there’s a plus. You, Junkrat, and Roadhog are left to settle into your new living space. It’s bare and cold, like most new places.

Roadhog can see the discomfort on your face, so he says, “Why don’t you go find some hiding spots around the room. You need them.” He hands you several fresh blankets and pillows. “Take these.”

You nod and drag them after you as you begin to search. And in the end, it’s actually is quite fun. Junkrat finds a good corner to set up in and you soon follow after him, laying out your things under the tables and trying to get things somewhat similar to what they use to be. After that, you find two other places; one in the large gap between the two couches pushed together at the ends, and another under the cupboard in the bathroom. Junkrat let you take the doors off so you don’t have to worry about opening and closing them too!

Roadhog even let you have a space in his new room, in his unused closet, but that’s only for special occasions.

At bath time that night, as Junkrat sits next to the tub, fiddling with something in his hands, you scrub your hair and play with the bubbles. Baths are freaking weird. You’re so use to just quickly washing off with a hose, only using the water for stuff like that every once in a while.

“What'cha think about this place, darl’?” he asks, not looking up from the gadget.

You shrug before sculpting a nice bubble beard around your chin. “It’s okay. The floor is really cold through. I like my new hiding places.”

“That’s good! And the floor won’t be so cold if ya wore socks and shoes. I keep tryin’ to tell ya.”

You lift your foot out of water soapy water and wiggle your little toes, sticking your tongue out at him.

“Smart arse,” he laughs. “What do ya say to getting some new snacks for your hideaways after ya bath?” He looks to you and cackles at the sight of your nice beard. “Can I have one too?”

You nod and he leans down on the edge of the tub for you to apply the suds to his chin. He gets a nice beard but not as nice as yours, of course.

Once the water turn cold, you climb out and get dressed. And when you’re ready, you hold out your hand for Junkrat to take, like normal.

“Let go get some grub! And I promise, the people here are gonna treat ya nice.”

In Hushed Whispers Part 5 [ChocobrosxReader]

Chapter 5 is up! Link to Chapter 4 is here!

I am back in business!!! The unexpected HIATUS is over and hopefully it will stay away for a long time!

This chapter was a hassle and I fought with it more then I would like to admit. It’s not perfect but if I rewrite it one more time I am gonna kill someone.

So please enjoy! also if you have any criticism please PM me, one cannot improve if ones mistakes are not pointed out!

Keep reading

A State of Undress

the author did lots of flailing and internal screaming for this one

Is also available on AO3 and FFn

warning: nudity

“Your skills are slipping, I could hear your approach a mile away,” is the greeting that comes at her the very moment she steps a foot in the dingy apartment. So of course, being unable to help it, she scoffs. With the training she does daily, the very notion of her skills, slipping, is unbelievable.

“When I want to kill you, you won’t,” is therefore her eloquent reply as she puts her hands on her waist, close enough to the gun holsters on each side of her hips. Her green eyes are blazing, bearing enough annoyance and challenge to deny her words.

Keep reading

anonymous asked:

I've seen you write some really great in-depth things about firearms and most of it goes way over my head. There are words that I recognize as having to do with guns, and I have no idea what they mean. Any chance you could give kind of a brief Guns And Characters That Shoot Them 101 crash course for those of us who might work with characters that use guns and don't want to sound like idiots while writing them, but aren't necessarily going into the nitty-gritty details of gunfighting scenes?

Let’s see what I can do. Fair warning, there’s probably going to be a few very minor technical inaccuracies. I’m typing this off the top of my head.

Gun: pretty much any gunpowder based weapon. This includes both hand weapons and artillery. It does not (normally) include weapons that fire self-propelled ordinance, such as a missile launcher.

Gunpowder: This is actually a catch all term. Early gunpowder (now called “black powder) was mixed from saltpeter (potassium nitrate), charcoal, and sulfur. Modern firearms use variations of smokeless powder, originally developed in the late 19th century. Black Powder is still used with some antique and replica weapons.

As an academic distinction, it’s worth pointing out that gunpowder isn’t actually explosive, it just burns very aggressively, which results in the expansion of gas and bushing the bullet into motion. Unburned powder that remains in the gun is a persistent headache in gun design, and why guns need to be cleaned frequently.

A tiny amount of an explosive, called the Primer, is used to get the powder burning. Historically this has included substances such as picric acid and nitroglycerin. I believe modern primers use lead styphnate, but I’m honestly not sure, off the top of my head.

Cartridge: The entire package of a bullet, powder, and primer. In modern weapons, the container itself is referred to as a shell casing. The shell casing can also be referred to as a shell or casing, independent of the other.

Shell casings are sometimes referred to, idiomatically as “brass” because it is the most common material, though aluminum and other soft metals are used.

Idiomatically, shotgun cartridges are referred to as shells. Historically these were frequently made from paper. Modern shells use corrugated plastic, color coded to denote the contents.

After having been fired, a cartridge (or shell) is referred to as “spent.”

Firearms/Small Arms: Firearms, primarily refer to handheld gunpowder weapons. Small Arms refer to guns with a bore diameter (literally the size of the barrel) smaller than an inch.

Bore: This is the literal hole in the center of the barrel, that the projectile(s) travel through.

Chamber/Battery: Both terms are technically correct. This refers to where the bullet resides when the weapon is ready to fire. If a weapon’s chamber is empty, it is impossible to fire it.

Chambered: Both the state of a round being in the chamber, ready to fire, and a term that refers to the cartridge size a firearm has been designed to accept. Examples: “Chambered in .308.” “It has a round chambered.”

Incidentally, “rechambering” a weapon refers to changing the rounds a weapon will accept, removing a round and loading a fresh one is cycling (see below). Rechambering a weapon usually involves replacing the barrel, action, and magazine. Though it can be more involved if alternate parts aren’t available.

Action: The mechanical systems that clear and replace the bullet in the chamber whenever the weapon is fired. We’ll come back to this with a couple varieties in a bit.

Cycle: The actual process of the action functioning. Depending on the firearm, this can either occur automatically with each trigger pull, or it can require a direct user input.

Receiver: The physical housing that holds the action.

Hammer: a physical component behind the pistol which strikes the firing pin. Not all firearms have one.

Bolt: This is the component that actually locks the cartridge in the chamber, when the weapon is ready to fire.

Firing Pin: This is a small metal cylinder pin which (in modern firearms) strikes the back of the cartridge, detonating the primer, igniting the powder. Usually this is a separate articulated component, though some weapons have a simple stud soldered onto the bolt.

Open Bolt/Closed Bolt: This refers to which configuration the weapon fires from. Technically the bolt needs to be closed in order to actually get the bullet moving.

With an open bolt design, the act of dropping the bolt will detonate the primer. This is primarily used with fully automatic weapons (see below). The bolt will fall, igniting the primer, recoil will send the bolt back, and the return spring will cause it to close, firing again.

Magazine: This is where rounds are stored inside of the weapon, before firing. The action will extract a round from the magazine each time it is cycled. Depending on the firearm, this may be removable.

Clip: A device used to load a firearm’s magazine. This is NOT interchangeable terms. Usually these are short metal strips that grip the base of the shell, though speedloaders for revolvers sometimes qualify as clips.

Clips can be used with modern weapons to quickly reload box magazines, but they’re somewhat uncommon.

If the firearm’s reloading process involves loading the rounds and then ejecting the clip, that’s, well, a clip. If the reloading process involves removing an empty container, and loading a fresh one, that’s a magazine.

Few things will irritate someone with firearms training faster than mixing these terms up.

Rifles: The term actually refers to two separate things. Rifling are mildly spiraling lands and grooves cut into the barrel of a gun. This prevents the bullet from tumbling once it leaves the barrel, and massively improves accuracy. Rifles originally referred to any firearm that featured a rifled barrel. However, the term is no longer inclusive, because handguns and other non-rifles include rifled barrels.

Handgun: A smaller version of a firearm that can be operated with one hand. This term is inclusive of several different varieties of firearm. It should be noted: you should not use a handgun one handed, but it is possible.

Pistol: This refers to nearly every handgun, except revolvers.

Revolver: A firearm that rotates to feed rounds into the chamber. Most often this refers to handguns, though some grenade launchers also use a revolver design. Revolver rifles, carbines, and shotguns exist, but are rare. There is a small gap between the cylinder and the barrel, which tends to vent burning powder when fired, which makes revolvers with a fore grip unpleasant to use. That is to say, they’ll try to set your shirt or arm on fire.

Shotgun: This refers to a weapon designed to handle unusually large cartridges, holding multiple projectiles. These are frequently smooth-bore (see below), but rifled shotguns do exist. In modern combat, shotguns are more characterized by their ability to accept a wide variety of projectiles to accommodate different situations. Shotguns can be loaded with everything from water (disruptor shells), to grenades (FRAG-12s).

Smooth-Bore: A barrel without any rifling. Most common with shotguns. This favors projectiles that will somehow self stabilize (such as flechette darts, yes, it’s another shotgun shell variety), or fire multiple simultaneous projectiles (such as a shotgun).

Single Shot: This refers to a weapon that can be fired once, and then must be reloaded. This includes muskets and some shotguns.

Semi-Automatic: A non-revolver firearm that will fire a round with each pull of the trigger until the magazine is depleted. Critically, the weapon must do this automatically as a result of firing. If a weapon needs to be manually cycled, such as a bolt or lever action, it is a repeater, and not semi-automatic. In any case where “automatic” is paired with another word, it can be abbreviated as “auto.”
Automatic: A firearm that will fire multiple rounds with each pull of the trigger. Also sometimes referred to as Fully Automatic. Idiomatically, semi-automatic pistols are sometimes referred to as “Automatics.” This is incorrect on a technical level, but the actual meaning is, usually, understood.

Burst Fire: An automatic firearm that fires a specific number of rounds with each pull of the trigger and then stops. Three round burst settings are the most common, though two round burst weapons have proven popular in some circles.

Select Fire: An automatic firearm that can be switched between multiple fire configurations. Most often this allows switching the weapon between semi-auto and full auto, or semi-auto and a burst fire setting. Select fire almost always includes a semi-auto setting. It can include multiple other settings, including (rarely) both 2 and 3 round burst settings.

Single Action: A firearm where pulling the trigger will not cock the hammer. This is intermittently used as a safety feature on modern handguns. It is also somewhat common among sport revolvers, and antique revolvers.

Single Action firearms often have a much lighter trigger pull (the force needed to draw the trigger and fire the weapon). This allows for greater accuracy. It also allows automatics to be carried with a round in the chamber and the hammer down, without risk of the weapon firing as a result of an errant trigger pull. It’s still shouldn’t happen with safe weapon handling, but it is another safety feature.

Double Action: A firearm where pulling the trigger will cock the hammer. Almost all revolvers intended for practical use include this. It’s inclusion with semi-automatic pistols varies widely.

The complicated issue with single and double action handguns comes from semi-auto pistols. When the slide cycles, it will recock the hammer, this means a single action pistol can be fired repeatedly, without having to manually recock the hammer.

SAO/DAO: Single Action Only/Double Action Only. These terms get applied to pistols because there are pistols designed to switch between single and double action based on a variety of control parameters.

For example: pulling the slide back ~1/4″ on a Walther P99 will switch it from single to double action, and vise versa. Though it also exists in SAO and DAO variants that remove this feature and lock the action in one of the modes.

Bolt Action: A firearm where the bolt must be unlocked and manually cycled by the user. This allows for substantially heavier loads than any other style of firearm. Though it is a popular configuration for hunting and varmint rifles.

Lever Action: A firearm where the action is cycled by use of a lever, usually mounted under the handgrip. Originally these allowed for faster cycling than a bolt action weapon. These are fairly uncommon now.

Pump Action: A firearm that cycles the action by use of an articulated foregrip. This is normally seen on shotguns, though a few pump action rifle models probably exist.

Machine Gun: This refers to a fully automatic weapon. By itself the term is antiquated. Most often, when someone uses the term, they’re incorrectly referring to an Assault Rifle.

Assault Rifle: A select fire weapon chambered in an “intermediate” rifle round. Usually between 5mm and 6mm. Note: these do not always include full auto settings. The modern M16 variants can only be fired in semi-automatic or 3 round burst.

Battle Rifle: A select fire weapon chambered in a high power rifle round (roughly 7.6mm). This includes the M14 and AK47/AKM. Misidentifying a battle rifle as an assault rifle is… eh. It happens.

Carbine: A shortened rifle. Usually assigned for use in tight quarters, or vehicle crews. Historically these were also issued to cavalry. Sometimes issued to support personnel, depending on the military.

Light Machine Gun: Also sometimes referred to as a Squad Support Weapon is an unusually heavy automatic rifle intended for use in suppression. Sometimes abbreviated LMG.

Submachine Gun: An automatic weapon chambered to fire a pistol round. Sometimes abbreviated SMG.

Machine Pistol: A submachine gun that retains an overall pistol design. Informally, these terms can get mixed up pretty heavily.

Caliber: This is the imperial system of measuring bullet diameter. It’s expressed as a period with a two digit number. (EG: .45 or .38) This indicates the size of the cartridge in 100ths of an inch. So .50 is, roughly, half an inch in diameter. Additional digits beyond the first two denote differences in the cartridge, but not significant changes in the cartridge size. (EG: .308, .303, 30.06 are all .30 caliber rounds, roughly.)

Gauge: The imperial system for measuring the size of a shotgun shell. This one’s a little more idiosyncratic. It’s calculated based on the weight of a solid ball of lead, that barrel would accommodate. So 12 gauge will fit a single 1/12th pound ball of lead. This also means, as the gauge goes up, the size shrinks. 20 Gauge shells are significantly smaller than 12 gauge, for example. This is abbreviated as “ga”, so “410ga” would indicate a 410 shell.

Millimeter (mm): The metric system for measuring the size of a bullet. Usually expressed as a simple value. (EG: 9mm or 5.56mm). When multiple cartridges exist that are of similar sizes, other terms will be applied. (Technically, this also occurs with calibers. For example: .357 Magnum, and .357 SIG.) With metric measurements, the length is frequently added to distinguish two similar rounds, (for example: 9x19mm vs 9x18mm) or some other distinguishing characteristic. (for example: 9mm Parabellum vs 9mm Makarov). Usually you do not need to include both together. For example: 9x19mm Parabellum would be redundant, because 9mm Parabellum is a 9x19mm round.

Grain: The amount of powder loaded with a bullet. (Literally, an archaic unit of measurement.) Bullets in a specific caliber are usually available with multiple grain variants. For example: .45 ACP is commercially available anywhere from 185 grain to 230 grain.

Handload: The act of manufacturing your own bullets. Also a term for non-standard rounds produced this way.

Load: A term for the individual characteristics of a round that go beyond the size of the bullet. This includes the grain, and may include the kind of bullets (see below).

Magnum: A term denoting an unusually high grain load. Most commonly associated with the .357 Magnum and .44 Magnum rounds. Though other magnum rounds exist.

Ball: A bullet with a rounded tip. The most common kind of ammunition for handguns.

Hollowpoint: A bullet with a divotted tip. On impact, it causes the bullet to expand flattening. In a human body, this can sometimes sheer apart, and can cause catastrophic internal damage.
While illegal, an individual can add a small high explosive to the tip of a hollowpoint round, converting it into an improvised high explosive round. The most commonly available materials that would react appropriately are primers.

Wadcutter: A bullet with a flat tip. Usually employed in target shooting, to create clean holes in targets.

[Material] Jacketed: Frequently copper, though other soft metals are sometimes used. This is used to partially shield the user from the bullet’s lead, and the associated health risks.

[Material] Core: Most often, the material is steel, though spent uranium (in this case, spent is a nuclear term, not the firearms meaning), is an exotic variant. The core will push through materials that would stop normal bullets. Lead shields the core from the barrel. (Firing a steel slug from a firearm would shred the rifling, so the softer metal contacts the metal.)

Tracer: A pyrotechnic round that ignites on contact with air and shows the shooter exactly where the round went. These are also mildly incendiary, and can start fires if they connect with something flammable on the other end.

I’m not going to give a full list of what you can stick in a shotgun, because it’s a very long list. But, a few quick highlights.

Buckshot: Ball bearings, usually lead or steel.

Slug: A single, solid, bullet.

Flechette: A steel dart, usually with fins to stabilize it in flight. Fired with a plastic sabot system that falls away once the dart is in the air.

FRAG-12: A small, impact detonated grenade, designed to be fired from a 12 gauge shotgun.

Flares: Commercial flare guns fire a low power 12 gauge shotgun shell. While you cannot load normal shotgun shells into a flare gun (it’s not designed for that kind of power, and will explode), 12 gauge flare shells can be loaded into a shotgun and fired. If the shotgun is semi-automatic the flare will probably not provide enough force to cycle the action, so the user will need to do that manually.

Dragon’s Breath: A shell loaded with a mix of oxygen igniting metals. Metallic Sodium and Potassium are most common. This creates the effect of the shotgun blasting flames.

I feel like I’ve only scratched the surface, and I know I’ve missed a few things. I’ll try to remember to revisit this in the near future.

Hope this helps some of you get started.


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So I don’t know about anyone else, but I’d really like to see more of Donald Glover’s character. (Did his bio page that Karen pulled up say he’s called “The Prowler”?) Maybe giving Peter some feedback on how he’s been doing and some general advice/guidance in that laid-back kinda attitude he had.

I just really liked him. He was a criminal but didn’t want to be a hardcore criminal (didn’t want to buy those enhanced weapons). And he was willing to help Peter out even though he wouldn’t benefit from doing so.

So I liked him and wanted to see more.

Ordinary she is not.

For the April for April monthly prompt courtesy of @tmntflashfic, I present a collection of snippets and drabble prompts for everyone’s viewing; regarding canon events and how April coped and grew with each one. Because April’s character was just too multifaceted to restrict to a single story.

May the next incarnation of TMNT utilize this amazing girl better than 2012 did.


  • That’s no longer relevant.

April looks at books she hasn’t read in ages, clothes too flimsy and light for combat, and makeup and jewels she never has time to use. Most of these things she hasn’t spared a glance at in months.

Her sword and fan lay on her desk, along with her jumpsuit and armor. They’re waiting for her to finish up, and then for her to don them and escape into the night. Her friends wait for her there, and she just needs to finish cleaning out her room so she can join them.

April moves items that used to mean everything to her into a box for give-away, and closes the lid on what her younger self had imagined to be valuable.

  • He can’t do that to us.

“He can’t do that to us, right?” April asks, shooting a look at the four brothers as master Splinter shuts the dojo doors. With him out of the room, her frustration is free to be expressed. “I mean. More specifically, can’t do that to me. He’s not my dad. He can’t ground me, right?”

“I think he just did,” Donnie says with an awkward, apologetic smile. Leo shrugs, and maintains a similar expression; while Raph just grumbles along with Mikey.

April throws her hands up in the air, and slumps onto the lair couch morosely. “I blame all of you. I wanted to see that movie.”

“Me too,” Mikey sighs in agreement, flopping dramatically onto the couch with her.

“And yet, you were the one who let slip we were going to it,” Leo points out, sitting down with less drama than Mikey, but with an air of disappointment regardless.

“I forgot, alright? Besides, can you blame me for getting excited? The original version of Akira, playing in a theater, like, not even twenty blocks from here!”

Keep reading

Still, I Rise

You may write me down in history
With your bitter, twisted lies,
You may tread me in the very dirt
But still, like dust, I’ll rise.

Does my sassiness upset you?
Why are you beset with gloom?
‘Cause I walk like I’ve got oil wells
Pumping in my living room.

Just like moons and like suns,
With the certainty of tides,
Just like hopes springing high,
Still I’ll rise.

Did you want to see me broken?
Bowed head and lowered eyes?
Shoulders falling down like teardrops.
Weakened by my soulful cries.

Does my haughtiness offend you?
Don’t you take it awful hard
'Cause I laugh like I’ve got gold mines
Diggin’ in my own back yard.

You may shoot me with your words,
You may cut me with your eyes,
You may kill me with your hatefulness,
But still, like air, I’ll rise.

Does my sexiness upset you?
Does it come as a surprise
That I dance like I’ve got diamonds
At the meeting of my thighs?

Out of the huts of history’s shame
I rise
Up from a past that’s rooted in pain
I rise
I’m a black ocean, leaping and wide,
Welling and swelling I bear in the tide.
Leaving behind nights of terror and fear
I rise
Into a daybreak that’s wondrously clear
I rise
Bringing the gifts that my ancestors gave,
I am the dream and the hope of the slave.
I rise
I rise
I rise.

—  by Maya Angelou
30 Day Writing Challenge

So as promised, I’m going to do a 30 day writing challenge, starting today. Instead of the one I picked before, I decided to just randomly pick some dialogue prompts to use. Here they are, 52 of them so theres some actual choice for the 30 days. If Anyone else is going to attempt this, feel free to tag me if you post them and I’ll give them a read! Anyway, here’s the list!

  1. “It’s a weapon, that, if ever used, can alter the course of history as we know it. It is an instrument of unparalleled destructive power that no single man should ever wield.” “…I call dibs.”
  2. “Look at you, sacrificing yourself for others! When did you get a heart? I had thought you lost your moral code.”
  3. “There are at least 17 ways this could have gone better. Literally. Like, I’m counting them right now, you moron.”
  4. “If I die tonight, donate all my organs to those in need, except for my middle finger- give that to the king.”
  5. “This isn’t my first time dealing with people like you.” “Really? You’ve dealt with rampaging mutants before? Please, tell me their names. Maybe we can exchange numbers and meet up for tea and biscuits.”
  6. “I’m with him. For better or for worse.” “It’ll probably be worse.” “I knew that the day I met him.”
  7. “She died doing what she loved: swearing profusely.”
  8. “You’ve got to believe me.” “Sorry, but I tend not to believe compulsive liars.”
  9. “What’s in your hair?” “Trust me, you don’t want to know.”
  10. “Well, that didn’t end the way I expected, but at least nobody important died.”
  11. “Well, that’s the closest I’ve ever come to a heart attack. Let’s not do this again.”
  12. “I was just kind of hoping that you’d, y’know… Fall in love with me.”
  13. “I don’t have a license to kill. I have a learner’s permit.”
  14. “So what’s your plan?” “My plan was to follow your plan!”
  15. “Small fire! I said to set a small fire! This is not small!”
  16. “You really have no clue who I am?” “You think the confused looks and blank stare would have answered that for you.”
  17. “Well, if you’d woken up properly the first time I kicked you, I wouldn’t have had to do it four more times.”
  18. “Can I kill him?” “No.” “Just a little bit?”
  19. “Y’know… That’s not what an apology sounds like.” “Bite me.”
  20. “Shut up.” “I didn’t say anything.” “Don’t care. Shut up.”
  21. “You’re insane!” “I know! Isn’t it great?”
  22. “Oh my gosh, that would look so cute on you!” “I’m trying to crack a safe. Be quiet.”
  23. “Either I really suck at finding a pulse, or this guy doesn’t have one.”
  24. “I never stood a chance, did I?” “That’s the sad part- you did once.”
  25. “Did you really just divide the room with tape? Is this a 90′s sitcom?”
  26. “You really don’t remember anything?” “No.” “Aw man! I was promised donuts!”
  27. “Is this one of those times when you want me to lie to protect your delicate emotions?”
  28. “Do you even know how to drive this thing?” “Normally, I’d lie and say yes, but considering the fact that I almost flew us into that building, I’m going to assume you know the answer.”
  29. “Did you know you’re broken?”
  30. “Think before you speak,” she hissed, “the last person who didn’t lost more than his tongue.”
  31. “You can’t just sit there all day.” “I’ve done it before. Never underestimate my ability to idle.”
  32. “Correct me if I’m wrong, but you didn’t have wings yesterday, right?”
  33. “I told you to sit, damn it!”
  34. “I like my friends alive- but thanks for asking!”
  35. “Next time, when I say we’ve fought worse odds, I mean this!”
  36. “I am not human. I never was. So why are you expecting me to act like one?”
  37. “Hand over the girl.” “Not going to happen.”
  38. “I’m trying my best to be polite, but if you move that knife a centimeter closer to me, I will tear you apart.”
  39. “I hope you don’t mind, I helped myself to your semi-automatic rifle.”
  40. “Well, this is a nice change of scenery.” “It’s a prison cell.” “I was being sarcastic.”
  41. “It’s all fun and games until she obliterates you from existence.”
  42. “I thought you were my friend.” “I am. But it is my duty, as a friend, to tell you that you suck at this.”
  43. “You’re one of them now” She whispered softly.
  44. “My cooking is so awesome, even the smoke alarm cheers me on.”
  45. “Please stop putting things in my microwave.”
  46. “Have you still got your blindfold on?” “Yes.” “Promise me you wont take it off.”
  47. “Help me? I don’t even know who you are,” she snipped, looking back over her shoulder once more. “You shouldn’t even be here… You need to leave- now!”
  48. “Everything here can kill you, but I can do it most efficiently.”
  49. “If I need you, I’ll give you a signal.” “What signal?” “I’ll imitate the scream of a terrified little girl.”
  50. “No, you don’t understand. Once a month, I turn into a raging monster.” “Isn’t that part of your normal bodily function?” “Not the one you’re thinking of.”
  51. “I thought I made it clear we have a no abduction policy.” “She wasn’t cooperating. What did you expect me to do?”
  52. “I love it when someone insults me. That means that I don’t have to be nice anymore.”

jademuses  asked:

Hello! I like your blog! Can I get a weapon for a paper roses wielder, probably used mostly like wands? Sylph of Light from The Land of Libraries and Lagoons. I'm interested in history, culture, video games, fantasy, and I'm drawn to water. I'm kind, emotional, intuitive, introspective, and creative. I write a lot in my spare time. Is that enough?

This strife specibus is very specific, and I’ve tried and failed multiple times to come up with a good weapon that suits you…

But never fear, because I’ve got one now!

I present to you, the Historic Picturesque Petal Presenter!

With one flick of your wrist your paper rose can send a flurry of petals towards a foe, trapping them within a papery tornado that’s sure to give them an excessive amount of paper cuts, but that’s not all.

Because these petal tornados come from the pages of history books, specifically history books about the greatest and deadliest battles in all of history!

The tornados force your foes to experience these battles as if they actually fought in them. This includes mental effects such as PTSD, and other traumas, as well as physical effects such as wounds sustained in battle.

If nothing else, the enemy will surely be disoriented during their experience, leaving them open to other attacks by you.

This weapon is an expertly folded paper rose, covered with historic text that glides across the entirety of the origami flower. It glows faintly red, like the blood of the soldiers who’s battles it can recreate. It looks delicate, but is actually quite robust, and will never bend or tear.

This elegant weapon is alchemized by using a Common Classroom History Textbook, a Miniaturized Tornado (possibly able to be substituted by a copy of “The History of Dangerous And Deadly Tornados”, but I’m not sure on that), a Rose folded by torn out pages of a Veteran’s Diary, and a Wand of Papyrus (the Ancient Egyptian version of paper, which is not in any way, shape, or form related to Undertale)

I hope you enjoy using this!

~Weapons Master Blu

This is Nero (original name unknown). He’s a cyborg of few words, although he likes flashy weapons, including his bejeweled knife and flame-painted pistol. He used to be a human who worked as a black market dealer in arms and robot parts + repairs, however at some point mysteriously dropped off the map and has only resurfaced now as a strongly aligned rebel under a different alias. Very fascinated with any remaining humans, he’s been known to give them special treatment. To robots and cyborgs, however, he can be a ruthless pain in the neck. He’s skilled in close combat, assassination, and creating/repairing all sorts of robot parts (although he’s been known to make them less child-friendly than they were intended to be) however he’s horrible at communication, bargaining, conflict resolution, longer ranged weapons (he mostly relies on the pistol for point blank stuff) and strangely most computer/hacking skills.

His appearance is pretty standout so he tries to lay low, but unsurprisingly tends to get wound up in a lot of trouble.


You can find my Masterlist HERE!

Prompt: Can u do a one where Saviours find a badass reader in the woods, try to take her with them but she manages to break like 10 noses or something? And when they tell Negan he’s really amused that a tiny woman can do that much harm. You can figure the end:) – Nonnie

Ships: Negan x Reader
Words: 1,862
Warnings: Violence, Curses, suggestive language
Category: Angst

You were crouched behind a large, mossy log. You could smell two things: The dead, though that smell hung everywhere these days, and the fresh smell of dew on the forest floor. You could taste the moisture in the air when it hit your tongue. You could see your breath when you exhaled in front of you in the cold, early morning.

You had a large, cleanly whittled stick held close to your chest. You could hear your heartbeat thundering in your ears like a herd of elephants trampling the savannah. In the distance you could hear the underbrush and the cracking of twigs underfoot. Above you on the trees you could see the lights of torches illuminating the trunks.

You could hear yelling now, shouts and yells of men and women who were trying desperately to find the person who had knocked out cold four of their men and escaped unscathed.

That person was you.

Keep reading

hunterkiller762  asked:

Sole is leading an attack against a group a raiders with soldiers from the faction each companion identifies with the most. He corners them in a shack so they use an incendiary weapon. The raiders stumble out screaming in agony as they burn. Sole then gives the order, "Don't shoot! Let them burn!" What are companions reaction to this?

okay but writing this made me realise how morbid I actually am

Cait: She’s stunned for a moment. Cait wasn’t expecting a morbid side in them, but she kind of liked it. Hearing the raiders cry out in pain, Cait was satisfied and thought it was music to her ears.  

Codsworth: It was rather surprising to hear them say those words. Codsworth wasn’t ready to hear the morbidity coming from them, and he’s concerned that being in the wasteland has changed them for good.

Curie: Curie has never been so distraught. Although they’re raiders, it was horrible to watch for her. It wasn’t everyday she saw people getting scorched alive. She’d most likely be having nightmares for quite some time, especially hearing those screams of terror like a record player.

Danse: Danse is a man who listens to orders. He thought raiders were absolute filth, and he didn’t care how they’re disposed.

Deacon: He faintly smirked when they said it. Deacon was up for seeing some raiders burn. They’ve been an inconvenience to the Railroad for a long time, so it was a nice treat to see them burn to death.

Hancock: Hancock obliged almost immediately. Although it’s fun shooting them, watching them burn is even better. However, he never expected them to be so… dark. He liked it.

MacCready: He enjoyed it, but he wished that it was Gunners instead of raiders. They were just as bad so it didn’t really matter. MacCready just had an urge to see his real enemies burn.

Nick: He had to double take. Nick would rather shoot them and be done with it, but he was faced with burning raiders. He keeps quiet and watches them in silence like everybody else.

Preston: He’s mostly glad that the battle is over. The raiders got what they deserved, and he couldn’t rip his eyes off them as they burnt.

Piper: No matter how much she hated raiders, it made her uncomfortable. She wouldn’t be able to look. However, she wouldn’t look away for too long. Piper knew they deserved a painful, slow death.

Strong: Strong loved it. He would treat it as a circus performance, clapping and cheering away as they burned to death.

X6-88: He’d smirk in satisfaction. X6-88 can be a dark character, and it satisfies him to hear that he’ll be witnessing the raider’s being slowly killed by flames.