they say grief is a well. deep with creeping water that seeps first into your socks. it climbs like ivy, making an abandoned building out of your bones.
i can see it. the well, i mean, the grief and the water and the creeping. i can see it.
i think grief is more like a storm. clouds that hug the horizon, caress the sky with fingers that leave bruises the colour of the skin under your eyes when you haven’t slept for a week.
lightning bolts that illuminate the shapes in the dark for just long enough that you get to see remnants of a normal life, picnic blankets not abandoned to rain, beaches covered with sand and not hail, but the light never lasts.
and thunder. thunder that drowns out the sound of laughter. thunder that only knows how to emphasise the gaps of quiet in between each earth shaking sigh.
they say that grief is a well, it collects in your chest and fills and spills over as the walls wage war with the water. i can see it. i can. but my grief is more like a storm where lightning likes to strike the same place a thousand times each day.
So a few
days ago I dida post about Shiro’s prosthetic armand the response was amazing!
Many of you also showed interest in me doing one on Shiro’s scar as well, so here we are. This one took me a lot longer to make because it’s not as cut-and-dry
as the arm. There’s a lot of variables and speculation. We can’t really know for
sure what DID happen, but we can most likely deduce what DIDN’T happen. (WARNING–I’m going to discuss some graphic stuff, blood/gore/injuries, etc. So be aware.)
In this post we’ll go through the possibilities and see which ones are the most likely to occur. There will be one numbered point per general option, and I will narrow them down to the ones I think could happen. I would love for you to share your thoughts on the matter! At one point most of us, myself included, assumed Shiro got the scar on his face during battle, so this brings us to the first option:
1. The scar is the result of a sword or other blade swipe during battle
Let’s take a look at what would have to happen for this option to be the case. There’s an easy way to visualize this in 10 seconds or less.
This isn’t complete; it is generally for beginner use so they can familiarise themselves with some of the terminology which often pops up around tumblr, in books, etc.
Altar- A space where you can conjure spells, or worship deities. This is where tools are presented and can be decorated in any way. Often these can be in the form of a travel altar.
Black Salt- A powdery substance made from the ashes of incense and salt. Used to banish negativity and can be used in spells.
Book of Shadows- A book which contains personal information and connections to witchcraft; a journal for witches. It can contain anything you wish.
Charging- To fill an object or spell with power. It can be charged with positive energy or can be charged to become aligned with a certain purpose.
Circle Casting- Creating a space around yourself when performing a spell, which is closed off until the spell is complete, to contain power and protect the caster. It is often done with a wand.
Cleansing- To clean an object that has been used for witchcraft or divination purposes; for example cleansing crystals or tarot cards after use.
Correspondence- A connection or close similarity with elements, deities, objects, etc. For example Aphrodite’s correspondences would be things like pink, roses, love, Venus, apples, honey, etc.
Cursing- A spell or concentration of negative energy which is focused on a target. This is often used in cases where the target has done something unforgivable, and the level of harm from the curse is gauged based on the amount of energy the caster produces for the spell.
Deity- A god or goddess. The plural for this word is Deities.
Divination- A practise widely used in witchcraft, although it is separate. It is an umbrella term for many specific practises such as Tarot, Pendulum reading, Bibliomancy, Runes, Shufflemancy, Tasseomancy, Scrying, etc.
Familiar- An animal/ plant/spirit of any form which has a special magical connection with you. They are able to walk through a cast circle without breaking it, and will be forever bonded to you magically. A familiar will find you
Grimoire- This is similar to a Book of Shadows; except it does not contain personal information, but instead acts as a reference book which you would fill with correspondences, information on your craft and often contains spells. The two types of book can be combined however.
Grounding- Syncing yourself with the earth or another source of energy either physically or mentally before performing a spell.
Incantation- A line or verse of words that are carefully put together to bring energy and power to a spell.
Incense- Either in the form of a stick or cone, they are made with natural material which when burned in a suitable holder, will provide aromas and smoke; often used to cleanse the surrounding area.
Sachet- A sealed bag made from fabric or other suitable material which is filled with herbs, flowers, or whatever materials the creator chooses. It is often kept under a pillow or carried for desired purposes.
Sigil- A symbol which is drawn which a specific intention in mind. It is made up of lines and sometimes dots, can be straight or curved and can take on any form the creator desires. They can be drawn onto objects or skin to draw in desired power.
Spell Jar- A jar which is commonly filled with herbs which is then stoppered with a cork and then sealed with wax or in other methods. These can be cleaned out and refilled when the effects have worn out.
Travel Altar- A smaller version of an altar, but carries the same tools. It is often carried in a tin or bag which can be set up anywhere.
Witches Ladder- A braided piece of ribbon, cord or string which has been decorated with objects such as animal bones, feathers, crystals, etc. It is hung around the home to provide protection, or to bring positivity. It can be tailored with other intentions to suit the user.
“Stay away from xim.” She pronounced each word slowly, very different from the way she normally spoke, and the humans who had threatened Xener frowned. One of them, the one who had taunted Xener the most, smiled at Laurel but it didn’t seem very nice to Xener. “Now, sweetheart-” Laurel frowned as the male continued. “We were just having a bit of fun with your pal, no harm done. But, you know, I could find you a much better time than whatever you do with it.”
Laurel withdrew the long sharp object from her waist belt and held its point out toward the group of males.
“You’re trained, baby?”
“As if I would join a ship without being trained.” Again her tone of voice was unusual, but Xener had not yet learned the exact meaning of this new tone that Laurel was using. It did not sound like her normal friendly tone.
The other men in the group kept looking at the main speaker of their group and his eyes were staring at Laurel’s. She started smiling, but again Xener noted that something was off about her smile.
“You want to come find out exactly how skilled I am?” She was speaking in her normal tone, but the other males seemed to be getting more nervous, as noted by their shuffling feet and frequent glances at the main male.
Laurel reached into her boot and pulled out a smaller sharp object, similar to the one she already held. “I’m an expert at throwing knives. Care for a demonstration?”
“Exactly what is going on here?” Offer Karl’s voice boomed across the room from the doorway he was standing in.
“Nothing, Officer. Just some cross-species harassment with a bit of sexual harassment added.” Laurel put both of her sharp objects away while turning toward Officer Karl.
The male across from them was no longer smiling and turned toward the officer. Now he seemed nervous and his friends all seemed downcast, if their faces were any indication to Xener. “Nothing, sir. A misunderstanding. I certainly didn’t seem for any of it to be taken like that.
“How long do you think you have to be onboard to be trusted, Private Doss?” The officer was speaking to the main male, who licked his lips before answering, “I don’t know, sir.”
“Interesting. Do you know how long Lieutenant Clipps has been onboard?” Officer Karl gestured toward Laurel. Now Private Doss began shifting on his feet before simply saying “No, sir.” He was speaking much quieter than before, Xener noted. Xe really did need to revisit the “Human Nuances” section of the Human Handbook.
“Four sun cycles. You have been here for four months. I suggest that you respect her and leave her alone. As for cross-species harassment, that can be grounds for crew suspension. This is your first warning.” Officer Karl stepped closer to the group of silent, still men. “All of you, this is your first warning. You won’t get a second.” He turned, nodded at Laurel and Xener, then turned back toward the men. “Actually, Lieutenant, isn’t sexual harassment also grounds for suspension from the crew?”
Laurel nodded with a serious expression on her face at the group of men who were still silent and not moving.
“I leave it to your discretion, Lieutenant.” Officer Karl left the room without another word. The men were all watching Laurel now and Xener was very happy that Officer Karl had taken her accusations seriously. Laurel was respected as one of the fairest humans onboard and most passionate about unifying all species throughout space, giving her a great deal of trust from the officers onboard.
“Gentlemen, I trust that none of this will happen again, to anyone you come in contact with, correct?”
A united “Yes, Ma’am” came from the group of men, who seemed to be a bit paler than they had been minutes earlier.
Laurel smiled at them. “Good.” She turned to Xener.
“Come. I believe lunch will be served soon.”
As Xener exited toward the mess hall with her, he was once again thankful that he had found such a good human to be friends with.
Tears as seen in real life are…pretty uninteresting, tbh so to make them look more feel-inducing than reality, it helps to exaggerate, especially when it comes to size and contrast.
Here are some things I consider when sketching:
I like to keep it to two trickles per eye flowing from the corners to, but by no means is that a rule. To give tears a sense of weight, I draw them as thin streams that gather into large droplets depending on where gravity is taking them.
You might want to push the size even further so that they’re more visible at a distance. Context and mood is also an important thing to consider; as a general guideline, thinner lines imply delicacy while gushing waterfalls are usually more comical. Feel free to let anime/cartoons/comics (etc etc) be your guide, since they can go really heavy on the exaggeration for a wider range of expression. Have some Mako Mankanshoku tears from Kill la Kill as an example!
Awww :’D I mean Awww D’:
Anyways, once I have my sketch down, I go ahead and block them out. I’m using a white tinted with blue for color contrast from the warm colors of the skin, but it doesn’t matter that much if you lower the opacity as much as I have. In any case, I don’t want to use my whitest white yet since I’m saving that for shiny highlights.
I then duplicate my block-in, darken the layer, then erase from inside the shapes I made. This is my “line art” of sorts.
Time to shade! Since tears are essentially water, I treat them like gemstones/translucent objects. Similar to shiny materials like metal, there’s a high-contrast transition between light and shadow in both edges and value, but with transparent objects, light passes through them, bounces around, and “gathers” on the side opposite of the surface that’s receiving the light, like so:
Not the most amazing rendering in the world, but I hope it gets my point across x’D
To compensate the loss of detail from zooming out, I use black to amp up the contrast (doubly important since I’m using a pale-skinned person in my example). If that’s too harsh for you, feel free to play around with colors and opacity. (Again with the whole emotional context thing. Adapt to the situation!) You can even use a soft brush or put the shading through a blur filter, but I usually choose to keep the edges hard because again, contrast.
Now for the fun part: highlights! Shine bright like a diamond : DDD
Amping up the contrast some more by breaking out the whites! I suppose you could stop here, but this still isn’t shiny enough for me yet, >:3c
I go over the edges of the tears with white to punctuate how ridiculously shiny they are. I also like to throw in some bright reds/oranges reflecting off the droplets to imply healthy, glowing skin as well as a dash of a cooler color for general environmental lighting. I also added some cast shadows to the tears. Not terribly dark, since light passes through the tears as opposed to being blocked out.
Again, while I am basing my decisions off real-life principles, a lot of these choices are highly stylistic. Whether you’re drawing small, have time constraints or you’re just plain lazy, you can always pick and choose! This is just my current approach, so while you’re free to try out my workflow if you literally have no idea what you’re doing, I do encourage you to experiment to see what appeals you personally.
Hope this helps! Honestly, I’m quite flattered that anyone would ask me how I draw things :’D If anyone does end up using this guide, poke me and show me what you’ve come up with; I’d love to see :D
Wait, just how intelligent are chickens and turkeys? I apologize if I sound rude/hostile as I'm quite eager to learn!
no need to apologise at all! i’m happy to talk about this.
from the day they hatch, chickens are capable of distinguishing between a given object and visually similar (though not identical) objects, and they have a sophisticated sense of object permanence. in addition, they’re capable of not only recognising but associating with familiar faces, be they chick or human. though this is all behaviour that likely developed because they’re precocial birds (walking the moment they hatch) who imprint and rely on on their mother and flockmates, it’s still worth noting because it’s all impressive behaviour for an individual that just recently popped out of an egg.
as adults, chickens have an array of calls and sounds with distinct meanings. they’ve shown to be capable of intentional deception (false predator alerts or calls of food when there is no food), have an impressive memory, are very responsive to training (more so than dogs in my experience), and while it’s not as researched as it should be, chickens are measurably (and rather significantly) empathic animals.
intelligence and cognition in turkeys has been researched even less than that of chickens, but they’re capable of recognising one another based on their voices and feature an impressive array of communicative vocalisations and behaviour. being social birds, they form complex bonds with other turkeys as well as humans, given the opportunity. on the individual scale, they’re often described as “curious” and “inquisitive” by those who work with and take care of them.
Extremely Rare Bactrian Ceremonial “Lock” Idol with Inlaid Bulls, Late 3rd ML BC
A carved stone tent weight with bull images and inlay; accompanied by an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: ‘Ancient Alabaster “Weight” 29cm, high 25cm diameter. This is roughly oval with a hollowed out hole near the top, creating a handle. The edges are rounded and on each side a bull in deep relief with inlay of turquoise and brown stone appears. Much detail is used in the depiction of the bulls. The bull on one side is shown with head facing forwards, while on the other side it faces backwards. In details also the two bulls are quite different. The object is generally in good condition, though some of the inlay is lost on one side. This is an extremely rare object, though certainly from West Central Asia. It dates to c.2000-1700 BC. Its purpose is not certain, but most probably it was carried in some religious rites.’
Among the most iconic Intercultural Style objects are the so-called “lock weights”. These were probably not weights at all, but were likely badges of high office, carried to indicate authority. Fragments of similar objects have been found throughout Mesopotamia, the islands of the Persian Gulf, on the Iranian steppe, as well as the Indus Valley. The production of them seems to be concentrated in two areas, the Gulf island of Tarut, as well as Tepe Yahya in south central Iran, that has produced the only known mine for the stone. The artistic styles on these chlorite objects represent a fusion of art and religious themes from the diverse regions that they are found in, representing both Mesopotamian and Indus culture. The bull was a popular, and sacred animal in both Mesopotamia and the Indus civilisation. In Mesopotamia it was often associated with storm gods, such as Ball. In the Indus region it appears on seals and is often associated with a horned deity that has been identified as a proto-Shiva type figure.
The male bowerbird’s obsession with the arrangement of objects in his bower might seem ludicrous, but it actually has a very distinct purpose. Many male bowerbirds have been observed using the arrangement of objects to create optical illusions, particularly forced perspective, by arranging similar objects from smallest to largest. It’s been determined that females find these illusions intriguing, and will spend more time at bowers containing them and give the males a better chance of mating. This behaviour makes many researchers count bowerbirds among the most behaviourally complex of all birds.
Anatomy of Spanish: An indirect object [objeto indirecto] is typically a person, animate object, or personified object that receives the result of the action. While a direct object is the thing being acted upon, the indirect object is the person or thing that is the recipient of the action.
In the sentence te mando la carta, it is la carta that is the direct object - being acted upon by the subject through the verb. And the te “to you” indicates who the recipient of the action is; “to whom” or “for whom” an action is done. In a case system, an indirect object is typically identified under the “dative” case.
The indirect object pronouns - me, te, le, les, nos, os - are pretty standard and look similar to the direct object pronouns (which are me, te, lo/la, los/las, nos, os).
For an indirect object, you can make it emphatic by adding an a plus the subject. With me, te, nos, os - who create no confusion as they only apply to yo, tú, nosotros/nosotras, vosotros/vosotras - the addition of the a is even more emphatic. So.. no me digas “don’t tell me” is even more emphatic as no me digas a mí “don’t tell ME”.
It is third person singular (le) and third person plural (les) that are the ones to watch for. Because le mando la carta could be “I am sending the letter to him/her/You”. You can mark the subject’s name or the pronoun; le mando la carta a Ana / le mando la carta a ella… le mando la carta a Luis / le mando la carta a él… and le mando la carta a usted.
The same applies for les which is plural.
When joining a direct object and an indirect object, there’s typically no problem with me, te, nos, os staying the same; te lo mando, me lo mandan, nos la mandas, etc.
With third person - le and les - they change to se when joined with a direct object. This is because le lo or les lo would sound silly and trip up the tongue.
A sentence like… se lo mando, se la mando could potentially refer to ANY third person subject. In proper context, there’s no confusion. But if you think there could be, you can say… se lo mando (a él / ella / usted / ellos / ellas / ustedes).
Many verbs, especially the verbs like gustar - gustar, encantar, molestar, interesar, importar, fascinar, aburrir, cansar, agradecer etc. - use indirect objects, so it’s important to know how they work and why.
Would you be willing to share some of your thoughts about Yuri's motivation over the rings, at least? I'd be curious to read your thoughts especially since that scene in particular has a lot of cultural terminology and background that doesn't translate perfectly for International audiences to begin with.
This is a hard one because, as you wrote, I think there are cultural differences especially regarding the concept of “omamori” (protective charms).
First of all it would be very useful to read this interesting and complete post about “omamori”. Although regarding the part about the rings being round and that symbolizing a bond I’m not sure, I think that might be reading too deeply. At the end there’s also my comment on the meaning of the word “omajinai”, which is also not that easy to translate…
This said, the rest under the cut. Of course this is just my personal interpretation based on the Japanese dialogues in the anime and partly on interviews (I think it doesn’t even clash with the “soulmates” thing in the interview from CREA). All quotes from the dialogues are translated by me and do not use the English sub/dub. I am translating “omamori” as “protective charm”.
Warning: it’s kind of long and has pictures because if I don’t explain it thoroughly it might be hard to get my point across.
I was talking with @tinkdw about the significance of the emphasis on Sheriff Christine’s mug, and I realized it reminded me of the baby monitor on Mary’s nightstand at the beginning of the pilot. The camera work is similar - the object is framed on the right of the woman’s hand, in-focus, then it goes out of focus as the focus goes to the background.
I’m not going to gif the entire scenes, but we know how they go - both the Sheriff and Mary go to investigate flickering lights through a corridor, and enter the room where their sons are with a supernatural, yellow-eyed creature (and eventually both women get shoved respectively against the vending machine and the ceiling), but while Mary finds Sam with Azazel, who is feeding her son demon blood, the Sheriff finds her son with Jack, who is sharing candy with him. Azazel is ‘contaminating’ Sam with his cursed blood and kills Mary, Jack is having fun with Clark and only becomes aggressive without meaning to when Christine touches him while he’s having a sensory overload-induced meltdown.
Basically Jack is a cutie pie, and the poster behind him probably summarizes his arc - crime doesn’t pay. He’s going to learn to be a good guy, because he’s inherently a good guy.
cosmic witchcraft 101: how to write stellar spells
There’s a lot to consider when you’re writing any spell, but cosmic witchcraft requires being in tune with the night sky in a way most of us aren’t used to, thanks to light pollution. These are a few of the questions I ask myself when I’m writing my spells and some solutions if your stargazing conditions are less than optimal.
What goal do I hope to accomplish/What is my intent?
What stellar objects (stars, planets, constellations, nebulas, galaxies, and other deep sky objects) have properties/energies that correspond with my intent?
Do I want to work with a stellar object that’s traditionally associated with my intent, or do I want to create my own correspondences?
How do I want to use this object’s energy?
Do I want it to charge/enchant an object like a spell jar or a crystal pouch?
Do I want to use it for meditation/astral travel/divination?
When will the object be visible in the sky?
You can find out when planets and major stars/constellations will be visible with a quick Google, but if you’re working with specific nebulas, galaxies, or other deep sky objects, you may need an astronomy app such as:
Star Walk 2 (you have to buy upgrades to see some things)
Stellarium (Stellarium is my favorite and it can also be downloaded to your computer for free!!)
Do I need to see the object to work with it?
For example, certain stars may not be visible in your part of the sky (i.e. Southern hemisphere witches and the North Star), it may be perpetually cloudy where you live, or you may live in an urban area with too much light pollution to see much of anything. Here are some options for situations like these:
Draw energy from the object even though you can’t see it - it’s still there, it just might require a little more effort down on Earth
Choose a different stellar object with similar properties that will be visible when you cast your spell
Tech witches may even be comfortable using software like Stellarium in place of viewing the object directly
How do I want to connect with the sky’s energy?
Stargaze with or without binoculars/telescope
Organize your altar to reflect the stellar object
Drink teas using herbs that correspond with your intent/the stellar object you’re working with
I really don’t understand the claims that Anne With An E is “too gritty”, or even “gritty” at all. I’m sorry, were we watching the same show? The show about a child full of sunshine and love who spreads happiness to every life she touches? (Even when she smashes them over the head with a blackboard. Even when she’s actively trying to disgust, she delights.)
Of course drama was heightened in places, and emotive storylines added in. Each episode needs its own contained storyline, as well as furthering the characters’ overall arcs, that’s just… that’s just what episodic storytelling is. Were these critics expecting a word for word enactment of every chapter of the original work, including ones where the entire action consists of Anne monologuing and Marilla throwing in a few dry remarks?
There are audiobooks for that, folks. Don’t watch an adaptation expecting no level of adaption. It’s like putting on a scarf and then getting mad when your neck gets warm.
The so-called “grit” is largely historical realism, and the book has tonnes of that?? It’s not a book about happy events strung together in a happy life, it’s about happiness despite past pain, despite poverty and loss. The type of happiness the Cuthberts didn’t even know they were missing until Anne came into their lives.
Real organic happiness. The show captured that. Get your heads out of your asses.
Don’t call things ‘overly gritty’ just to prove you were Here First. That’s such a tired cliche that rests on the assumption that just because older media, by necessity or reluctance, veiled some aspects of the subject material, it must automatically be better. Some modern adaptions are better, some are worse, some are objectively similar in quality than what came before, or what they’re based on. They all deserve to be judged on their own merit, gosh.
Anne With An E isn’t some dark thriller reimagining (although Anne would have LOVED that, c'mon) and it’s saturated with nostalgia for the book. Calm it with the grit accusations, concentrate on the flower crowns.
My Wing-its are open again! And just FYI my normal commissions are closed for the time being.
FAQ LITE See >here< for what a Wing-it is. The same rules as my >normal commissions< apply here. What counts as “outright pornography” and why none of it?For me; my definition for this is graphic sexual content that includes penetration of an orifice with a penis or similar phallic object. And the depiction of aroused genitalia. I won’t be doing any right now due to my home situation and a lack of privacy I have to produce such works with ease.
Same as before 10 slots are available and I’ll update this post so remember to check the original/source for slot availability!
Lesson 9: Past tense 았/었어요, irregular verbs/adjectives, “also”, and making negative sentences.
In lesson 8 we had a look at conjugating sentences in the informal polite present tense. Today we’re going to have a quick look at the informal polite past tense. The informal polite past tense can indicate an action as well as a state of being. The rules for past tense conjugation are the same as for the present tense.
If the final vowel in a verb stem is 아 or 오, then 았어요 is added to the verb stem.
살다 (to live)
살 + 았어요 = 살았어요 오다 (to come)
오 + 았어요 = 왔어요 (오 + 았 = 왔) 가다 (to go)
→ 가 + 았어요 = 갔어요 (가 + 았 = 갔)
If the final vowel in a verb stem is a vowel other than 아 or 오 then 었어요 is added to the verb stem.
Now let’s take a look at some irregular verbs/adjectives. Some verbs and adjectives change their stem spelling when certain endings (such as 아/어요) or conjugations are applied to them. Some verbs and adjectives that have irregular forms are ones with stems ending in ㄷ, ㄹ, ㅂ, ㅅ, 으, and 르. Today we’re going to have a look at 으 verbs/adjectives only. Other irregular verbs will be covered in a later lesson.
If the final vowel of a verb stem is 으, the 으 is dropped entirely when the verb is conjugated, and the next to last vowel is used to determine spelling instead.
If the vowel before 으 is 아 or 오 then 아요 is added.
바쁘다 (to be busy)
바쁘 + 아요 = 바빠요
레오 씨가 바빠요. (Leo is busy.)
If the vowel before 으 is a vowel other than 아 or 오 then 어요 is added.
예쁘다 (to be pretty)
예쁘 + 어요 = 예뻐요
채연 씨가 예뻐요. (Chaeyeon is pretty.)
If the verb stem is monosyllabic, 어요 is added.
쓰다 (to write)
쓰 + 어요 = 써요
→ 켄 씨가 버스 번호를 써요. (Ken writes the bus number.)
What if you wanted to make a negative sentence? There are numerous ways in Korean to make a sentence with a negative connotation, but in this lesson we’re going to be looking at one of the easiest and most common ways a sentence can be made negative using the adverb 안 (not).
Placed directly before a verb or adjective, 안 is used to express negation.
안 + verb = 레오 씨가 오늘 회사에 안 가요. (Leo isn’t going to the office today.) 안 + adjective = 그 옷이 안 예뻐요. (Those clothes aren’t pretty.)
For verbs that end with 하다, the 안 is placed between the noun and 하다.
noun + 안 + 하다 = 홍빈 씨가 공부 안 해요. (Hongbin doesn’t study.)
Now let’s take a look at how to express similarity using the subject/object marker 도 (also, too). There are multiple ways to do this, but using 도 is one of the easiest.
Original sentences: 켄 씨가 치킨을 좋아해요. 레오 씨가 치킨을 좋아해요. (Ken likes chicken. Leo likes chicken.) While these sentences are grammatically correct, it is much more natural when speaking this way to say that Leo likes chicken too.
Using 도: 켄 씨가 치킨을 좋아해요. 레오 씨도 치킨을 좋아해요. (Ken likes chicken. Leo also likes chicken).
Keeping everything we covered today in mind, can you understand the following? :)
켄 씨가 피곤해요. 학교에 안 갔어요. 켄 씨가 공부 아 해요. 오늘 레오 씨도 학교에 안 갔어요. 레오 씨가 바빴어요. Ken is tired. He didn’t go to school. Ken doesn’t study. Today Leo also didn’t go to school. Leo was busy.
so here’s another 漫画 vocab post. the unfortunate thing about my 漫画 vocab lists is that I never remember to write down the name of the 漫画 but this time I’m 98% certain this is from one punch man so yeah enjoy
振动 zhèndòng to vibrate, to shake, vibration
巨大 jùdà huge, immense, enormous
响声 xiǎngshēng noise
不断 bùduàn continuous, unceasing
袭击 xíjī attack (especially a surprise attack), raid, to attack
大爆炸 dàbàozhà Big Bang
规模 guīmó scale, scope, extent
扩大 kuòdà to expand, to enlarge, to broaden one’s scope
整 zhěng whole, entire
座 zuò measure word for buildings, mountains, and similar immovable objects
简直 jiǎnzhí simply, at all
正义 zhèngyì justice
执行 zhíxíng to implement, to carry out
使然 shǐrán (literary) to make it so, to dictate
英雄 yīngxióng hero
乱七八糟 luàn qī bā zāo everything in disorder, in a hideous mess
设定 shèdìng setting, to set up
产生 chǎnshēng to come into being, to bring into being
疫苗 yìmiáo vaccine
只不过 zhǐbuguò only, merely, nothing but
侵蚀 qīnshí to erode, to corrode
病原菌 bìngyuánjūn a pathogen, bacterial pathogen
而已 éryǐ that’s all, nothing more
抹杀 mǒshā to erase, to expunge, to obliterate evidence
“Through a rapist’s eyes. A group of rapists and date rapists in prison were interview…ed on what they look for in a potential victim and here are some interesting facts:
1] The first thing men look for in a potential victim is hairstyle. They are most likely to go after a woman with a ponytail, bun! , braid, or other hairstyle that can easily be grabbed. They are also likely to go after a woman with long hair. Women with short hair are not common targets.
2] The second thing men look for is clothing. They will look for women who’s clothing is easy to remove quickly. Many of them carry scissors around to cut clothing.
3] They also look for women using their cell phone, searching through their purse or doing other activities while walking because they are off guard and can be easily overpowered.
4] The number one place women are abducted from / attacked at is grocery store parking lots.
5] Number two is office parking lots/garages.
6] Number three is public restrooms.
7] The thing about these men is that they are looking to grab a woman and quickly move her to a second location where they don’t have to worry about getting caught.
8] If you put up any kind of a fight at all, they get discouraged because it only takes a minute or two for them to realize that going after you isn’t worth it because it will be time-consuming.
9] These men said they would not pick on women who have umbrellas,or other similar objects that can be used from a distance, in their hands.
10] Keys are not a deterrent because you have to get really close to the attacker to use them as a weapon. So, the idea is to convince these guys you’re not worth it.
POINTS THAT WE SHOULD REMEMBER:
1] If someone is following behind you on a street or in a garage or with you in an elevator or stairwell, look them in the face and ask them a question, like what time is it, or make general small talk: can’t believe it is so cold out here, we’re in for a bad winter. Now that you’ve seen their faces and could identify them in a line- up, you lose appeal as a target.
2] If someone is coming toward you, hold out your hands in front of you and yell Stop or Stay back! Most of the rapists this man talked to said they’d leave a woman alone if she yelled or showed that she would not be afraid to fight back. Again, they are looking for an EASY target.
3] If you carry pepper spray (this instructor was a huge advocate of it and carries it with him wherever he goes,) yelling I HAVE PEPPER SPRAY and holding it out will be a deterrent.
4] If someone grabs you, you can’t beat them with strength but you can do it by outsmarting them. If you are grabbed around the waist from behind, pinch the attacker either under the arm between the elbow and armpit or in the upper inner thigh – HARD. One woman in a class this guy taught told him she used the underarm pinch on a guy who was trying to date rape her and was so upset she broke through the skin and tore out muscle strands the guy needed stitches. Try pinching yourself in those places as hard as you can stand it; it really hurts.
5] After the initial hit, always go for the groin. I know from a particularly unfortunate experience that if you slap a guy’s parts it is extremely painful. You might think that you’ll anger the guy and make him want to hurt you more, but the thing these rapists told our instructor is that they want a woman who will not cause him a lot of trouble. Start causing trouble, and he’s out of there.
6] When the guy puts his hands up to you, grab his first two fingers and bend them back as far as possible with as much pressure pushing down on them as possible. The instructor did it to me without using much pressure, and I ended up on my knees and both knuckles cracked audibly.
7] Of course the things we always hear still apply. Always be aware of your surroundings, take someone with you if you can and if you see any odd behavior, don’t dismiss it, go with your instincts. You may feel little silly at the time, but you’d feel much worse if the guy really was trouble.
FINALLY, PLEASE REMEMBER THESE AS WELL ….
1. Tip from Tae Kwon Do: The elbow is the strongest point on your body. If you are close enough to use it, do it.
2. Learned this from a tourist guide to New Orleans : if a robber asks for your wallet and/or purse, DO NOT HAND IT TO HIM. Toss it away from you…. chances are that he is more interested in your wallet and/or purse than you and he will go for the wallet/purse. RUN LIKE MAD IN THE OTHER DIRECTION!
3. If you are ever thrown into the trunk of a car: Kick out the back tail lights and stick your arm out the hole and start waving like crazy. The driver won’t see you but everybody else will. This has saved lives.
4. Women have a tendency to get into their cars after shopping,eating, working, etc., and just sit (doing their checkbook, or making a list, etc. DON’T DO THIS! The predator will be watching you, and this is the perfect opportunity for him to get in on the passenger side,put a gun to your head, and tell you where to go. AS SOON AS YOU CLOSE the DOORS , LEAVE.
5. A few notes about getting into your car in a parking lot, or parking garage:
a. Be aware: look around your car as someone may be hiding at the passenger side , peek into your car, inside the passenger side floor, and in the back seat. ( DO THIS TOO BEFORE RIDING A TAXI CAB) .
b. If you are parked next to a big van, enter your car from the passenger door. Most serial killers attack their victims by pulling them into their vans while the women are attempting to get into their cars.
c. Look at the car parked on the driver’s side of your vehicle, and the passenger side. If a male is sitting alone in the seat nearest your car, you may want to walk back into the mall, or work, and get a guard/policeman to walk you back out. IT IS ALWAYS BETTER TO BE SAFE THAN SORRY. (And better paranoid than dead.)
6. ALWAYS take the elevator instead of the stairs. (Stairwells are horrible places to be alone and the perfect crime spot).
7. If the predator has a gun and you are not under his control, ALWAYS RUN! The predator will only hit you (a running target) 4 in 100 times; And even then, it most likely WILL NOT be a vital organ. RUN!
8. As women, we are always trying to be sympathetic: STOP IT! It may get you raped, or killed. Ted Bundy, the serial killer, was a good-looking, well educated man, who ALWAYS played on the sympathies of unsuspecting women. He walked with a cane, or a limp, and often asked “for help” into his vehicle or with his vehicle, which is when he abducted his next victim.
Send this to any woman you know that may need to be reminded that the world we live in has a lot of crazies in it and it’s better safe than sorry.
If u have compassion reblog this post. ‘Helping hands are better than Praying Lips’ – give us your helping hand.