always sideways

I didn’t think I was underrating Harry before — I always looked sideways at the critics who didn’t get his old band — but I have to admit I never expected this. The persona he gives us here feels so complete and distinct, developing hints dropped on 1D album cuts into a fully realized character you want to meet in the hallway and ask for a hit of whatever he’s on. He’s strung out on the 20th-century rock canon, mainly, as you’ve all noted — madly in love with The Beatles and The Stones, ready to make some noise in a hotel room but even more stoked to get bittersweet and acoustic afterward. And while he clearly wants his solo debut to be a major statement, he’s also smart enough not to get lost in the ego traps that snare some other male pop stars on their way there. It’s the little details that make these songs work: I like how he ends the refrain of “From the Dining Table” with a half-sighed “by the way,” trying to sound casual but only making it clearer how hurt he is. And I love it when he lists “she’s got a book for every situation!” as one of his crush’s top three most alluring qualities on “Carolina.” There’s something so charming to me about how giddy he is to be hanging out with someone more well-read than he is (that’s how I hear that line, at least), and it speaks to the album’s underlying generosity.

I was told in no uncertain terms that the Abbey wasn’t where I was meant to end up. It’s just a step along a path. You know, god allegedly has bigger plans for me.
Something tells me you don’t entirely believe that.
I suspect that’s because I don’t.
Well, maybe they’re right. I mean, just think, if you hadn’t got fired we wouldn’t have met.

anonymous asked:

T'challa and Bucky doting over Tony pls,,, with cheek kisses and surprise hugs and cuddling together on the couch,,,they both want Tony to sit on their lap so Tony always ends up sitting sideways so he's on both of them

All the softness I could have ever wanted *sighs contently* I can’t really think of a full scene right now, but here’s what I think (some of them are probably classics by now but there’s a damn good reason for that and, more importantly, I don’t care):

  • Tony always sleeps in the middle. It works well, because his boyfriends prefer being able to get out of the bed in half a second–and keep Tony from running off to engineer in the middle of the night–and Tony just feels so much safer when he’s surrounded by their warmth.
  • Bucky loves massaging Tony. It started out as more of a therapeutic activity–doing something with his hands that’s not killing, and all that–but he’s not just getting pretty good at it, now he also genuinely enjoys it. Especially with how easily Tony melts into his touches, and how often he really needs one, with all those hours spent bowed over papers and projects.
  • T’Challa loves doing all these small, affectionate gestures that make Tony flush and say crude things to distract everyone and himself from how touched he is. He likes kissing Tony’s fingers when he hands him stuff, likes placing butterfly kisses all over Tony’s face, likes to press their foreheads together and simply breathe the same air, likes to embrace Tony whenever possible (and appropriate) (and sometimes when it’s not too)
  • The wars over who’s lap Tony sits on are legendary. No dirty trick is too low. And you better believe that the rest of the team frequently bets on the outcome. Until Tony finds out about it and promptly sits on Clint’s lab for a week. (They are a lot more subtle after that.)
  • When one of them is gone, he always comes back bearing gifts. It doesn’t matter whether it was un undercover mission in Austria, a business meeting in Japan, an important political gala in South Africa. They always come back with something small for their lovers (and often manage to call in between, but don’t tell Fury)
WWRD 03: Freedom Doesn’t Exist

Originally posted by princeuji

→ angst, implied smut, vampire/war!au
→ when a forbidden relationship between the general’s daughter and a vampire used as a military tool takes place during the war.
prologue: “I know” | 01 I swear on my honor | 02 “Marry me” [M] | 03 Freedom doesn’t exist | 04 On the Other Side

And he will make the face of heaven so fine
That all the world will be in love with night
And pay no worship to the garish sun.

A/N: I should be studying for chem but this happened! ASFAEFflkj ENJOY

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A Little Fall of Rain

A/n: I would say that I am sorry, but I am actually really not. Inspired by A Little Fall of Rain from Les Miserables.

Tagging: @kamuithedragonlord, @birbs-and-the-bat, and @cait-writes-stuff

“Why do the good jobs always go sideways?” Jason fumed as he led the way out the back door. They had been trying to finish a deal and get the cash they were owed, but it appeared someone had gotten there first.

The messenger was dead and the cash was nowhere to be found.

“Probably has something to do with all the bad karma.” Y/N said dryly. She nudged the body out of the way as she walked out of the room.

Jason huffed a laugh before turning to face her. “Bad karma my ass. The universe has been out to get me since I was born.”

“Aww, poor baby.” Y/N mocked. She was smiling at Jason when suddenly her face went pale. “Look out!” She shouted as she pulled him out of the way. He was startled as he turned to find the assassin who must have killed their delivery guy.  He thrusted a sword into Y/N’s abdomen before Jason could react.

Jason screamed and shot all his rounds at the guy’s head. The man managed to dodge all the bullets and made his escape into the night.

Jason turned to see his best friend lying on the ground, sword still protruding from her stomach. He got on his knees, taking off his helmet and throwing it off to the side as he cradled her as close as he could without moving the weapon. He reached for his phone to call anyone who could help.

“They aren’t going to get here in time, Jaybird, and you know it.” Y/N whispered.

“Don’t say that. You are going to be just fine.” Jason said as he dialed the number. Y/N reached up and took his phone from him.

“Aw, Jason, you like to pretend you are so cynical, but you are really so hopeful, my little optimist.” Y/N laughed and coughed. “Oh, laughing makes it hurt. Don’t let me laugh.”

Jason smiled and brushed some of the hair away from her face.

“You know, I was hoping I would get to tell you this under completely different circumstances, but if this is my only chance then I guess I have to take it.” Y/N took as deep a breath as she could. “I love you. I love you more than I have loved anything in my entire life and you have made me so happy just by being with me.”

Jason started to cry as Y/N brushed the hair back from his face. “I want you to do something for me. Can you do something for me, please? It is so important.” He nodded quickly and clutched her hand to his face. “Don’t go dark again. The light in you, the part of you that I love and I know to some extent loves me back, don’t let it go away. It is gonna hurt, darling. I know it will. It hurt when I heard you died so I know, but you gotta keep strong for me, okay?” He nodded again and kissed the back of her hand. He could feel the tears coursing down his face, despite Y/N’s best efforts to wipe some of them away.

“I don’t have a lot of time left, Jay.” Y/N said as she finally broke down crying. “Tell Roy and Kory I am sorry. They will probably blame themselves for not working this job with us, but that can’t really be helped now so no wasting time on those sort of shit thoughts.”

Jason just shook his head as tears continued to pour down his face. “I love you, Y/N. And I am so sorry I couldn’t prevent this.”

Y/N smiled weakly. “I know you do. This isn’t your fault. I pulled you out of the way, remember? My stupid need to protect you no matter what is what caused this.”

Jason was about to say something when Y/N coughed again. “Well, Jay. I’ve said my goodbyes so I guess it is time for me to go.” She rasped, the light beginning to fade from her eyes.

Jason leaned down and pressed his lips to her forehead. He felt her hand come up and cup his face before falling limp back to her side. Y/N sighed deeply and closed her eyes.

Jason very carefully laid her body back down on the ground. He brushed the hair away from her face before standing up. He put his helmet back on and reached for his gun. Y/N had told him not to go dark, but you can avenge the love of your life and stay in the light, right?

Removed the newspaper headline from the WAR! update picture, leaving a fairly blank slate behind.

Feel free to use and go wild with.
Harry Styles, The Album: An MTV News Reaction Roundtable
Our critics meet to discuss Harry’s power ballads, sweet creatures, and new directions
By MTV News Staff

(A very long but so very beautiful article about Harry Styles)

MTV News contributors across two hemispheres gathered this weekend to discuss Harry Styles’s self-titled debut album. The verdict: We love it! At least, most of us do. Read on for much more, featuring words from Brodie Lancaster, Sinead Stubbins, Jessica Hopper, Anne T. Donahue, Hilary Hughes, Erica Futterman, Meredith Graves, Charles Aaron, Hanif Willis-Abdurraqib, and Simon Vozick-Levinson.

Lancaster: I’ve been listening to the record all day and am only just now coming to terms with how much of an outlier “Sign of the Times” is. As a single, it suggested so much about the moody, apocalyptic potential of Harry’s first post-1D music, but in the context of these horny journal entries, it seems like such a strange song to peg the record to. It still feels just as volatile and tender as when I first heard it, but in between one song about hanging out in a hallway (of which there are two on Harry Styles) and the bluesy “Carolina,” it makes it seem like Harry is curiously experimenting more with genre than he’s done since the first couple of 1D records (neither of which he had much — if any — creative control over). I love that feeling of experimentation I get listening to this record — especially since I heard he cut, like, 50 tracks from the long list of potential inclusions.

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If you ever find yourself handling blue dollars, it may already be too late.

I don’t have a gambling problem. That’s the first thing I want known. It’s also what they all say, right? No, I’m not addicted to gambling, but I have a co-dependency issue with someone who is.

I’m not the coolest guy on the block, and I’m not particularly good at anything. Ted is, though, and we’ve been best friends since we were four. He’s the one who always pushes forward blindly into adventures, and I guess I’m the one who always gets him back out when things go sideways. There’s always been an element of luck to our continued physical and financial survival, but never more than now.

We’d flown out to Napa Valley for a friend’s wedding—and already ditched the reception party at around eleven. I could hardly afford to do anything; I’d only been able to come because Ted had bought me a ticket. Because I was only there on his generosity, I followed him to the quiet and rather empty bars that sparsely dotted the area. It was beautiful country, filled with vineyards and history, but it was not a party town. This frustrated Ted, of course, who began plying locals with drinks in order to interrogate them about local hotspots. “Somebody has to be having fun in this town,” he would say with a grin.

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Did someone say kid!Crash doing martial arts?? 😅 Have a taunting cutie who can beat anyone up. I finally had enough diamonds to buy the quest and he’s just to precious. I wanted to take a quick break from requests and do my own thing. I haven’t drawn traditionally for nearly 3 weeks. It feels so weird but I’m gonna get back into my mojo one day.

anonymous asked:

For the supercorp headcannon let's get on with the angst: who has more nightmares? Who usually comforts who? How the Danvers and the Kents take a Luthor?

omg i am so excited i have so much angst in my soul and so much angst for these two lil nerds

  • SO i would say kara probably has more nightmares but lena generally has more intense ones??  
    • this isnt to say that kara’s are not fucking intense and terrible and usually involve, you know, the destruction of her planet, culture, family, etc, but she’s had them for what’s going on 10+ years and while she used to wake up screaming in the beginning (which, tbh, is a big reason why alex became so incredibly protective over her, even when she resented her existence, bc she was this little girl that was so far from a home that didnt even exist anymore and she was crying and scared and alex is a giant softie so of course she got up and got into kara’s bed, curled around her and stayed awake, vigilant until kara was asleep again, anyway that was off topic i just have a LOT of emotions about the danvers sisters)
      • but like its been years and so she’s sort of used to them??  and unless it’s particularly bad, she usually just wakes up a little shaken or sad but its manageable
        • that said, lena’s particularly attuned to kara bc kara often wont verbalize whats eating away at her??  she’s so used to putting on a brave face and closing off whatever anger or sadness or doubt she has and she wont saying anything so lena’s learned to catch onto the minutiae, the tiny shift of expression, the deep sadness in those blue eyes before its shoved back.  so she usually wakes up with kara, and even though she’s not always one hundred percent coherent she’s usually with it enough to figure out whats happening and pull kara against her, ground her, land a sleepy kiss to her cheek or temple
    • lena on the other hand, has not had 10+ years to adjust and the nightmares are a pretty recent development, often centered around thinking she’s got lex back on her side again only to have him kill her, or her have to kill him, or the worst yet, developed only after learning about supergirl, being somehow manipulated into killing kara herself (those are…..the Worst tbh).  she usually wakes up crying, though there have been a couple times when she’ll wake screaming and she’s so used to self soothing, to just shaking and rocking until she’s calm enough to get up and make herself some tea and down some ambien, its honestly a little bit of a shock the first time kara is around for one of these nights and she’s so worried about lena, sitting up in a blink of an eye and sort of–she doesn’t want to make it worse by holding her if she doesnt want to be touched and lena’s not really??  talking???  and kara doesnt know what to do, doesnt know how to make this better for her and she feels so incredibly helpless
      • in the end, she sort of just stays with her, just so she’s not alone until lena sort of collapses against her, crying so hard that she’s shaking and kara takes that as her cue so she wraps her arms around her and channels a lil alex and stays awake until lena’s calm, until she’s asleep again and then she stays awake past that, not sure what to do if it happens again
        • they talk about it the next morning, after lena’s cancelled her meetings and stumbles out looking like death and kara’s still got a worried look on her face even as she sets down a smiley face pancake in front of lena when she sits at the kitchen island
          • like……dont look at me bc im totally NOT crying over the thought of lena looking incredibly small, the smallest she’s ever seemed to kara, and her trying to explain what happened, trying to explain that they just happen sometimes and that kara shouldnt worry and kara like aggressively worrying and just asking what she can do to make it better when lena wakes up like that
  • a lot of the time its lena comforting kara, like she has a lot going on you know?  like she’s desperately trying to balance being supergirl with maintaining some semblance of a normal life and on top of that she’s constantly reminded of the fact that she is the only living being that still remembers krypton, that carries the history, the traditions, the culture, the language with her because while kal-el knows a bit here and there, he never lived it, never went to the festivals, never watched it die and there is no one that can relate to that, that can relate to the very specific pain of being 13 and watching everyone and everything you love die AND THEN not even being able to carry out the last thing your mother ever told you to do like kara carries so much guilt and she rarely vocalizes it and even then its never exactly about it, always by proxy, some sideways way of approaching it
    • she normally breaks down in front of alex, her go-to, her rock, but then alex is happy for once and kara can’t–kara won’t take that away from her, refuses to weigh her down with this when she knows she’s the reason it took this long for alex to look so free so she buries it deep and this goes on for months and then she has this one awful day where snapper is on her case about something that isn’t even in her control and she was looking forward to her date with lena that night when, of course, supergirl duty called and she cancelled and the alien’s just a fuckin jerk ok, just a jerk that liked to blow shit up and kara’s tired, she is, she just wants to feel okay for a little and she’s reached a point where she’s not sure if that means she wants to be kara zor-el or kara danvers but splitting the difference is hurting more and more each day and she just wants to feel okay
      • she flies to lena’s after the debrief at deo hq.  it’s nearly one and most of the lights are off when kara lands on the balcony but she also knows that lena’s first meeting isnt until the afternoon tomorrow and she also knows that she doesn’t think she can handle going back to her empty loft tonight
        • she also knows that when she doesnt stay the night, lena sleeps with her phone on the bed and lena actually picks up on the first ring which means she’s either still up working or has just finished and kara can barely tell her im on the balcony, it’s chilly, please come let me in and then she’s crying and lena doesn’t hang up, kara thinks, but then she’s at the top of the stairs, jogs down them and unlocks and slides the glass door open and then kara’s falling into her arms and lena holds her for a moment before she’s guiding her up the stairs and leaving her at the foot of her bed while she stacks her papers haphazardly and dumps them onto her dresser and later kara will think that that’s probably the biggest sign that lena cares for kara as much as kara cares for her, but then lena’s pulling back the covers and following kara when she climbs in, pulling her back against her chest and just letting her cry it out
          • i’m tired, she whispers later.  i’m just so tired.
          • then sleep, love, lena murmurs back.  i’m right here.
            • kara wakes up sometime long past when she should have.  lena’s still there, holding her, and she murmurs when kara starts to sit up i called snapper and told him that i’d offered you an exclusive on the new tablet we’re putting out, she yawns.  and that you’d be sitting in on meetings for the next week.
              • lena
              • you need a break
                • which, well, true
    • and this isnt to say that kara doesnt spend just as much time taking care of lena, but the way lena views it, she has a therapist that she pays good money to listen to her and, like, she can actually talk about things without any sort of cover story in a way that kara can’t outside a select group of people and lena is honestly just glad that she’s part of that select group and maybe that means she announces a couple of pieces of tech a little earlier than initially intended, it still fucks with apple pretty well
  • HOO BOY OH MAN OH GOD OKAY so the danvers handle it with relative grace, they really do; alex gives lena the shovel talk and, quite honestly, so does eliza, but kara’s happy and safe and that is their first and foremost worry, really, so when it becomes clear that lena is just as committed to that ideal, just as willing to prioritize kara’s well being, it’s easy enough to accept her.  it doesn’t hurt that she’s got the whole my parents never loved me! card to play, something that immediately wins over eliza ‘i’ve never met an orphan that i didnt want to mother’ danvers and lena and alex sort of bond haphazardly over That Lesbian Lifestyle and their shared drive to keep kara safe and happy
    • so while they’re wary for a bit and thoroughly vet lena, she’s eventually just kara’s girlfriend lena, rather than Lena Luthor, Sister to Lex Luthor, Daughter to Lionel and Lillian Luthor, which is???  honestly all lena’s wanted?????
    • THE KENTS ON THE OTHER HAND so honestly idk what history supergirl is working with for clark like are his parents even alive???  who knows but im going with no bc ive only ever seen man of steel and have never watched smallville and also dont care that much.  ANYWAY kara literally does not tell kal-el for the LONGEST time because she knows exactly how he’ll react and she’s not interested in having him talk down to her when she is, in fact, older than him and more than capable of making her own decisions and judging people based on merit, rather than surname.  but like…..he’s superman.  he finds out eventually.  probably by winn accidentally letting it slip (he then sends off abt fifteen thousand panicked texts to kara, all starting with IM SO SORRY HE’S JUST GOT THAT FACE AND I GOT DISTRACTED or something like it)
      • and then kara’s getting a pissed kal-el storming into catco and, well, he’s not yelling but he might as well be and kara’s eyes just about roll out of her head and she drags him up to the roof, where at least they won’t have an audience wondering why clark kent gives a shit about kara’s relationship and then kal-el’s yelling about The Luthor Family is Bad News Kara and kara’s like listen i Don’t Care (i mean, obviously she does; she knows what lex did and what that in turn did to kal-el but at the same time, he is perpetuating the same bullshit judge a book by its cover that kara has fought so hard against and he’s not even bothering to listen to her, just sort of assuming that that she will listen to him and break up with her girlfriend that she likes like a Lot, maybe even loves, and so honestly Fuck You Buddy) and it boils down to if you’re not willing to respect my ability to make autonomous decisions, then you can leave and kal-el’s like FINE and kara’s like FINE and he flies away and kara’s so angry and hurt that she spends the rest of the day in the deo training room (kryptonite off) punching everything she can
        • it is not fine at all bc while he’s got an entirely different experience from kara when it comes to krypton, he’s also the only tie she has left to her home, her family and it breaks her into too many pieces to count that he’s entirely unwilling to even consider judging lena for her own actions, or even to consider the fact that this is kara and she trusts lena with her life, her secret, and that should count for something.  lena’s particularly quiet during this time, turning it over in her head again and again, knowing exactly the weight that kara’s cousin carries for her, exactly how terrible this is for her, how it’s lena’s fault that kal-el’s not talking to kara
        • its a Bad Time, because then lena’s pulling away, putting distance where kara doesn’t want it out of guilt, but kara’s too upset to think anything but the worst and it culminates in what is actually their first fight (bc while they’ve had disagreements, disagreements have never ended with kara storming out in tears)
          • kara shows up at alex’s crying and alex’s first instinct is to murder lena luthor, her second is to hide the body, her third (and strongest) is to draw her sister into her arms and let her cry on her shoulder because everything’s just gone to shit and i dont know what to do alex, i dont know and alex’s heart is breaking and she stays with kara through the night and only leaves once her sister falls asleep, and only then to go to lena’s apartment and flashes her fbi forgery to be let up without question and then she’s banging on lena’s door shouting WHY IS KARA CRYING ON MY COUCH LUTHOR and lena answers the door looking wrecked, all red eyes and puffy face and its so obvious that she’s just as upset and alex, who will deny it vehemently if asked, has already developed a soft spot for her sister’s girlfriend, and it probably helps that lena’s first words to her are is kara alright?
          • so alex softens a little, enough to think rationally, to remember that lena is, by all evidence, absolutely whipped when it comes to kara and would never do anything to hurt her, so she asks what happened and lena looks like she doesn’t want to answer but this is alex, Super Intimidating DEO Agent And Also Sister To Supergirl/Kara Danvers and lena’s Lena Luthor, Billionaire and Survivor of Multiple Assassination Attempts, but she’s also incredibly sad and worried and scared that she’s ruined what was possibly the only good thing aside from her company so she tells alex everything and then alex is S E E T H I N G like what the fuck kent and she leaves lena, promising that talking to kara would be a good idea and calls kal-el and tells him he’s needed at the deo, to meet her in the training room
            • she greets him with a slap to the back of his head when he walks in like what the actual fuck kent, i get that you dont trust luthors, but you should trust kara of all people and his bullshit excuse gets lost somewhere in alex’s Big Sister yelling, like do you not understand how fucked up it is that you cut off the only person in the world that has any idea of what you go through just because you dont like who she’s dating and lena is not her brother, she’s not her mother or father either, she is her own person and i’m not sure if you remember, but your father in law built a death machine with the only purpose of using it to kill kara if he ever chose to, not sure if you remember that he tortured her aunt without need, not sure if you remember the hell he put kara through and you dont see her judging lois for that or cutting you off because of it and the mighty superman is reduced to a shaken ball of nerves by the end of it, suddenly realizing how shitty he was being
            • he gets to kara’s apartment just as lena does and then it’s as awkward and uncomfortable as it possibly could be and kara opens the door to find them locked in a staring match and then lena’s looking at kara and kara’s looking at lena and kal-el has to clear his throat to get them to even remember he’s there and even then just barely and he sort of mumbles out something about him being wrong, lena obviously cares about you and you care about her and im just going to butt my butt out now (at least that’s what kara garners from his stumbling attempts at an apology)
            • its never an easy topic, but its not like the kents and the danvers spend thanksgiving together or anything and it puts a strain on kara and kal-el’s relationship moving forward, something that trips lena up sometimes, makes her uncertain and worried and guilty and they struggle with that for quite some time, because lena knows that kara’s lost and doesn’t want her losing this, losing him too, just because of her; at the same time, kara’s reached a point of knowing that she’s damned either way, but even if its uncomfortable, she’s happy and lena’s happy and their friends are happy for them and that’s what matters
Defensive strikes in time and space

Liechtenauer tells us, more or less, to attack into an attack. How can this be sensible advice?

If we attack an opponents attack, there are a few ways we can defeat their threat while presenting our own.

  • Simply be stronger.
  • Simply be faster.
  • Catch them when they are weak.
  • Catch them when they are slow.

The first two options are out of the question as they are not reliable. Once you are squaring up against an opponent you can’t will yourself more strength or speed than them. However, you can make what-ever decision you like about when and how you fight. So let’s go with the second two.

First I will establish a basic principle on which we can model a strike with a sword.

Here is an animated image of Tristan Zukowski. I chose Tristan because he has a good reputation as a test cutter, so my analysis will be less questionable as his cutting form is great.

I have advanced through each frame of this oberhau and traced yellow lines along the blade of the sword on each frame. Notice how at the beginning and end of the cut, the lines are closer together, and they are at their farthest spacing along the centre-line of the cut.This should be perfectly intuitive to any fencer but I figured I would demonstrate it anyway. When a cut is thrown, the aim is for the peak of the cut’s power to be at the point the cut connects with the target - down the centre-line.

Starting from the guard, the cut must first be accelerated. Then as the cut is driven through the target, it must be again decelerated, so that Tristan Zukowski doesn’t swing his sword all the way around the back of his body like a light sabre fencer.

We can model the power curve of such a cut as a simple bell shape.

Are you still with me? Good, because that is about as abstract as this post is going to get. 

  • Sword starts slow, sword peaks in speed where you want the cut to land, sword slows down.
  • The speed and weight of the sword in motion give it force, making it more difficult to resist.
  • The sword’s weight isn’t changing during a strike, unless you can swing it so hard it disintegrates from air resistance, so we can model the force of a strike pretty reliably as just its speed.

So we already have all the clues we need. The bell curve shows us that any strike has a peak force, and is book-ended by two opportunities where it has very little force what-so-ever.

The first opportunity to overpower an opponent’s strike is as it is starting. I won’t go into detail here as striking so early is more an offensive control technique you use in close measure like a forearm slice or grapple, and this post is about defensive strikes, that subject which is surrounded by so much superstition by those who haven’t thought about it all that much.

The second opportunity comes after the strike’s force has peaked.

First, we are going to talk about time. You can see the bell-curve graph above has time on one axis. If the cut was initiated later, the maximum force would have happened later too.

This is one of the things that makes a Zornhau work - it is done in response to an incoming threat, so the max. force of the cut meets the threat some time after it’s max force has been reached.

The blue curve represents the enemy’s threat, and the green curve is the Zornhau as a defense. Assuming both fencers threw a near-identical cut, the way to ensure you overpower theirs is by making sure your sword is at its peak energy where theirs isn’t.

The Zornhau appears only as a reactive technique. It is done from the nach - and this is what makes it something more than just an oberhau. The Zornhau should be trained as the “panic parry” of a Liechtenauer fencer, but it must be done with the correct timing (basically, as late as possible without being hit)

For someone who is angered and wrathful, no other strike comes as ready as the Zornhau, because this Oberhau strikes from the shoulder to the opponent, and this is why Liechtenauer says: If someone strikes an Oberhau against you, you should strike the Zornhau against him so that your point thrusts forward quickly. - MS.3227a

Our beloved Hausbuch admonishes the Zornhau as a technique which can snap into action defensively at short notice. Elsewhere in the glosa we can see that the Zornhau is exclusively used in the nach.

Using space as well as time

So we know that we can manipulate the peak of our power-curve in time relative to our opponent’s, and hopefully gain an advantage in this way. While we do this in time, we can also work with space.

This is a little more straightforward in sources than the timing thing.

Also he means that one should not follow or step right after the strikes but always a little sideways and in a slope around, so that he gets to his flank. There he will get him much easier with any method compared to confronting him directly. - MS.3227a

Why such an emphasis on this? Well, changing the fencing-line is always good. Forcing your opponent to re-orient is a great way to buy yourself a little time, but let’s look at this purely in the context of a Zornhau and how it works as a parry.

Refer back to the introduction with the animation of Tristan Zukowski. The peak of his power curve was right down the centre-line, at the roll of tatami he was so gracefully chopping. The centre-line makes sense. It’s the point where we have the best range of motion for both our left and right arms (remember, both hands go on the hilt in longsword) and hedges our bets well for any follow up technique.

But what are the implications here? The position of a blade can also be plotted against the energy of a blade, as a bell curve just like if we were plotting against time. The longsword starts up at the right shoulder, not moving, exerting no force. It accelerates to the centre-line, where it is doing its worst, and begins to decelerate as it changes to the lower left side.

What can we do with this information? Well, our opponent has chosen the centre-line as where they’re going to put the peak energy in their cut. If our timing is off, we might catch him only shortly after he peaks across the centre-line. And if he has a habit of simply hitting harder than us, we could have a problem.

So let’s pick a different centre-line to throw all our energy into. We have two fencers here, and their cuts represented by a yellow arc, becoming red where the force of the cut is at its greatest.

If we go directly in with our counterattack, we increase the chance of our bind happening while we are both in the high-energy portion of our cut. Ideally we could time our way out of this, but it is not enough. So let’s offset our bell curve in space as well.

On the left in the image above, the green fencer has to time their counterattack perfectly to catch a weak spot in their cut’s arc. However, with an offline step, the green fencer can still push all their force through their centre line and catch the opponent after their peak.

Note that this doesn’t work unless the blue fencer has already committed to the dotted centre line. So manipulating space is a layer you must build on top of manipulating time, you can’t use one or the other - if your offline step is too soon, the opponent will simply track you around to the new centre line you created.

Note that this next passage appears within the 3227a’s gloss on the Zornhau.

Now follow this teaching and stay permanently in motion, if you hit or miss, so that one cannot comes to strikes, and always step sideways off with your strikes. - MS.3227a

If you develop a brilliant instinct for these things, you can work towards creating hard or soft binds to work from. 


Mechanical advantage in counterattacks will also come from edge alignment, body structure, and the positioning of the sword onto the weakness or strength of it. So please don’t feel as though I am ignoring those important things. When I feel like I have something useful to say about those, I will write it down.

Today brings us another new Coleman Hell tune, and you know those sideways fellas always have it in spades. Take Me Up is a new taste off the Toronto musician’s debut album Srry Bout Last Night. It’s one of his less funky tracks, but it’s still endlessly driving, uptempo, and riveting. The grooving tune is snappy and swaggering good. Srry About Last Night is slated for release on April 28th.

Made with SoundCloud



Children. They were teaching children

Rowena, Godric, Salazar; they tended to forget that. They saw young minds, young acolytes - eyes that would look up to them. Not innocence. Not childish wonder.

Toughen them, said Godric.

Make them smart, said Rowena.

And ambitious, above all, said Salazar.

But war and the real world; that was not where children belonged. Aye, they would belong one day, but it was not their part to turn them cruel, make them hard, make their eyes dart sideways always looking for ways to twist the world to further their own ends. They were to protect them. Shield them from the worst so that some good, some kindness would find its way into an ever darkening world. To give them weapons and teach them how to use them, but never tell them that those weapons were their only hope.

She’d seen in all the battles she’d rode out to just how dark the world could be. Was it not their duty to bring light into this world? To fight darkness with light; not with more darkness - with divisiveness and strife and hatred?

I will take them all, she said. 

I will protect the ones you will not. I will save them. I will give them ahome. They will be the last rays of all that is good in this world. I will teach them kindness. I will teach them loyalty. I will teach them selflessness.

I will teach them how to be the backbone, the heart of this world. I will teach them how to stand steadfast, when all hope is lost. 

I will teach them how to be human, to be more than just one single word.

No, she knew, theirs would not be an easy path, or a glorious one. They would have no songs. No great tales in books. No laurels. No consolation, no thanks.

But they would be the reason why, when the darkness finally came, all of them in all their different colours would stand shoulder to shoulder and draw their wands as brothers in arms.

Not for achievements. Not for trophies. Not for power.

For goodness. For hope.

And when the time came for them to choose the words that would forever guide the children that would come to them, Helga smiled and engraved, upon a bronze plaque, these words:

Draco dormiens nunquam titillandus.

(But her students remembered a very different set of words. Hogwarts will always be there to welcome you home.)

(Helga Hufflepuff requested by boney-eyes-jefferson)

#and this my friends is why no one is quite sure what a hufflepuff really is#the answer is: everyone #they come in a million different shapes and sizes#they could be braver than gryffindors #and more cunning and more ambitious than slytherins #even smarter than ravenclaws #but they all come to hufflepuff #and there learn to be loyal and fair and goodhearted #and that quite possibly #is why hufflepuff has hardly any dark witches and wizards #because they have learnt how to be the very last line of defence #before chaos takes over the world #and thisTHIS is the sleeping dragon you do not tickle #because if they can’t protect the earth you can be damned well sure they’ll avenge it #look i gave myself hufflepuff feels

Nighttime With You is All I'll Ever Need

Summary: Dan likes nighttime and Phil stays awake with him.  (Or three different times Dan and Phil try to explain how they love each other.)

Word Count: 1.8k

Warnings: some angst at the beginning but it gets happy!! also references to sex and a mention of depression

A/N: ahhH happy secret santa Rachel ( @phansdick )!! tbh this is my second attempt at a fic because considering you’re one of the Best writers how can i write something for you?? But here’s a little thing anyways and I hope you like it!! (also this is only part one of the gift lol there’s also a little thing here and here)

There was something about nighttime that Dan had alway loved.  He liked staying up as late as possible, up until the time when everyone else was asleep and he felt like he might be the only person still awake in the whole town.  It was then that he felt like he could finally breathe and think without everything around him being so overwhelming.  The sort of calmness that eased into his bones in the inky dark hours was something that he could never quite feel during the day.

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