axe falls


$849,900/8 br

Fall River, MA


“ Announcing the Maplecroft Mansion, a significant and historically important Queen Anne Victorian located in Fall Rivers’ Highlands District. The property was commissioned in 1889 by Charles Allen and sold to Lizzie Borden (and her sister Emma) in 1893 after her acquittal of the murder of her parents, a story and trial which engaged the nation. Ms. Borden lived in Maplecroft until her death on June 1, 1927. “

Be cruel to your characters.

Let bad things happen to good people. Let your characters try and fail. And try again. And fail again. Let them be betrayed in the worst possible way. Let them betray others because they have no choice. Force them into situations that make them uncomfortable. Force them to argue or fight or bargain their way out. Drive them to the brink of insanity. Push them over the edge. Take everything away from them. Let them realize what they’ve lost.

Be kind to your characters.

Let faith and perseverance win out. Let love be enough. Let the Sun dry up the rain. Give them friends who will never leave. Let someone save them before the axe falls. Acquit them of false accusations. Give them the strength to stand up again. And again. When they’ve lost hope, give them something to believe in. Remind them there’s good in the world. Remind them there’s good in them, too. Surprise them. Make them laugh until they cry. Teach them that they can’t be broken.

Most importantly: balance.

Even the darkest tragedy has its moments of light; if your reader has no hope that things will get better, if your character doesn’t learn or become stronger for their suffering, the story becomes meaningless pain. Likewise, not only is it unrealistic for a character to go through life never encountering conflict or sadness, it’s boring. Not every conflict has to be life-or-death in order to be meaningful. Give your characters and your plots high points and lows; just make it real for them.


   Gimli stared with wide eyes. `Durin’s Bane! ’ he cried, and letting his axe fall he covered his face.
   ’A Balrog,’ muttered Gandalf. […] ’
   The dark figure streaming with fire raced towards them. […] 

   The Balrog reached the bridge. Gandalf stood in the middle of the span, leaning on the staff in his left hand, but in his other hand Glamdring gleamed, cold and white. His enemy halted again, facing him, and the shadow about it reached out like two vast wings. It raised the whip, and the thongs whined and cracked. Fire came from its nostrils. But Gandalf stood firm.

   `You cannot pass,’ he said. The orcs stood still, and a dead silence fell. `I am a servant of the Secret Fire, wielder of the flame of Anor. You cannot pass. The dark fire will not avail you, flame of Udûn. Go back to the Shadow! You cannot pass.’


LOTR CHAPTERS: THE FELLOWSHIP OF THE RING - Chapter Seventeen: The Bridge of Khazad-dûm

The ranks of orcs had opened, and they crowded away, as if they themselves were afraid. Something was coming up behind them. What it was could not be seen: it was like a great shadow, in the middle of which was a dark form, of man-shape maybe, yet greater; and a power and terror seemed to be in it and go before it…The flames roared up to greet it, and wreathed about it; and a black smoke swirled in the air. Its streaming mane kindled, and blazed behind it. In its right hand was a blade like a stabbing tongue of fire; in its left it held a whip of many thongs.
“Ai! Ai!” wailed Legolas. “A Balrog! A Balrog has come!
Gimli stared with wide eyes. “Durin’s Bane!” he cried, and letting his axe fall he covered his face.
“A Balrog,” murmured Gandalf. “Now I understand.” He faltered and leaned heavily on his staff. “What an evil fortune! And I am already weary.”

anonymous asked:

What Bruce Campbell characters would you kiss?

Bless you, anon. Bless you.

The answer is … ALL OF THEM!!! Kidding. I wouldn’t kiss the surgeon general of Beverly Hills. But, I have watched so many of Bruce’s movies that it was actually difficult to narrow it down to ten.

So, here goes. I’m using pictures because some of these characters are too obscure for gifs.

1. Ash Williams (Evil Dead)

2. Brisco County Jr. (The Adventures of Brisco County Jr.)

3. Sam Axe (Burn Notice)

4. Autolycus (Hercules: The Legendary Journeys/Xena: Warrior Princess)

5. Jack Stiles (Jack of All Trades)

6. Coach Boomer (Sky High)

7. Van Helsing (Sundown: A Vampire in Retreat)

8. Jack Forrest (Maniac Cop)

9. Bill Church Jr. (Lois and Clark)

10. Virgil (McHale’s Navy)

This was way more fun than can possibly be reasonable.

@killian-morelike-killingme I know you’ll love this

Can’t wait to get my hair done today! The bottom half has leftover straight perm, the top is frizzy and curly…just a hot mess 😫 Dress: axes femme / everything else thrifted

rbssns  asked:

How would HT Sans know he fell for a human? Like how would he figure it out. Would Paps tell him or on his own?


Love and coupling don’t have a lot to do with each other for Axe. The only person he’s had anything like love for in a long time is Papyrus. Since hitting the surface he’s had a couple of flings, but never in a million years would he say he loves them. At best he’s got kind of affection for a couple of them. But that’s a long shot from love.

Honestly I can’t imagine him doing it with someone he didn’t end up spending a lot of time with, almost on accident. A friend of Papyrus. A cashier at McDonald’s. The owner of the apartment next door. 

Day to day, little interactions. He slowly gets over his initial contempt and eventually grows to admit that you’re decent company, at least. He keeps half an eye on your safety. You dying would devastate Paps. But that’s not love, is it? If he can meet every date you have with nothing more than his usual hedginess, that’s not love. If he can stand to see you talking to someone else without his theoretical insides twisting, that’s not love. Is it?

As time goes by he grows to depend on your presence, even if you don’t say a word. He touches you more readily, not invasively, but a hand on your shoulder, letting you relax against him when Papyrus invites you over for movie night. He even trusts you with the key to his place when it all becomes too much to cope with and he needs to wander off for a few days.

He finds he enjoys making you laugh. But if he mentally earmarks a few jokes to tell you later when you’re not around, so what. If he can go days without seeing you and be as fine as he ever is, that’s not love. If he can just as readily share your smiles with the rest of world, that’s not love.

One night when the nightmares get too bad he shows up at your door. Not asking for pity or anything. But without a word about it he crawls in your bed and you wrap your arms around him, listening to his breathing slowly but surely fall into a rhythm. 

When you walk in town your hand slips in his when you want him to walk a certain way. And neither of you let go for the rest of the walk.

He texts you in the dead of night with his dark humor and non sequiturs. You respond with either a joke of your own or a “go the fuck to sleep Sans”. Either way, gets a chuckle out of him.

On the days when he’s deep in the fog you learn to hole up in the kitchen and cook for him until he’s out of it, letting him nest under blankets until its ready. He never fails to thank you for this with a small gift laid in front of your door.

And the ultimate sign of trust, he lets you go somewhere with Papyrus. Without him.

You start signing off conversations with “love you”, pressing the occasional gentle peck to his teeth or cheekbone. Not making a big deal out of it. Once or twice a heated hook up at your place. He finds he sleeps better at night sharing a bed with you. Its been months since he’s had a one night stand with anyone else, and yet, he doesn’t mind.

But that… that love?

Its only years in the future when Papyrus refers to you casually as “Sans’ mate” that it even occurs to him that that’s what you might be. Somehow nothing really changes. He’s not sure he wants it too. But someday soon 

You: Should get some sleep, gotta be up for work soon. Love you




Axe: love you too

anonymous asked:

There are weapons that have spiked and nubby/non-spiked varieties, like maces, right? Some maces have sharpened points and some don't. So, what are the benefits of using one over the other?

Your talking about a morningstar, which is actually a weapon type separate from the mace. You can use fantasy author Ciarra Ballantine’s handy chart for distinguishing your bludgeoning weapons if you like, it may help you when it comes to telling the mace, flail, and morningstar apart.

As for why the spikes? All the better to bludgeon you with, my dear.

The primary use for these weapons in combat was against knights and other armored foes (though some priest orders in the Catholic church were famous for carrying them and wielding them against unarmored peasants, this is where the Cleric in DnD comes from). The basic idea is you crack the plate like a tin can, the point of a mace is to just drive force through the armor until it hits the person inside, or crushes them. The spikes add to the benefits you get off the mace. They’re for punching through the armor and into the body.

A sword can’t beat someone through their armor, it’ll damage the edge. You can pierce the armor by holding the blade of the sword in your hands and driving it in, which is the point of the estoc. Or you take the hilt and start beating on their armor with that.

A mace cuts out that middleman, allowing you to hammer someone to death and force your way through their armor. The morningstar adds spikes to that equation. So, if the mace is a hammer then the morningstar is you wanting to put a nail into someone so you’ve soldered the nail onto it to put the nails into them.

If it helps, think about it like going after someone with a baseball bat. Baseball bat is good, nails in the baseball bat is better.

The flail is the same way. You put a spiked ball on a chain and swing it about to hit people with it to bust up their armor, because you get more force from a steel ball spinning on a chain than you generate with your arm.

As for the benefits? It’s really a question of how badly do you want to fuck that other guy up, and how viciously do you want to go about it.

You can go into combat wielding a flail in one hand and a shield in the other against a knight with their sword and gain a significant advantage because it moves in directions that are difficult to counter. It generates enough force to damage both the plate and person inside.

I mean, there are other reasons why someone might choose to carry these weapons but those are some of the big ones. As a function of its design, the morningstar has a greater reach than the mace.

It’s a club, it doesn’t take that much finesse to wield in comparison to a sword and its highly effective at what it is designed to do. The bludgeoning weapons are fairly uncomplicated, though they make a big mess.

From a writing standpoint in your fiction, the maces and morningstars tend to carry some stigma in comparison to swords. They’re in the same family as the club. Basically, they’re treated as thuggish weapons. As opposed to the blade, which is a noble, elegant weapon based in skill and finesse. Its treated as less legitimate. Or, it belongs to the Crusaders and used by religious groups only.

Take these preconceptions into account when using the mace, but don’t hitch your cart to them. A character can be defined by their weapon choice, but don’t put too much stock in the conventional fictional definitions. A character who uses a mace is not necessarily a brute, just as a character who uses a sword is not necessarily a noble warrior or someone wielding a rapier having a rapier wit. Fiction and cultural motifs often have little to do with the reality of what the weapons were actually for, and end up getting it wrong more often than they’re right.

Axes also fall under another category. They’re the weapon of the savage, brutish, primal warrior, but they’re not. They’re just another weapon type. It’s a choice, a combat approach.

The sword is the weapon of kings, a symbol of civilization and nobility. The weapon of the hero. A hero who wields a sword is more noble than one who wields another “lesser” weapon type. It’s not. It’s just another approach to combat, a tool.

Understanding these stereotypes is important because they will follow you and influence you, whether you realize it or not. They’ll also influence your reader. By understanding that they’re there, you can account for them and combat them in your narrative. In ignorance, you’re at their mercy. Countless other storytellers have already laid this groundwork for you, but you do get to decide what you’ll do with it.


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“Lucky Charm!”

“…Wait, what?

“An axe! Ree! Ree! Ree! Ree!“

“Ladybug you’re going to kill us all.“

ayy have some miraculous falls!mystery twins w/ mabel ladybug and dipper chat noir