Today, some of my junior high kids (class of 12/13-year-olds) were learning the phrase “doesn’t.” As an example, I accidentally-on-purpose mentioned Zoro and Sanji, i.e. “Zoro doesn’t like Sanji. Sanji doesn’t like Zoro.” The Japanese English teacher who works with me then asked the class for some other examples that might result from this situation. Examples using “doesn’t,” along the lines of, “Sanji doesn’t talk to Zoro,” “Zoro doesn’t listen to Sanji,” etc.
She said, in Japanese, to prompt them, “If Zoro doesn’t like Sanji, what could happen?”
Armsmaster Drent as basically the Gordon Ramsey of swordfighting (sorta). He yells at all the adults who are learning to fight because of their choice of career so that they learn to handle the pressure. But occasionally (rarely) he has had to teach kids (like, little 12-13 year old pre-green-riders, or students when he passed through selium or something), and he makes DAMN SURE no adults who know him are around and then he’s like, super nice and good at teaching them. He’s also pretty good with people (guards, soldiers, green riders, etc) who come back from battles with some kind of ptsd or trauma, and he just adjusts his teaching for them without saying anything.
(this is also connected to my headcanon that one of the secrets of the Black Shields is that they have excellent mental health support because quite frankly that’s part of what makes their Order so a) robust and competent and b) kick-ass terrifying)
Have you considered making a second blog where the bot posts everything that got blocked by the filters
No, definitely not. The posts blocked by the filters include racist imagery, nazi imagery (which is illegal in Germany, btw) and a lot of other kinds of shit that might be okay in a context of a wiki to teach about the past, but shouldn’t be posted to tumblr for a joke.
Signposts of questionable content, or How to Use Discernment to Interpret Metaphysical Books for Appropriation and Biases
[LONG POST] As requested by @zeddembi, and as sourced by me literally going through witchcraft, energy magic, and divination books and pulling examples as they show up. These notes are NOT conclusive evidence. They just indicate that you might want to be wary of the content’s validity.
Relies on Wicca as the primary system of interpretation. Although Wicca can be good when altered from its original state, it has a history of appropriation and restrictive thinking. Following notes labeled with [W] are issues often found in Wicca.
Enforces the gender binary of male/female to the exclusion of any other genders or gender roles. Other signposts for this issue include referring to biological sex or the “energy” of genitalia (i.e. phallic or yonic energy), which often reinforces gender stereotypes as well as implying that Western, US-centric ideas of gender roles are applicable to global individuals. [W]
High versus Low, Light versus Dark, Good versus Evil. Although not necessarily bad, these binaries are often applied in a way that can be ableist, racist, and sexist, and all in all exclusionary. Watch out for any media that implies one type of magic is inherently better than another. The magic hierarchy might not be a problem, but it’s almost guaranteed that there will be other hierarchies of power in the media that might be fueled by stereotypes and biases. [W]
The Law of Rebound. The Threefold Law. Karma. Etc. If a book states that your negative energy will come back to get you, especially about curses or hexes, odds are that it is based on a misinterpretation of the Wiccan Rede (Harm ye none) and/or the Western bastardization of Karma. Note: Do not separate the religious concept of Karma from its intended religious context. It’s not your convenient shame-tactic to throw at others. [W]
The Four [BLANK]. A personal pet peeve of mine. When a book starts to lay down the law about how a practice works by defining a limited number (usually four) of things that you must stick to or else... that’s when you need to rethink the concepts. Examples are: The Four Elements, The Four Planes, The Four Directions, etc. Keep in mind that limitations imposed by others on your practice mean that it’s no longer your practice. Define your own system.
Isolating deities from their pantheons without mention of proper religious context. For example, if a book goes out of it’s way to mention Egyptian deities without saying the words Kemetic, heka, or ma’at, it’s very likely that the author has cherry-picked the deities out of context without respect for their cultural background. Be very aware of this when it comes to deities that belong/ed to primarily POC cultures. [W]
Mention of rituals/items from closed practices. Notably: indigenous populations (Native Peoples), voudou/hoodoo, santería, shamanism (esp. Korean shamanism), Africa and the African diaspora, and traditions from closed practices – meaning groups that require initiation to learn/participate.
Mention of indigenous items, such as dreamcatchers and totems. For good measure, I recommend googling indigenous items if mentioned in a book to make sure that it’s okay for you to be using said thing/ritual. It may be totally okay in some instances, but you’re better off checking first.
Reiki and chakras, out of context from their original teachings. If a book suddenly switches from mediumship/psychic talk to the necessity of aligning your chakras… be aware. Reiki requires initiation and alignment to properly use, and chakras are specific to various South Asian religions and practices.
Rainbow color systems that adhere to a Western standard. Here’s my go-to check for this problem: If your book has a section on the energy color white, does it say it means purity and does not mention any other meanings? In Japanese culture, white signifies death. If a book on energy color correlations is inextricably tied to Western ideas of color meanings, it’s not worth listening to. The energy manipulation techniques might be valid, but I wouldn’t bother with the actual color meanings. [W]
Names of practices/exercises that use a deity’s name and an artifact. Although not necessarily bad, I’m always wary when I see exercises in an otherwise irreligious book labeled “Aphrodite’s Shell” or “Nefertari’s Crown”. It’s usually indicative of the isolating deities perk listed above.
This year we’ve begun reciting the Pledge of Allegiance in both English and Spanish, which is the home-language for most of our students. I’ve also started teaching my class how to sign the pledge in ASL. It was so neat to watch my students take the lead in teaching (and correcting!) me today as we learned the pledge in Spanish - none of them knew it ahead of time, but they picked it up far more easily than I. :) It is exciting to see them use their home languages comfortably and casually at school, and even more fun to see them take on the role of expert.
We are only half-way through the pledge - we’re still looking at the words and what it means - but I look forward to the discussions we’ll have this week about our right to choose whether or not to say it once we actually know its meaning. Discussing dissent as another form of patriotism can be a powerful and thought-provoking topic, and knowing you’re allowed to not say the pledge makes the decision to recite it more powerful as well.
I’m glad our school is reciting the pledge in both languages this year. I think it is a meaningful act considering our current political discourse.
I’m feeling proud of this, as its something different. It the love letter from that text post thing.
I’m sorry its late bubs, but it is finally done. I do hope you like it @lordavanti.
Context: you’ve been teaching Ivar how to write. But for a surprise before he leaves for raiding he writes you a letter. Showing off his new skill and his love for you.
For my Dearest Dove, Jennifer
I guess it’s about time I give
this writing a go. After all, you had tried so hard teaching me how to. I
wanted to leave you a gift. With the raid coming up, I wanted to show you that.
Even after all the arguments and frustration that I wasn’t getting it. I got it
little Dove, and I’m doing it… like you said I would.
I Just want you to know, that even
though when you see me off. My face looking still and serious. I there is
nothing more I want more. Than to have pulled you to me one more time. Whisper
how I am yours and you are mine. Reassure you that I will be coming home to
I long for the day that I can hold
your hand again, to touch you in the ways I wish to. To do as I please. Even those
you so desire. Just know that when I am home, I will be yours whole heartedly.
In the eyes of our villagers and the gods. But most importantly, in our own
eyes and our own walls.
I am longing to be able to feel
your lips to mine again, the touch of your hands on my face pulling me in to
yours. To have you sit on my lap, treat me like the man you believe me to be. I
wish to do all I can to accomplish and live up to those beliefs.
But as partners in life, I want
you to know… that I can’t wait to feel your under or on top me. skin to skin,
our bodies as one. With our clothes on the floor. Feeling your nails drag down
my body again. Letting me know you like what I am doing. To know that they’re
our secret even if the moans tell everyone.
“I think you’re leveling up right now,” Leanne says, as we are walking home from class on a cool mid-March evening. It takes me completely by surprise.
Thus far my tournaments in 2017 have led to mediocre results at best, and my sparring in class is nowhere near where I want it to be.
So, I wonder, what the hell is she talking about?
There are so many types of soreness. This is something that I become more familiar with as the time in the gym and on the training floor increases. There’s the ache of hamstrings and quads that have not been stretched properly. There’s the dull ache of the shoulders that comes when holding out Ochs or trying to build strength in my dagger arm.
Then, of course, there’s the soreness that comes from other people hitting you with swords. There are bruises in the places you expect, but then there are bruises you can’t remember getting, hits to the head that will leave your face aching for days, and hits to your hands you just pray won’t break your fingers. The gear you wear might keep you from dying, but anything more than that is just pure luck.
Yet I keep going back for more. No gain without pain, or something like that.
Slowly I start to see it, what Leanne is talking about, in class.
For the first time I consciously pull off a haupstucke technique in sparring - I know the guy I’m fighting is going to attempt an oberhau; I meet it with a zornhau and realizing that I’m not being offered any resistance, thrust straight forward.
Tim notices that I’m starting to use actual footwork when I fight him, and although I still get my ass beat every time we fight, on the whole our exchanges last longer and they don’t always end in his favor.
Slowly, I’m starting to lose the self-doubt that had been such a monster in January. Slowly, I’m starting to believe again.
I’m not sure I want to go to Shortpoint at first. Not because I don’t enjoy it, but because it’s a five hour drive each way for a one day event, which means that unless I get extremely lucky I’ll spend more time commuting to and from the event than I’ll spend actually playing with swords.
Wait. Who am I kidding?
There’s a sword event in driving distance and I have no other commitments that day. Of course I’m going.
It turns out to be some of the best fighting I’ve done not just in a while, but ever. I fight Josh and Kendrick and Nicole and George and Patrick and John (who says I’m holding center much better) and Jake (who encourages me more the longer our fight goes) and Travis and Charissa and Alex (we play around with literal spears, which is way more fun than you think it is), and in all of these fights I feel amazing.
There’s no tournament pressure here, and without the adrenaline dump the fights slow down. I can think about what I want to do and how to do it; I can figure out exactly what I’m doing in one context and teach it to others. I feel that sense of belonging, that sense that there is no reason in the entire world I cannot do this thing and I cannot be good at it, too.
When I return to training, it’s with that Drive again, that Drive I’ve so sorely missed the first few months of 2017. I know what I can do if I push myself, and I know what goals I’m setting for myself this year.
They’ll take me to Baltimore and Seattle and Sweden, but that’s okay. That’s what I want. I may not achieve what I set out to do - but I’ll be damned if I’m not going to try.
Hey hi, I was wondering if you could make some head cannons about how the Bats deal with Alfred growing old? Sorry, I've been on/off in a misery loves company mood and my grandmother's in hospice I think it really make me feel better to see Heros dealing with something similar.
Well for starters, sleep is an issue. Alfred runs the cave system most nights, and he tries to be the first one up every morning, to make breakfast and clean. Those aren’t sustainable hours anymore, so the kids have taken things into their own hands for mornings.
It took some doing. Alfred reaaaaally doesn’t like letting go of stuff like that, because he’s been working for decades, and– even though the Waynes are way more than a job at this point– he sees it as his duty. Convincing him to sleep in involved a full three weeks of waking up at the crack of dawn to beat him to the kitchen and some alarm clock sabotage. It worked in the end. Once not making breakfast became a habit, he was alright with sleeping a few extra hours.
Downside? Bruce sleeps through most mornings, which leaves Tim and Damian unsupervised. There have been incidents.
All of the kids relieve the work load a bit by asking Alfred to teach them how to do the chores he takes care of. They phrase it like “Alfred how am I ever going to survive living on my own if I don’t know how to cook?? Just let me practice for awhile, for my own growth and wellbeing,” which is…. true. But not completely transparent. They’re sneaky.
Duke is using his position as the new kid to do the same thing with the medic portion of Alfred’s job. Alfred’s much more likely to let someone else take care of it if it’s in the context of teaching, so it works well– plus stitching your family members back together for the 37490846th time is emotionally exhausting, so it relieves that pressure too.
Bruce keeps buying Alfred books. Alfred really likes to read, but he’s always claimed that he doesn’t have enough time to pursue the hobby. Now that his schedule is a little more freed up (and Bruce is encouraging him), he reads more, picks up more books himself, and is generally more relaxed. It’s good.
I was looking through the test I’m supposed to give my babies, the ones I’ve been told I cannot under any circumstances modify. For context, I teach reading remediation for ELL students. The average reading level in my high school class this year is second grade. Below are some of the questions I am supposed to ask them.
In the graphic, what detail from the photograph does the police artist
sketch fail to capture?”
“Write a paragraph that summarizes how forensic sketch artists work with
crime victims to create visuals used in police investigations.
DOES THAT LOOK LIKE A SECOND GRADE ACCESSIBLE TEXT TO YOU?
I refuse to cooperate in a curriculum that sets my kids up to fail. Challenges: I’m there for you. Scaffolding: I got you bro. Stretch for success: every damn day. But THIS? This is cruel. This is a flat out lie. There’s no way I can build in enough for my kids to learn and grow fast enough to tackle this assessment. I cannot look them in the face and tell them: Try your best and it will show. How can I celebrate their growth when the next day I’m handing them evidence of every possible way that they have failed?
If I am not given time, resources, and flexibility to support and TEACH my kids up to the level that I will be assessing them: I will quit. I will not be a part of a systemic no-win lie.
(I don’t want to quit. I love my kids. I like this program for the most part. I want to have a job. But still…..)
What's the difference in character between narrator Michael vs actual Michael (from Burn Notice)?
Well, the short answer is The Narrator isn’t Michael. Burn Notice used a third person omniscient narrator voiced by Jeffery Donovan (who also played Michael).
The basic reason to assume they’re not the same character is because The Narrator leads into things that the character does not know, far too frequently. And occasionally outright contradicts things Michael says.
Additionally, the narrator doesn’t leave when Michael isn’t present. This may seem like an odd thing to point out; but, let’s talk about what a narrator is for a moment.
Fundamentally, the narrator is the one telling you the story. This can be a character in the story, or it can simply be an impartial observer, relating information back. They can be honest, or not. They can inject their own editorializing, or not. They can be omniscient, meaning they know everything that is happening, and are privy to what characters are thinking, or not.
Even when your narrative is supposed to be impartial, you still have a non-personified narrator. And they need an internally consistent tone relaying the information back to the reader. As a writer, you get to make a lot of choices about how your narrator, functions, so let’s talk about some of those and how they work.
First and third person narrators are one of the most obvious cues as to who your narrator is. At a very basic level this is determined based on which set of pronouns your narrator uses.
First person suggests a narrator who is an active participant in the story. Often this is the protagonist, though that’s not, strictly, mandatory. Watson, for example, is the narrator of the Sherlock Holmesshort stories, even though Holmes is the protagonist. Another example would be The Great Gatsby by F. Scott Fitzgerald, where Nick Carraway is telling the audience the story of Jay Gatsby via his own personal experiences. An example of the narrator being the protagonist is J.D. Salinger’s The Catcher in the Ryewhere Holden Caulfield tells the audience his story. From Twilight to The Hunger Games many novels for the Young Adult sub-genre follow this format.
Third person puts more distance between the protagonist and the reader. It’s a barrier you can use when you want the reader to empathize with a character, but don’t want to endorse their behavior. Or when you want to create a layer of detachment between your characters and the audience.
Omniscient narrators are all-knowing. They have access to, and share information without being tied to any individual character. When this is first person, you usually end up with a narrator that’s editorializing or commenting on the events portrayed.
They can still be a character in the story. This is most common with narrators who are reflecting events in hindsight. In a memoir, for example.
Which is one legitimate read of Burn Notice; An omniscient narrator, who might be a future version of Michael Weston, recounting events that happened in the past, with access to information he didn’t have at the time.
Limited narrators are a character in the story. Strictly speaking their information is restricted to what one of the characters knows. It is possible to jump between different characters to create a larger mosaic of information for the reader. George R. R. Martin has a serious fondness for this specific approach, if you’re wanting an example.
Objective narrators are dispassionate about their characters. That is to say, they don’t care how the characters feel. They’re primarily concerned about what is happening.
Subjective narrators are more interested in what a character is experiencing. What they’re feeling and thinking.
To some extent, objective and subjective narrators are a sliding scale of what you’re priorities are. If you’re more interested in what your character is going through, you skew more towards subjective. If you’re more interested in a procedural, “just the facts ma’am,” Jack Webb approach, then you’re looking at objective.
With an objective narrator, you’re under no obligation to make them a part of the piece. They can literally simply function as an exposition dispenser, filling the audience in on relevant background context. It’s an aesthetic choice, but there’s no “in universe” justification. The narrator is there to make sure the audience understands the context of the situation. Tom Clancy, back when he was still alive and not just a brand perpetuated via editorial necromancy, was excessively fond of this approach.
For the most part, this is what Burn Notice does. The Narrator exists to explain tradecraft to the audience. It’s not a part of the story. Ultimately, there is no metafiction context, of a future Michael teaching a class on espionage. It’s just there to ensure that the show is watchable, and understandable. And when you stick Burn Notice next to something like The Sandbaggers, the reasoning becomes clear. Intelligence is a very obtuse business. People act in counter intuitive ways because it is about subverting expectations, and being a step ahead of what someone’s natural reactions would be.
When you’re writing, you pick your narrative tone, to control how your story feels, and how “close” they are to the characters. First person, subjective, will stick you inside a character’s head. However, it is you placing all your eggs on your narrator being interesting enough to carry the entire narrative on their shoulders. Third Person Limited is the middle ground between the two, and may give you opportunity to open up to other characters as narrators to provide alternate viewpoints on events. Third Person Objective can be downright clinical. Picking the right one is an important part of choosing the story you want to tell.
The Inquisitor’s Keeper, Istimaethoriel, has been installed along with a city elf and several human merchants, on the new Wycome City Council, which will rule the city fairly for both humans and elves alike.