foot switch

6

Part I (Jump Identification)  ||  Part II (Jump Combinations)  ||  Part III (Spin Identification)

Figure skating jumps are identified by the way the skater takes off the ice. Here are simple ways to tell them apart, using layman-friendly terms. 

There are 6 different types of jumps (in order of base value): Toe loop (T), Salchow (S), Loop (Lo), Flip (F), Lutz (Lz), Axel (A). 

Since Yuzuru rotates anti-clockwise in the air, these examples are for anti-clockwise jumps. For clock-wise jumpers, the left and right would reversed.

EDIT: The toe, lutz and flip can look confusingly similar. Just remember, for the toe, the skater rotates away from the foot on the ice and for the flip and lutz, the skater rotates towards the foot on the ice. 

Spin Level, How Does It Work?

Hi guys, it’s been a long while but I’m finally back with the next part of this explanation series. This time, by popular demand and fueled by my own guilt from seriously neglecting spins in my tech posts so far, I’m going to talk about spin levels.

I have to fully disclose, up front, that this is a topic I hate with a vengeance. For reasons that will hopefully become clear to you through this post, them levels make my head spin (no pun intended), my stomach churn, and my eyes water. 

Before I start, I’d like to offer my thank to @fuckyeahdearlybeloved who provided a lot of helpful advice on decoding the ISU cipher on spins (seriously guys, next time you’re in the mood for a mind-twisting mystery novel, try reading that section of the technical handbook instead), plus plenty of moral support in the form of snarky comment about my masochist tendency. If you guys have more questions about spins I’d like to wholeheartedly recommend her ask box (which may or may not be cleared by the year 2092).  

Well, here goes nothing.

Now, spin levels range from B (no level) to 1 - 2 - 3 - 4. The building blocks of spin levels are the level features and that’s what we will be focusing on today. 1 feature = 1 level, so in order for a spin to achieve level 4, it must include at least 4 valid features. The ISU lists a total of 11 features any spin can have and an additional 2 specially for layback spins.

We will look at each of these features in detail.

Feature 1: Difficult variations

The ISU defines difficult spin variation as a movement which requires additional physical strength and flexibility, and has a material effect on the skater’s balance. If you recall from my previous post on spin explanation, there are 11 categories of these variations. 

Three for camel spin

Three for sit spin.

Three for upright spin.

The layback spin is in a category of its own (aptly named the upright layback), and all non-basic positions are grouped into the final category.

You’ll need to remember all of these categories while attempting to figure out spin levels, because each of these variations, when performed in 2 revolutions or more, will count as one level for the spin in which it’s included. However, throughout the whole program (short and long), each category can only be counted once. Say a skater has performed the half-Biellmann (that one Janny did in the first gif) in one spin, if they later perform the same variation, or any other difficult variation belonging to the same camel forward category, it will not increase the level of the second spin. On the other hand, if the skater performs any additional feature on top of the difficult variation (mainly applicable to feature 6, 9, and 10, which we will get to in a bit), that one can be credited for additional levels. 

Aside from feature 1, the rest of the features count strictly once per program. See, that is why I said these spin levels are icky. To determine the level for a step sequence or number of rotations for a jump, you only need to focus on that one element alone, however for spins you have to remember and discard those features that have been used in previous spins while counting the level for the current one. It’s like a convoluted game of bridge (I hate that card game too).

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The antagonist placed the protagonist’s foot gently in their lap, tweezers in one hand to pluck out thorns and other sharp things. Fingers rubbing soothingly whenever the protagonist tensed or winced at the careful healing.

“I don’t know why you insist on trying to run,” the antagonist murmured. “At best, you’re only embarrassing yourself. You’re lucky it wasn’t worse than this.”

“Keep talking and I’ll kick you.” The protagonist’s toes flexed.

The antagonist patted their ankle absently. “Kick me after I’ve done the other foot. Switch.”

Taken [Chapter 3]

Mafia!AU

Pairing: Suho x Reader

Warnings: Language; may have triggering situations including sexual situations, abuse, violence, etc.

Summary: You were just a normal girl. You were just trying to get by. Until a rather unfortunate relationship brought you to the hands of Suho, the leader of the greatest mafia in the country.


PrologueChapter 1Chapter 2Chapter 3Chapter 4Chapter 5Chapter 6Chapter 7Chapter 8Chapter 9Chapter 10
Chapter 11Chapter 12Chapter 13Chapter 14Chapter 15
Chapter 16Chapter 17Chapter 18Epilogue



“One, two, three. One, two, three.” Chen claps his hands loudly, expecting you to follow his beat. “Come on, you’re supposed to count for yourself. I’m not going to be there to count for you.”

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anonymous asked:

I've been seeing people say H&L is wayyyyyy more complex than seimei for a while now and I don't really understand what that means? So I was wondering if you'd be willing to do a comparison post? You make such lovely gifs, and your explanations are always so funny and easy to understand, so it would be nice to see the comparison!

Thank you for the kind words, and please strap in for another one of my never-ending rants. At least this time I know it’s gonna be long because this topic is of special interest to me, so I will have the foresight to make use of a read-more link :D

Okay here we go. For a start, I wouldn’t say Hope and Legacy is way more complex than Seimei, for no other reason than the fact that Seimei was already pretty much pushing all imaginable boundaries of complexity. What I can tell you about these 2 programs though, is this:

H&L is more technically and physically demanding. From base value alone, H&L is worth 103.43 compared to Seimei’s 95.79, with the main difference coming from Yuzu swapping in a quad loop for a triple loop. Base value doesn’t tell you the whole story though, because what makes H&L truly demanding is not just in how many difficult elements are included, it’s also in how those elements are distributed. See below the layout with time stamp for both programs (Tumblr doesn’t like anything but tiny text so I have a bigger clearer version of this image here):

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For @mylastvow who made my day with her comment, hope you like it!

Part 1 | Part 2

When Rosie turned four Sherlock decided to sign her up for ballet classes. They made a big to do over it and went shopping for several different leotards, tights, and tutus and one special pair of little ballet shoes. Come Monday morning, she was nervous but she hid it well as her papa got her ready for class. Her hair wasn’t quite long enough for a bun, but Sherlock put it in a high ponytail with loose curly tendrils hanging down here and there.  Once she was ready, he couldn’t contain himself. 

“We must take a picture and send it to your daddy at work.”  Rosie beamed.  She stood in first position just like her papa had shown her and left him snap a few pictures.  Sherlock sent them all to John who sent back comments such as ‘look at our little girl she’s growing up to fast’ and ‘beautiful’ as well as ‘have fun at class and behave yourself’. (The behave yourself was for Sherlock.)

Sherlock texted back and informed John he would be the model parent and honestly, John couldn’t disagree with that because when it came to parenting Rosie, he took it very seriously.

It was in the cab on the way to class that Rosie began to get nervous.  “Papa, what if everyone laughs at me or what if everyone is better than me?”

Sherlock hushed her, “Rosie, you will be just fine, all the little boys and girls coming to your class today have the same fears, but you will all start at the same pace and learn together.  There is nothing to be afraid of, and if you make a mistake, you practise it again until you get it right.  Besides, you also have a bit of an advantage, your papa can help you practise at home remember?  Papa took ballet when he was young like you.”

She giggle, her eyes going big, “I can’t imagine that.”

“Well if you like, I will give you a demonstration someday and don’t forget who showed you how to do the first position.”

“I thought you just looked that up online to make me feel better.”

Sherlock feigned surprise and then kissed her on her forehead. “And look, here we are dance class.”

Sherlock paid the cabbie and they got out of the cab and headed into the building.  Upon entering the class, they found all the parents chatting in a small group with their toddlers clinging to their legs afraid to let go.  There was only one little boy and he looked terrified.  Rosie marched over to him and said “Hi I’m Rosie, what’s your name?”

He bashfully replied, ”Evan.”

“Well Evan, you can sit next to me because I’ll tell you a secret, my papa used to practise ballet when he was our age and he says we will all learn together and have fun.”

Evan smiled brightly and Rosie giggled and Evan’s mom mouthed thank you to Sherlock and he just nodded and took a seat in the back of the room as the teacher called the class to order.

The teacher was a bright young girl who quickly took control of her class and had them stand in a circle holding hands and then sat down.  The children raptly paid attention and did as instructed as she took them through moves that had them stretch properly.

They started by sitting with their toes out in front of them and flexing their feet front and back while saying hello and goodbye to their toes which drew giggles, but it was effective. In not time they had the move down.

The next move, their feet stayed in front of them, but this time they used their arms to stretch.  She had them stretch their arms tall like they were reaching for stars and then once they had an armful she would tel them to bring them back to their chests only then to throw them up in the air again.

They moved on to to concentrating on their legs, where they put their feet together and knees out to the side and then she had them bend forward towards their feet to stretch.  After they sat back up, she had them flap their knees up and down and wave their arms and took turns asking them what color butterfly they were, Evan said blue and Rosie said purple and there were a lot of yellows and pinks and oranges from the other girls. So they had a whole rainbow.

The next stretch required them to lie on their stomachs and up with their arms while their legs and hips remained on the ground. After a couple of ups and down, they did the second part of the exercise where they were to take their right arm back and try to grab their right foot and then switch and do the left. Some children got this and some did not but the teacher assured them by practising here and at home, they would surely get it in no time.

Now they were ready for the last stretch.  They sat on their knees and curled into a small ball.  Then they stretched their body upward becoming very tall, all the way up and then back down again into a small ball.  They did this several times.

By the time she got them standing from this exercise, the kids had her complete attention and half the class had was over. She began to take them through the positions.  She ended up making it through all five with the kids mimicking her and some did well and others would need a lot more practice and then at the end of the class she finished with a few cool down stretches and released the children to their parents who had been quiet the entire instruction time watching.

Rosie grabbed Evan’s hand and ran over to Sherlock, “Papa, did you see us? How did we do?”

“The two of you did wonderful as did all of the other girls in the class.” Sherlock said loud enough so they could all hear.  He remembered back from his days of class some children didn’t get any praise because their parents didn’t care or pay attention or even stay for the lesson.

“So can we come back for more lessons?” She asked as this had been a free lesson designed to get the children interested in dance, he crouched down in front of her, “this is a commitment and you have to come to all the classes and practise the assignments the teacher gives you, this isn’t something to take lightly.”

“I know papa, I will.  I’ll come to all the classes and practise at home and you can help me when I get stuck,” and then Rosie turned to Evan. “Evan, will you be coming back?”

Evan looked up at his mum and asked if he could, “If that’s what you want honey, we can even come on the same days as your new friend here so you know someone.”

So between Sherlock and Evan’s mum, they decided Tuesdays and Thursdays at 10 worked best and signed them up.

Rosie was delighted as she was putting her coat on and telling Sherlock she couldn’t wait for her daddy to get home from work so she could tell him all about ballet class and show him some of what she learned.  Sherlock smiled at her and they walked down to catch a cab.

When they got home, Sherlock made her lunch while Rosie practised the new things she had learned in class today.

John was in for an earful when he would arrive home from work tonight.

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I know canonically Stiles and Derek have two versions of how they met up again but this is what I’m going to choose to believe. It starts off how Stiles describes it. Derek is hurt and Stiles is holding him up and carrying him to safety. Along the way Derek heals and Stiles ends up shot in the foot so they switch and now Derek is the one carrying Stiles to safety.

3

The day the word “pleasure” sprung to my mind, it was a contrarian idea, because I was having too little of it at the time. I was experiencing things through a bit of a pall of feeling quite lost. But I realized I could try to pivot away from pain and put my weight on the other foot—it was the switch that gets flicked, and some new light is shed on a situation. It just dawned on me that I might have been feeding my own fire of exhaustion and overwhelmingness, because I was investing in it. I started to think that I actually could change things by deciding to change them, and that something as ephemeral as a feeling or a mood wasn’t as uncontrollable as the weather. There have been times when I don’t get to pick between depression and resiliency, but when you have the wherewithal to try, that’s when you get stronger.

Did that more positive approach work for you?

It’s currently up for debate. I’m definitely starting to understand that whatever you do, you get better at it—but that doesn’t mean you learn how to pole vault overnight. I used to wake up at the mercy of whatever I woke up with, and now less so. But every day is still a day.

Some people seem just fine, though, don’t they? There are certain people you say this stuff to, and they’re like, “I don’t know what the fuck you’re talking about.” But others get it because they live that way a little bit, feeling like the wind is out of your sails. I remember talking about it with a friend of mine who doesn’t really doesn’t deal with this stuff, and he was like, “I don’t get it, like, I live in Berlin and in the winter it’s really brutal and I feel really shitty sometimes too.” And I was like, “OK, well imagine Berlin winter is inside your head—but it’s a sunny July morning, and you don’t have to do anything except weed your garden and make breakfast.” He was like, “Oh, that sucks!” A lot of people live that way. We don’t really name it. (Hard Feelings: A Conversation with Feist)

Trust

Here’s another part in “Our Girl”

Read “Movie Night”
Read Between The Sheets
Read Protection

Pairing: Dean x Reader x Sam (polyamorous)
Words:  2153

Warning: smut, food play, oral (male receiving)

A/N: This is an open series. You can request things for it at any time. It’ll probably be open for a while, so request away!
A/N: If you want tagged in anything, just let me know. :)

        “Trust me,” Dean had said before he and Sam had left the room. You were sitting in the bedroom by yourself. No idea what they were planning. No hints had been given. No information at all. Just that they had something planned that you needed to trust them.

           You trusted them both with everything you had, so you weren’t worried about what they were planning. You were just anxious to see what it was.

           When you heard one or both of them approach the room again, you felt a little jump of excitement in your belly.

           “Hey, Baby,” Sam walked into the room.

           “Hi, Sammy,” you looked up at him.

           “Do you trust me?” he asked, holding up a blindfold.

           You nodded, “You know I do.”

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instagram

Hey everyone !! Just wanted to say hi 👋🏽 I switched my foot jewelry from silver to gold for a lil change of pace, hope you like 😘 @iamclayporter

Made with Instagram

anonymous asked:

More smole Obi? Perhaps Cody discovering the scars left underneath Obi's feet after that whipping he suffered?

It was much too hot to keep a blanket on and most opted to just sleep in their clothes on the newest planet they were on. This included those who were in the medical tent because of the hot humid weather though both General’s had contracted some kind of airborne illness that seemed to target Force sensitive, leaving both with high fevers, sore throat, aching limbs and a heavy tiredness which made it easier for them to be stripped down.

This also left Obi-Wan’s feet exposed to those who looked as the Jedi had been stripped of all but his leggings and a medical shirt for Kix and Helix to have an easier time.

Staring at the soles of the others feet, Cody felt…

Actually he wasn’t sure what he felt.

It was a complicated mix of raw murderous rage, protective love, nauseating fear and tender worry curdling words in his stomach, making him shake with emotions and eventually Cody couldn’t help it.

He removed his glove and reached out, gently running his knuckles over the thick pink scars covering the bottom of Obi-Wan’s feet, from the heel and up to the balls though one or two of his toes also had a pinking.

They seemed faintly swollen and they were warm to touch, warmer then the rest of Obi-Wan’s foot and Cody switched to the other to check on it too.

The same thick pink scars.

They must hurt every day Cody suspected, walking around on them, putting his weight on the scars all day, everyday until they turned sore and then pained. Sitting down must be relief for his Jedi and Cody felt his heart throb painfully.

“Slavers.” A wrecked voice offered to his surprise and Cody turned quickly, looking at General Skywalker who was slowly sitting up in his bed as Kix looked him over, sweat dripping down his chest as he wore only leggings. “Before the war when I was still his padawan we got captured… Obi-Wan kicked up a fuss so they’d leave me alone and they decided to punish him by whipping the soles of his feet the sleemos, with a hard wooden cane.” The blond grunted then hissed a bit as Kix prodded at an aching elbow.

He took a deep breath and peered at Cody again. “They bleed so bad…I had to carry him until we could find a medic to take care of them.” Skywalker looked away, letting Kix check his vocal cords for damage as he was so hoarse as Cody got to mull over the words.

Whipping.

Slavers had whipped his little Jedi’s soles.

He could almost see it for him, a young knight with his padawan, at the mercy of slavers and Force would Obi-Wan had been the catch of a life.

His petite stature, copper hair and beautifully shaped cupid lips with dimples when he smiled. Could imagine Obi-Wan’s utter frantic worry for his padawan as it was clear how much Obi-Wan adored the blond even if he tried to hide it and how he’d kick up a fuss to make sure that it was him and not the teenager they focused on.

He felt nausea rise in his throat as he imagined the hardened skin of Obi-Wan’s soles breaking and bleeding all over, could imagine bloody foot steps and wet gasps of pain and while Obi-Wan was no delicate flower, he was as much flesh and bone and human as everyone else in the galaxy and could break just like everyone else.

Glancing over to Skywalker and Kix, Cody took a decision and started to unclip his armor, settling it on an empty bed before crawling into bed with his little Jedi and tucked the other under his chin as he settled protectively around the fever stricken Jedi.

He almost expected someone to comment but to his relief, no one did.

Skywalker just shrugged and drank some water before curling back down in the bed with a low grunt from his aches, going back asleep while Kix went back to talking to Helix about potential medicine that could be given to their General’s.

Cody remained awake, curled around his little Jedi who after a few moments turned into his chest and made a small noise of relief. ‘My poor little kitten.’ The trooper rumbled, settling his hand at the small of the others back while rubbing lightly.

Remote Trigger for Sound FX on the cheap! (And, there is NO coding required!!!!)

So I have been reading around a few places, and have noticed that there is a lot of interest in doing remote SFX (Sound Effects) triggers. That is, having the sound cue go on the action of someone other than the A1/Sound Technician.  Normally, this would be a VERY bad idea to divide control of critical show cues. But, sometimes you need to. Perhaps the action is dependent on an action the actor does (Like firing a prop gun to match a SFX of a gunshot). Sometimes, you may need to cue intro music for a band and their entrance point doesn’t have the ability to have radio or clearcom, leaving the SM or technician to have to cue them in for you.  And sometimes, you are just not anywhere near the computer running the effect and still need to launch them (Such as having to run multiple functions and your cue PC is no where near you). 

There are plenty of MIDI controlled options (Such as foot switches, drum pads and keyboards) that have been used by professional Broadway shows and live musicians (OK GO actually comes to mind, since a lot of their rigs are time and action dependent even in their live performances).  And, there are DAW’s like Ableton that make programming these MIDI controllers a breeze. The downside is that those systems can be quite costly to do correct.  You can get a “Lite” version of Ableton and a $99 Mini MIDI keyboard, but for highschool theatre or street performers that is even out of budget.  Also, once you get into custom made controllers for stage work and props, the price can easily climb into the thousands. And, if you are deciding to use a program that isn’t a pre-programmed click and play compliant controller outside of Ableton Live, then you have a lot of programming to look forward to.

BUT….  What if I told you that you could design a remote trigger for as little as $10? And, there was NO coding and very little programing involved? 

Well, you can.

First, you need the basics: The Controller. 

This is a bog standard presentation remote. These little Pen-sized devices (they do come in different shapes, but this one happens to be what I had in my desk) are a common sight in any corporate office or classroom.  They are almost exclusively used to run presentations in Microsoft PowerPoint.  But, did you know how they work?

First of all, this clicker operates on RF, or radio frequency.  You simply plug the USB adapter into the computer, and the remote communicates to the PC via radio waves.  Some have infra-red (IR) transmitters, which uses a small LED that flashes commands in binary to the receiver in a light frequency we as humans cannot see, but the sensor can.  Both devices are “Paired” systems, which means that the transmitter and receiver are matched to one another, so no programming is needed.  Just plug and play.

Second, These clickers belong to a family of devices that are called “USB Class Compliant Devices”.  In short, they use a generic key map and programing code that all keyboards, ten-keys and clickers use to activate a function.  Each key on a class-compliant device is mapped to a key (letter, number, function, etc).  On Keyboards, it allows Windows machines (and most macs) to understand just about any input device without the need to install a separate driver. 

And, when you think about it, that means that while this clicker has three keys… if it is class-compliant, then that means these keys actually match something that may be on an actual keyboard!  Why is this important? Because every program uses a Keyboard to input actions, including…

CUEING SOFTWARE!

For this example, we’re going to be using a Windows-based sound cue software called Show Cue Systems. This is the Windows cousin to Apple’s QLab, and both effectively do the same thing: They can control audio, video, static image, control cues (actions) and even lighting cues (DMX based) and can be programmed to automate a show.  But, in this case we want to launch a cue and not have to be near the computer that is launching it. 

In this second picture, you can see that the cue we are looking to activate gives you some options on the drop down menu.  Now, it may be tempting to figure out some wacky way to get a MIDI device to communicate to SCS, but take a look at the “Manual” option.  They simply mean a “GO” button.  In this case, it is the space bar.

Wait! The spacebar is the go button.  That means that there is something that TELLS the program that, when I press that space bar, I want my cue to go.  And, it also defaults to the Escape key (ESC) to stop everything in the show.  The question you should be asking is “Is there a way to change what key activates the go button?”

In this case… YES. There is

In Show Cue Systems, you will find this list under the “Options” menu while in show mode.  Then, click on “Shortcuts”.  There, you will find a list of actions, and an associated key to make things happen. Remember when we mentioned that all class-compliant devices use the same “map” for keys so everyone can code in the same language? Well, that means our little remote’s 3 keys correspond to three keyboard keys. 

But what are those keys? Well, the manual might not say, but there is an easy way to fix that. In nearly all media performance programs (Qlab, SCS, Ableton Live, Logic Mainstage, etc), you can find the option to re-map your keyboard to have different keys do different things.  The easiest way (and the way I did this in SCS), is to click on the function I wanted to alter, click on it so that it was active, and went to the space that told the program what key would activate the function.  Then, I cleared out the preset and simply pressed a key on the remote clicker.

Sure enough, in this case, the dialogue box showed that the clicker’s button was the same as the “Up Arrow” key on a keyboard!

Once I knew that, I went through the list, removed any other function that used the Up Arrow key and then assigned the Up Arrow as my go button!

(And, don’t forget to “Apply” and “Save” all changes depending on what software you are using)

Now, I simply go back to the cue, and choose the “Go” button to be the action that activates the cue.  And, once I press the button on the remote that matched the keymap… THE CUE FIRES!

Not all programs allow you to remap the keyboard functions, but most do!  I was on the Windows side of my MacBook Pro, so I couldn’t use Qlab as an example.  But, it isn’t difficult. In fact this can even work with recording software! 

If you are recording your own demo track, for example,  and don’t want or can’ t get your computer or keyboard near you (Such as if you are playing drums and your DAW and interface are on the other side of the room), you can map the transport keys to any class-compliant device like a powerpoint clicker.  Then, when you are ready, hit the button that activates the recording and you are off!  (Admittedly there are better MIDI options for musicians, but this is simply another way).

Now, as long as you have a different key, you can even assign hotkeys to certain cues. Have a doorbell effect that the actor cannot seem to keep consistent on? Put a PowerPoint clicker in the doorbell and have the actor hit that! Now, they can have all the doorbell they want, and it doesn’t affect your cues and everything seems flawless.  Tape the clicker to the prop gun, and never again does the gunshot have to mismatch the shooter on stage!  And, these devices are DIRT cheap! This clicker I used was $10.  That means, with the three buttons (assuming that each device does NOT share the same radio frequency) you can have three different hotkeys assigned. One to each clicker!

The only downside is that you have to make sure that each device isn’t “Cross Talking” over the other.  Most manufactuers don’t assume three of the same type of clicker is going to be used, so they tend to just copy the same radio frequiency for all.  Always double and triple check any infra-red and radio based device BEFORE the show for interference!

Yes, there are other, more stable and more effective ways to remote launch cues. But if you are on a super shoestring budget, in community theatre or even in high school, this is the tool for you!

anonymous asked:

Dude! I'm not asking for a fic cos you're crazy busy. I just want to shout into the void at you. But so many different variants of Graves out there. Why choose 1? What if he had DID and so all of them are him in one bundle? You think that's possible?

Oh my goodness what a fun concept! Just like, he comes back from Grindelwald and captivity, only something’s distinctly different. His mind has coped, learned to protect itself, and now there are many versions of Percival Graves where there used to be one. They keep the man as a consultant while the mediwizards try to figure out how to make the many one again - and for the most part, the many versions of Percival Graves don’t mind.

Tina finds it all rather fascinating, although it does creep some of the other aurors out.

They keep a little journal, each of them. Whenever someone writes in theirs, the note shows up in all of them. They have a page for each identity and try to keep up with Graves like that.

RAY -
He might be Tina’s favorite. He’s a grumpy, emotional, blunt mess of a man - but he’s kind in a weird, harsh way that makes Tina fond of him. He’s the emotional side of Graves. The part of Graves that has remembered and regretted every lost soul, every suspect accidentally killed instead of apprehended, every man that got away, every victim they couldn’t save. His shoulders sag beneath the weight of a sadness he hides behind hilarious expressions and copious drinking. They know when Ray is in control because he wears jeans and a blazer jacket, smells of liquor, and has this look in his eyes - this unfathomable sadness - that makes him simultaneously easy to approach and yet miles away from any of them. He’s got a bit of an accent, this Irish lit, and Tina finds out that all this time, Graves has been hiding his Irish heritage and her mind is blown. 

MARTY - 
If she thought Ray had an accent, Marty has an accent. Quick to befuddlement and easily overwhelmed - Marty is a writer. A rather good one at that, when he’s sober. He follows them around with a little notebook and asks all sorts of questions. He is the creativity in Graves. The keen mind. He’s sympathetic and eager. Quick to smiling, quicker to booze. He says cruel, honest things when he’s drunk (and he’s drunk a lot, though the smell is the only thing that gives him away). He says kind, encouraging things when he’s sober. He wishes them luck. He apologizes for not being more than he is. He knows he’s broken. He knows he isn’t right. He knows what man they’re looking for when they come to him for good luck before a mission. He claps them on the shoulder all the same, presses their foreheads together, and says “Come back in one piece. I’ll keep trying to bring him back for you.”

DAVID - 
Strike that, David is her favorite. He’s a smol man. She knows when David’s in the driver’s seat because Graves’ body language changes completely. His shoulders hunch in. His eyes gain this doe-eyed blankness, this utter heartbreaking hope to be noticed - and his voice is soft and kind and a little awkward, but generally as Irish as his other personalities. He speaks plainly and kindly. He moves awkwardly, afraid of using anyone else’s space. Afraid of being noticed. He likes to eat comfort foods that Graves would never allow himself to eat. Flaky pastries and soft pies and other little treats. David isn’t out enough to really affect Graves’ waistline, but Tina loves to bring him sweats when he is around - she loves every moment of watching David eat. He eats like he doesn’t deserve it. She loves to see him in awe of his food. She loves to see him happy. David is Graves’ fears in one body. He’s afraid of spiders, of all things - though he won’t make a sound. He’ll just politely and awkwardly excuse himself from the spider’s space. It’s adorable. He’s afraid of eye contact. Afraid of beautiful men or ladies (Queenie especially, which makes her fond of him to no end). Afraid of Picquery - he practically runs from the woman.

Afraid his aurors won’t come home.

When he’s around and the aurors go on missions, he nervously switches from foot to foot, hand twitching as though to reach out. The first time Tina hugs him before a mission, he sinks into her gratefully and sighs into her hair - “Please be careful.”

DOUGLAS - 
Douglas is a soft spoken man, but he is also a deadly man. His body moves like a cat. He was trained to kill. He is the fire in Graves during a duel. He is his stealth, his endless energy, his power. The one time he was present to accompany them on a raid, they closed up the mission in minutes rather than hours. He is a force to be reckoned with - unbridled and passionate. Where Graves was controlled, he is a tornado. Anything and everything in his path laid to waste. They knew their Director was powerful.

What they did not know was that Graves was like an iceberg and all that they had seen was just the deadly tip - miles of possibilities silent below the surface.

Douglas is incredibly protective of them. He binds their injuries when they come back. He trains them when he can. He works out with them. He’s hard on them. He wants them to be safe. He knows that some of them won’t come back. He subtly says goodbye to them each time they leave; hopeful, but pessimistic. 

JERRY -
Tina avoids Jerry. He is deadly just as Douglas is deadly, but not because he was trained to be a weapon - because he is a predator. She can see it in his eyes. Danger, fighting, blood, war - these things are fun to Jerry. And with a start she realizes that while many parts of Graves regret the causalities of his job - the victims, the death, the violence - one part of him is thrilled by it. Thrilled by his power, by his ability to survive, to win, to overcome. Not only that, but Jerry is Graves’ sexuality. Something she honestly didn’t even think the man had. Quiet and subdued and professional as he is, it’s hard to think that Jerry stems from him. That the raw sexuality that Jerry puts into his hips when he towers over Tina despite being shorter than Tina comes from Graves in some capacity - that their stern director is capable of making that steamy look. He makes aurors beeline for the bathrooms. He makes Queenie blush one day just by passing and no doubt sending her a stray thought because he knows she can hear him. He wears tight shirts and tight pants and absolutely nothing that leaves anything to the imagination. She didn’t know his butt was so pert. That his crotch could make a pair of pants bulge like that and – the aurors don’t like to write on Jerry’s page often. No one wants to admit how…effective his advances are.

There is one note that suddenly appears one day below Jerry. It says simply: “Where the hell is he getting all these apples?!”

THERE ARE OTHERS, TOO -
Tina knows there’s more. There’s a page labeled Charles, but no one managed to glean much information about him yet. Another named ‘John’ and ‘Jim’. There’s ‘Danny’ - a young, professional man who most resembles what the older aurors consider to be Graves’ younger self when he first entered the department. He’s sharp as a whip, very fond of Graves’ usual fashion, and all too eager to rush into the field and catch their man. He’s familiar in a way that makes’ Tina’s heart hurt.

But none hurt as much as the man himself. Tina has only found him once, huddled in the corner of his office - blank eyes staring out over the hills of his knees, curled in tight on himself. 

He doesn’t answer when she calls to him. She sits beside him and waits, hoping he’ll say something. He just trembles instead. She decides to fill the silence with her voice and hopes it’ll bring him home. She talks about Jacob’s bakery and Newt’s new book. She tells him about the Occamy that lives in her dresser because somehow it got left behind, though it doesn’t seem to mind. Embarrassingly enough, it appears to love the soft silk of Tina’s panties. She talks about their missions and their progress. She tells him about the weather, in case he hasn’t been around to notice.

She only stops when a large, shaking hand finally reaches for hers in the space between them. When she looks over to him, he’s not staring at nothing anymore - he’s looking at her. He looks exhausted. Dark circles beneath his eyes, his gaze haunted. He looks weak. He looks lost.

He looks like home. He looks like Percival Graves.

Her eyes fill before she can stop herself.

“I miss you,” she whimpers.

He licks his lips and tries to smile. He almost manages it, too.

“I know,” he says. “I miss you, too.”

anonymous asked:

"I'm not jealous! It's just... you're mine!" + "No like.... I can't believe you're actually wearing my clothes" (I think it was something like that I don't remember it exactly) pls ^^

“so maybe not taking an umbrella wasn’t such a good idea” you looked down at your clothes. Your once light blue jeans, were now dark blue jeans.

“I can hear your mum tutting” Jungkook laughed, pulling his soggy hat off his head and onto the counter with a loud slap.

“You can’t tell her” you pouted, amused by his very right statement.

“I won’t” he pulled you in for a hug. He was warm, the soaked shirt seeped into your slightly wet one. He had thrown his jacket at you when it started to pour and ran like lightening ahead of you. You were crippled on the floor from laughter, he had to come back and drag you back to his.

Just as he stood away from you to pick the hat off of the counter, the heard walked in. The heard meaning the rest of Bangtan. They each gave you a one over, Namjoon winking, Yoongi’s amused expression, Hoseok’s pleased smile and Jimins smirk- all the while Jin grabbing Jungkook shoulders and spinning him around.

“I don’t know if you’ve noticed or anything kook, but look at the shirt” Jin’s finger pointed at you, you looked down the same time Jungkook did.

You felt the air being knocked out of your lungs when you were rugby tackled to the couch.

“Guys, leave the room please” he muttered into the crook of your neck. They all left with the hoot of laughter, cackling and shouting “Kookie-boy” at the top of their lungs.

“You know sometimes, it’s like they’re in a frat” you could hear the rolling of his eyes.

You pressed the palm of your hands to his shoulder, shoving him off you to the side.

“Thank lord… I can breathe” you squinted at Jungkook who looked like a guilty puppy.

“Sorry” he laughed awkwardly- his face looking like someone had flicked him on the nose.

He eyes moved down to your shirt, then back to your face.

Um, I’ll be right back” he dashed out of the room, skittish like a rabbit.

He re-appeared with a towel, a different shirt on with shorts and grabbed your arm. “come to my room, you can change clothes there”

The door closed with a slight muted ‘click’, he turned and gestured to the bed.

“These are some of my clothes, you can wear those for tonight”

“Can you turn around?” you motioned your finger into a 180 twist.

“oh yeah, yeah” blushing.

He moved, facing the door. Switching from foot to foot nervously. You kept one eye on him while you changed, peeling off the sodden clothes and putting on the soft cotton that slid over your skin like silk over a wooden table. Putting on his way too big joggers so that it looks like flappers.

“You can turn around” you fiddled with your hands, tugging on the long sleeves. He turned and did a double take. He looked in awe, like this is something that he’s been wanting to see for a while.

“Are you ok?” you took a step forward, watching him. He had an unrecognisable expression on.

“yeah…” he started.

“well, no” he corrected himself.

“No?” your eyebrows creased.

“No like…. I can’t believe you’re actually wearing my clothes” he fingered the bottom of the shirt with a small smile on his face.

“Why? It’s just clothes” you perplexed.

“No” he laughed breathlessly, “let me explain”

“When you have someone that you really like, you want to be around them all the time, be with them and even see them in your clothes. It just, feels nice to see and I feel like I have everything” he blushed slightly from the explanation, but you were touched.

“Really?” you hugged him, but then pulling your head back with a raised brow.

“Is that why you were jealous earlier?”

He snapped his head to you, “Jealous? Me? No?”

“Are you sure? Think real heard about what just happened earlier kook” you watched the wheels turn in his head, the realisation crawled onto his face.

“I’m not jealous! It’s just… you’re mine!” he defended.

“They were peering at you; I’m allowed to be jealous” he hugged you tightly.

anonymous asked:

UH FUCK ANY SPRITE STYLE WILL DO!! MAYBE YOUR HCS OR SOMETHIN!!! BC THEYRE FLEXIBLE AND MAYBE THE GUARDIANSTUCK KIDS?? THANKS DAVE ILY

TG: oh damn youre excited
TG: HELLO EXCITED FRIEND I LOVE YOU TOO NO ROMO
TG: so since your request was super loose im gonna give you some facts about my timelines beta crew (aka me and the lads)
TG: specifically mainly nationalities heights and orientations
TG: and then im gonna hit you up with some guardianstuck minisprites
TG: also sorry if this gets long i have a tendency to ramble
TG: WHOS READY

TG: THERES MY HOMEBOY
TG: so johns like completely one hundred percent greek
TG: hes so greek he even speaks greek hes so extra
TG: uhhh hes five foot eight
TG: he switches it around sometimes to four foot twenty and uhh i hate him
TG: and hes biromantic and asexual
TG: thats homeboy whos after him

TG: ROSE is after him heres rose
TG: so rose is mostly french but shes also like english and i think german?
TG: uhhh shes five foot six
TG: you cant call her short shell kill you if you do you gotta say ~average~
TG: and then she has a longer label shes biromantic and demibisexual
TG: kanayas a lucky lady rose normally doesnt go for the down low
TG: why did i say that
TG: ANYWAY NEXT

TG: oh look its me
TG: so IM albino and i have a special kind of albinism called OCA1A albinism which basically means my eyesight is fucking SHIT
TG: lets see how many problems do i have oh yes i have at least three
TG: number one is photophobia which means if i look at light directly ill hurt my eyes
TG: thats why i wear my shades
TG: number two is nystagmus which means my eyes are twitchy they fucking twitch all of the goddamn time its awful
TG: and three its more of a brain thing i think but im like midkey dyslexic
TG: nobody even say shit about me putting sexy into dyslexia ill come to your house and ill fight your dad
TG: uhhhhhhhhhhhh im mostly german with a little russian and polish i think
TG: and im five foot nine
TG: and im aroace like ive stated
TG: i bet you can guess whos last

TG: thats RIGHT its jade
TG: jades like almost fully polynesian with some english sprinkles on the top right
TG: uh shes five foot seven 
TG: and shes pan everything
TG: shes like completely pan she loves you all 
TG: okay so that was my crew
TG: and the grand finale are your guardianstuck ministrifes here you go

TG: please love me thank you