i get a real kick out of this

So last night, myself and another girl were asked to leave a D&D game, before it even started, because the DM (another woman) didn’t like how we looked. Both of us were made up, hair done, cute outfits, with a lot of pink D&D accessories. She assumed we were very “feminine” so that we could flirt with all the guy players, and try to get advantages, or distract them. We were told we had to change into “normal” clothes (t-shirts or sweatshirts), and “uncake our faces”. We both left but became really good friends really quickly afterward.

I talked about this in a few select social media places after it happened, and something unexpected started when I woke up this morning. A lot of women had contacted me with stories of similar things, from both male and female DMs. It’s now 1:30PM here, and I’ve talked to 29 women, all with their own experiences that all fell under this particular umbrella.

Their experiences included:

- Being talked to like they’re a bimbo by everyone at the table.
- Having one or more guys at a table want to “help them” play, despite having even more game experience than they did.
- Being blatantly ignored by other female players.
- Having their character hit on endlessly by most of a table.
- Being hit on themselves, despite saying “no thank you” or showing obvious disinterest.
- Being touched a lot, either on the arm, shoulder, back, or in more inappropriate places by male gamers.
- Being told they’re “trying too hard to be a woman”, included trans women being told this by other women.
- Having the DM solely target their character in battles and with traps, after turning the DM down for a date or affection, and not stopping until the character is dead.
- Having it insisted upon them that they have to change their “girly” dice, bags, binders, clothing, etc to “fit in”.
- Being told they aren’t a “real nerd”, “real gamer”, “real geek”, “real fan” because they don’t fit the “look” — this is the most common one I heard.
- Being told by a table full of guys that their below-10 roll was in fact “rolling like a girl”.
- And of course, the “gold digger” argument. That a woman who glams herself up before a game is clearly only hunting for the nerdy guy who also makes a lot of money, and who is pretending to like these things to get at his bank account. 12 separate women told me this one, each of them were kicked out of their games with this being the explanation. None of them dated or flirted with anyone at the table at any point.

The common theme here was that all of these were public play games, either at gaming stores, or at conventions. You have to sit at a table with people you don’t know, and one would expect at least common human decency here, but instead this sort of thing happens. It’s not okay for people to be treated this way by anyone, for any reason, and I was mortified by the sheer amount of women coming forward to share in such a short period of time.

So I worked away at this picture, as I express myself in really dumb fashion sketches. 

It’s the club jacket for our Glam Girl Gamer Gang. 

Girls of all types, from all backgrounds, all sizes, all places in life deserve to be respected as a fellow player. THIS INCLUDES ALL GIRLS WHO LIKE “STEREOTYPICALLY FEMININE” THINGS.

IT IS FUCKING 2017 WHY IS THIS STILL AN ISSUE YOU DINGBATS

PROPOSALS

▹ pairing: Jeongguk x reader
▹ words: 18,102 I’m so sorry 
▹ genre: smut, fluff, light angst, friends to lovers

You and Jeongguk propose at restaurants to get free food, but somewhere along the way you start to fall for him.


You never thought Jeongguk would actually take you up on the whole fake proposals thing. When you had suggested the idea to him, he’d just laughed and said “yeah”, then continued playing Fallout 4. You hadn’t actually meant it; the idea was one of those you vaguely imagine it happening, but not really, which is why when he brought it up weeks later suggesting you try it out, you thought he was kidding. 

He wasn’t, and this is how you end up in one of the city’s nicer restaurants on a fake date with your best friend. 

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2

After putting our heads together, we’ve come up with the prompts for McHanzo Week 2017! They’re listed below, plus there’s a bit more explanation and some suggestions for what you could possibly do below the cut. You can find the general rules for the week on our blog right here and anything from McHanzo Week 2016 right here.

(Truth be told, I think these are a little more unique and interesting than last year’s prompts, so hopefully you guys feel the same and get a real kick out of ‘em!)

THE PROMPTS

  • Day 1 — Morning || Night
  • Day 2 — Canon Divergence || Alternate Universe
  • Day 3 — Undercover || Downtime
  • Day 4 — Red || Blue
  • Day 5 — Traditional || Unorthodox
  • Day 6 — First Date || Domestic Life
  • Day 7 — The Beach || The Sea

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positivity on this website

mlm positivity: you don’t exist for straight women’s fantasies, you aren’t predators, men loving men is good and wholesome, you aren’t a sinner

wlw positivity: you aren’t predatory and creepy, its okay to want to sleep with girls, nothing about you is dirty

trans/nb positivity: you aren’t “wrong” or making things up for attention, you are worthy of respect and love, you aren’t “faking” things for attention

ace/ar0 p0sitivity: you ARE queer! people DO hate you! DONT let people tell you there arent HATE CAMPAIGNS against you!!!!! you are VALID and QUEER and being reminded of your VERY REAL OPPRESSION is positivity!!! People WILL tell you you’re going to hell for not being sexually attracted to anyone!!!! Be PREPARED to get KICKED out of your HOME for being a cishet ace!!!! Your parents are going to put you in CONVERSION THERAPY for being a cishet!!!!!! People HATE you!!!! M O R E F E A R M O N G E R I N G !!!!!! uwu ur valid uwu <3 <3

Humans and adaptability

For reals though, humans are ridiculously adaptable. Half the time instead of just fixing something, we go out out of our way to change our behavior to avoid dealing the dang thing.

My door swells during the winter. It has since I was around eight. Instead of figuring out how to fix it, I just kick my door extra hard to get it open.

When my sister’s laptop was starting to go south, it wouldn’t completely start up, but the mouse would do this weird thing and then she always knew to do a hard restart to get it to boot up.

I’ve heard that Stephen Hawking was so used to predicting his predict text that when it got upgraded it messed him up.

There’s that one scene in Mary Poppins and a vague mirror of that scene in the Doctor Who Pompeii episode where the house quakes regularly and everyone just takes up their stations to keep things from falling over and breaking.

Humans are nuts.


Menah-Tal clicked an old chant of his people under his breath while running the usual efficiency tests. It shouldn’t take too long, then he’d be able to-

He blinked his three eyes in surprise and ran the numbers again.

They came back the same. There was a whole seven deneb discrepancy from the normal parameters. Menah-Tal snorted. So much for his poetry slam in the rec room.

Menah-Tal traced the discrepancy to Brett’s station in engineering. He blinked. Surely Brett couldn’t be so blind as to let his station be out of alignment. He snorted crossly again.

Brett was at his station when Menah-Tal walked into engineering.

“Brett, your station is out of alignment, making it seven deneb slower from the rest of engineering. How could you let such a discrepancy happen?”

Brett looked up.

“Oh that’s probably my interface. My panel’s been acting up a bit lately. I’ve been thinking about replacing it. Maybe on the weekend-”

“But seven whole deneb …” spluttered Menah-Tal.

Brett shrugged.

“Sorry dude, I kept forgetting. Hey it’s not like it’s completely non-functional-”

As he spoke his panel glitched. Brett hit it with his fist and it unfroze.

“It’s fine.” he said in response to Menah-Tal’s face. Menah-Tal looked like he was about to have an aneurysm.

Menah-Tal reverted to his native Makjai Temas as he left engineering swearing viciously about the “impossible humans.”


Edit: I had two people point out that parsecs are in fact, not a measure of time. Thanks for keeping me on my toes, guys.

Make that three.

8

I have spent my whole life scared, frightened of things that could happen, might happen, might not happen, 50 years I spent like that. Finding myself awake at three in the morning. But you know what? Ever since my diagnosis, I sleep just fine. What I came to realize is that fear, that’s the worst of it. That’s the real enemy. So, get up, get out in the real world and you kick that bastard as hard as you can right in the teeth.

anonymous asked:

How do you write a fight scene without becoming repetitive? I feel like it just sounds like "she did this then this then this." Thanks so much!

I watch her as she fights. Her left leg flies through the air – a roundhouse – rolling into a spin. She misses, but I guess she’s supposed to. Her foot lands and launches her into a jump. Up she goes again, just as fast. The other leg pumps, high knee gaining altitude. The jumping leg tucks. Her body rolls midair, momentum carrying her sideways. She kicks. A tornado kick, they call it. The top of her foot slams into Rodrigo’s head, burying in his temple. Didn’t move back far enough, I guess.

His head, it snaps sideways like a ball knocked off a tee. Skull off the spine. His eyes roll back, and he slumps. Whole body limp. Legs just give out beneath him. He clatters to the sidewalk; wrist rolling off the curb.

She lands, making the full turn and spins back around. Her eyes are on his body. One foot on his chest. I don’t know if he’s alive. I don’t know if she cares. Nah, she’s looking over her shoulder. Looking at me.

The truth twists my gut. I should’ve started running a long time ago.

The first key to writing a good fight scene is to tell a story. The second key is having a grasp of combat rules and technique. The third is to describe what happens when someone gets hit. The fourth is to remember physics. Then, roll it all together. And remember: be entertaining.

If you find yourself in the “and then” trap, it’s because you don’t have a firm grasp of what exactly it is your writing. “He punched” then “She blocked” then “a kick” only gets you so far.

You’ve got to get a sense for shape and feeling, and a sense of motion. Take a page from the comic artist’s playbook and make a static image feel like it’s moving. Try to remember that violence is active. Unless your character is working with a very specific sort of soft style, they’re attacks are going to come with force. So, you’ve got to make your sentences feel like your hitting something or someone.

“Ahhh!” Mary yelled, and slammed her fist into the pine’s trunk. A sickening crack followed, then a whimper not long after.

Angie winced. “Feel better?”

Shaking out her hand, Mary bit her lip. Blood dripped from her knuckles, uninjured fingers gripping her wrist. She sniffed, loudly. “I…” she paused, “…no.”

“You break your hand?”

“I think so. Yeah.”

“Good,” Angie said. “Think twice next time before challenging a tree.”

Let your characters own their mistakes. If they hit something stupid in anger, like a wall or a tree then let them have consequences. Injury is part of combat. In the same way, “I should be running now” is. When the small consequences of physical activity invade the page, they bring reality with them.

People don’t just slug back and forth unless they don’t know how to fight, or their only exposure to combat is mostly movies or bloodsport like boxing. Either way, when one character hits another there are consequences. It doesn’t matter if they blocked it or even deflected it, some part of the force is going to be transitioned into them and some rebounds back at the person who attacked.

Your character is going to get hurt, and it’ll be painful. Whether that’s just a couple of bruises, a broken bone, or their life depends on how the fight goes.

However, this is fantasy. It is all happening inside our heads. Our characters are never in danger unless we say they are. They’ll never be hurt unless we allow it. A thousand ghost punches can be thrown and mean absolutely, utterly nothing at all to the state of the character. This is why it is all important to internalize the risks involved.

The writer is in charge of bringing a dose of reality into their fictional world. It is much easier to sell an idea which on some level mimics human behavior and human reactions. The ghost feels physical because we’ve seen it happen on television or relate to it happening to us when we get injured.

You’ve got five senses, use them. You know what it feels like to get injured. To be bruised. To fall down. To be out of breath. Use that.

Here’s something to take with you: when we fight, every technique brings us closer together. Unless it specifically knocks someone back. You need specific distances to be able to use certain techniques. There’s the kicking zone, the punching zone, and the grappling zone. It’s the order of operation, the inevitable fight progression. Eventually, two combatants will transition through all three zones and end up on the ground.

So, keep the zones in mind. If you go, “she punched, and then threw a roundhouse kick” that’s wrong unless you explain more. Why? Because if the character is close enough to throw a punch, then they’re too close to throw most kicks. The roundhouse will just slap a knee or a thigh against the other character’s ribs, and probably get caught. If you go, “she punched, rammed an uppercut into his stomach, and seized him by the back of the head”, then that’s right. You feel the fighters getting progressively closer together, which is how its supposed to work.

Use action verbs, and change them up. Rolled, rotated, spun, punched, kicked, slammed, rammed, jammed, whipped, cracked, etc.

You’ve got to sell it. You need to remember a human’s bodily limits, and place artificial ones. You need to keep track of injuries, every injury comes with a cost. Make sure they aren’t just trading blows forever.

I’ve seen advice that says fights all by themselves aren’t interesting. I challenge that assertion. If you’re good at writing action, then the sequence itself is compelling. You know when you are because it feels real. Your reader will tune out if it isn’t connecting, and the fight scene is a make or break for selling your fantasy. It is difficult to write or create engaging, well choreographed violence that a reader can easily follow and imagine happening.

-Michi

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What I wish I knew in High School:

Adult here. Write this down. If you have a weird hobby and your parents have said that you should quit because it’s not “marketable,” consider that there are real people, some of whom I know personally, with the following jobs that make real cash money:

Science writer (me)
Cosplay and prop maker
Stuffed animal designer
Dog artist
Political activist for LGBTQ rights
Political activist for affordable housing
Music licenser
Fan video mixer
Bone cleaner
Sports photographer
Digital hat maker

Signs as Ghost Stories Dub Quotes
  • Aries: "The number you have dialed is no longer in service. HEY! MAYBE IF THEY PAID THEIR FUCKIN PHONE BILL YOU COULD CALL AGAIN!"
  • Taurus: "Go get me coffee. Be my bitch."
  • Gemini: "God, you are four of the ugliest fucking kids I've ever had the misfortune of laying my eyes on. I can't wait for this bitch to kill you."
  • Cancer: "I'm a sexually frustrated fourth grader!"
  • Leo: "Leo! Leo! Leo! Leo! Gawd damn it! Gawd damn it! Gawd damn it! Gawd damn it!"
  • Virgo: "Dad calls her whore but I like to call her mom."
  • Libra: "But then if everything was already reversed, which world would be the real world? Would it be the mirror world or this one? Maybe the reflection we see is real, ever thought of that? Isn't that just freaking you out? I mean, seriously, isn't that just whack crap? Huhehehehheh. I'm playing with your mind, man! And you know what the wierd part is? I'm not even high! Not one bit! Completely sober."
  • Scorpio: "Remember kids: say no. To everything."
  • Sagittarius: "Tamomi? Aint no Tamomi girl here living here, so what?. Get your crack head ass head into some rehab, I aint got time for this bull–"
  • Capricorn: "You know what i hear? I hear the sound of you shutting the fuck up!"
  • Aquarius: "Once this bitch kicks I'm moving to Vegas."
  • Pisces: [Keiichirou incoherently screaming]

no offence but andrew totally gets a (secret) laugh out of watching people flirt with neil. like, he’ll be stood a good length away at the gym, watching this guy try really hard to get (and then keep) neil’s attention. he especially likes that neil is so oblivious. so, when someone says “when are you free, i could show you some cool running tricks?” neil shrugs and says “i don’t know, i’d have to ask my boyfriend” and looks over his shoulder at andrew. andrew loves the way people shrink under his stare and he gets a real kick out of watching them scamper off

Byun Baekhyun//Psych - Part 7 (Finale)

Originally posted by iyeolie

Summary: After a month of being broke at college, you finally find a place to stay, but the only con is that there is nine other people you have to share a house with - one in particular who makes it his mission to irritate you at every turn - but they’re hiding something from you. Something big. (1/ 2/ 3/ 4/ 5/ 6/ 7)
Scenario: Werewolf!AU, college!AU, series
Word Count: 3,887

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Dear Evan Hansen AU in which Connor didn’t commit suicide but rather he ran from home, leaving Evan’s letter behind. So pretty much the story of the musical still plays out. But then Connor ends up coming back, half because he wants to kick Evan’s ass for pretending to have been his friend, half because he caught wind of the Connor Project and… He was glad?
I mean, they were all hypocrites but the support and memorials… It got to Connor and after calling Evan a dick he held out his hand like “I’m the real Connor. Thanks for making them remember. Now get ready to deal with me and clear all these lies up.”

That Awkward Moment When – Part 2

John Laurens x Reader

Words: 4,007

Warnings: NSFW, SWEARING AND FLUFFY SMUT OKAY

Tag: @lookaroundlookaroundhowlucky @dorkyfeminist @katelynsamaisnotonfire

A/N: WELL HERE IT IS. THE WAIT IS FINALLY OVER, DON’T GET TOO CRAZY KIDS. Okay but forrealthis might be a piece of trash come yell at me I’m all ears. I hope this doesn’t disappoint, I’m sorry, YOU ALL ARE SO SO AMAZING. ENJOY.

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Sleeping With Bellamy Would Include...

Requested 

Originally posted by hvproductions


⋅ wearing his t-shirt
⋅ loving that it smelled like him
⋅ him loving you wearing it
⋅ waiting for him snuggled under the sheets until he would check the camp one last time
⋅ him always telling you that you didn’t have to wait for him
⋅ “You know I can’t sleep without you.”
⋅ watching him taking off the clothes with a smile
⋅ “Don’t droll too much, princess.”
⋅ him immediately pulling you close to him
⋅ you snuggling even closer so you were pressed to his side
⋅ you tracing his muscles with your fingers
⋅"Good night, Bell.“
 "Sweet dreams, princess.”
⋅ from time to time during the night you would shift so he would be spooning you
⋅ occasionally when he would be on a verge of breaking down you would shift positions
⋅ he would rest his head on your chest while you would be running your fingers trough his hair comforting him
⋅ him reading you a book he found when you couldn’t sleep
⋅ his voice always luring you to sleep
⋅ a lot of pillow talks
⋅ sometimes being woken up by the other one having a nightmare
⋅ comforting the one who had the nightmare
⋅ “It was just a dream.”
   "But it felt so real.“
  "But it wasn’t. Everything is fine and I won’t let anything happen to you.”
⋅ “Wanna talk about it?”
  “Just hold me.”
⋅ random kisses when neither of you couldn’t sleep
⋅ sometimes it would lead to hot make out session
⋅ that would always lead to sex
⋅ and God it was amazing
⋅ that would exhaust you enough to quickly fall asleep afterwards
⋅ from time to time you kicking him off the bed
⋅ being woken up by him cursing and groaning when it happens
⋅ watching him with innocent smile as he’s getting up from the ground
⋅ “Seriously, Y/N?!”
   "It’s not my fault that you are too big.“
⋅ him waking up first
⋅ sooner than necessary so he could watch you sleep
⋅ once it’s time to get up he would wake you up with a portion of kisses
⋅ "Time to rise and shine, princess.”
   "Leave me alone.“
⋅ "We need to get up.”
 "I hate you.“
 "You love me.”
⋅ him sometimes letting you sleep in
⋅ but him being too responsible to stay with you in bed whole day


NurseyWeek Prompt #3 - Challenge.


“Oh, it is fucking on, bros,” Lardo shouts over the incessant thumping of the bass. “You two are going to get obliterated.” She points an emphatic finger at Ransom and Holster, who stand shoulder to shoulder on the other side of the beer pong table. Holster cups his hand over his chin, rubbing it thoughtfully, and side-eyes Ransom.

“She shouldn’t be able to say words like ‘obliterated’ three cups of tub juice in,” he says. Ransom is just beginning to nod in agreement when he’s beaned smack in the middle of his forehead with a ping pong ball. Holster gets hit in the same spot half a second later, sending both of them reeling back, spluttering.

“You know, I figured four years was enough time for the two of you to learn not to underestimate my abilities,” Lardo says, tossing another ping pong ball up in the air. She cocks an eyebrow and catches the ball, meeting their gazes. “My mistake. Clearly, you need another lesson.”

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Confession

2,500 Followers Oneshot

Summary: Jensen flies home earlier than planned and what he finds in his house is a pleasant surprise.

Prompt: “Um…did you move into my house?“

Pairing: Jensen x Reader

Requested by: @tas898


Jensen lets out a huge sigh of relief pulling into his four car garage. He throws his dark gray SUV into park and hauls ass into his country styled house, suitcases in tow. He’s finally made it home to Austin, after a grueling few weeks of shooting nonstop. 

Sighing dramatically, Jensen decides it’s time to stuff his face with junk food and catch up on Game of Thrones. Humming to himself, he makes way down the hall but then suddenly freezes. He’s hearing loud movements and…a Seinfeld rerun playing?

For a split second, the thought that someone broke in crosses his tired mind. His dumb ass quickly remembers the house has an extensive alarm system so the noise must be from you.

You being his long time best friend that randomly checks on the house when he’s gone. Other than his parents and Jared, you’re the only one he trusts to do that. You’re one of the few he trusts in general actually.

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anonymous asked:

Is there ever a good reason to turn your back on someone in a close-up fight (like spinning around or whatever) that isn't running away?

Okay, the Hollywood spin that you see in a lot of fight scenes is bunk. These random spins are just there because spinning is dynamic and looks better on screen.

The answer to your question is that we don’t really spin to dodge attacks, we utilize spins to gain momentum. If you take into consideration that power comes from the momentum of your body in motion, then spinning and jumping lend themselves to more powerful techniques.

Spinning techniques open up a can of worms when talking about real fights, not really whether or not they work. That’s not up for debate. The question is, should you risk it? It’s a combat philosophy question.

This is about risk versus reward.

Spin kicks and jump kicks are the more advanced versions of the basic and the intermediary kicks. Any spinning or jump technique will have a version on the ground that must be learned first. The more complexity is added to a technique, the more your fundamentals and basics become important. A sloppy hook kick will translate into a sloppy spinning hook kick. The more force there is at play then the greater the risk of injury to yourself if you mess up. Broken ankles, fractured toes, broken legs, busted or blown knees, torn tendons are all risks beyond just the standard pulled leg muscles.

Remember, for every action there is an equal and opposite reaction. The more force you generate to put into someone else, the greater the chance that same force has of rebounding on you. Poor technique increases the chance of injury, but there is no way to ever do any of these techniques in complete safety. You have to trust yourself and your ability to perform.

Jump kicks, spin kicks, spinning hand strikes, and flying punches exist as techniques across multiple martial arts disciplines. The body in motion creates momentum which is the source of power. When you spin, or run, or jump, you create a lot more momentum then you will from a standing position. These techniques are the more powerful upgrades of their non-jumping, non-spinning, ground based counterparts.

Someone flying at you can break your bones, and its potentially lethal. There are dozens of videos from kickboxing matches and taekwondo tournaments showcasing knockouts from wheel kicks and 360 degree jump roundhouses. The wheel kick or spinning hook kick can and does knock people out in sparring matches, tournaments, and professional fights.

A landed kick will drive the force of the blow through the headgear or head protection meant to soften the impact. If they manage to land the wheel kick while jumping then it is even stronger than it was on the ground. Spinning and jumping combine into the ultimate power up. The art of the flying death kick is not a joke. Well, not completely. Lots of martial arts styles have their own variants on spin techniques, from spinning kicks to spinning backfists and even elbows. We can go back and forth debating in what context they work, but they do exist. They do work, and they populate many different martial styles.

Spin kicks, jump kicks, jump spin kicks, any spinning technique is risky business. They’re powerful finishers. They can be used as openers, but if you fail then you leave yourself wide open. Most of the time you’re going to need to set your spins up via combinations to create the necessary openings in your opponent’s defense. 

That said, turning your back on your opponent is a bad idea. Running away in close quarters when you haven’t created an opening is a terrible one. The same is true for spin techniques. You need great timing and the ability to create openings in order to pull them off. The crux of the issue is: they’re high risk, high reward. When we perform a spin kick is we’re turning our back on our opponent and trusting they’ll still be there by the time we’ve finished our turn. Your opponent is never just going to stand there and let you hit them. You’ve got to make sure they’re not going anywhere first.

The combat philosophy on spin techniques varies from individual to individual. Some will say never do it as what you get isn’t worth the risk, and others will do it and make it work. You’ve got to decide for yourself if the benefits outweigh the risks.

For writers, especially ones without experience, it’s important to understand that spinning jump kicks are among the most difficult kicking techniques. Spinning is advanced martial arts. If your character doesn’t come out of a strong kicking discipline, it’s unlikely they’ll ever consider you using them. Even if they do, they may decide they’re too risky.

If you, the writer haven’t figured out how the basic kicks like the front kick, the roundhouse, and the sidekick work then wrapping your head around the mechanics of a spin kick is going to be difficult. This is before we get to the combat applications of when or how we use kicks like the wheel kick, the spinning jump roundhouse, or the popup back kick.

And that’s okay if you look at these kicks, think they’re awesome, and when you sit down to try to write what you saw get confused by how they work. The advanced kicks are mysteries to the white belts too. That’s normal.

Mechanically, these kicks are fairly complex. Sometimes, there’s switching between the legs that happens. Multiple body parts are all moving at the same time. With the wheel kick, you turn and look over your shoulder, lift your leg, extend your leg, and spin in one almost simultaneous spin. You need to spin while balanced entirely on one leg, not overextend, not be thrown out of whack by your own momentum, and not be destabilized by sudden contact with another object that’s not moving.

It is not uncommon when learning these kicks to lose your balance and fall over, to experience vertigo, lose track of your target and get really dizzy. You stumble, you fall, you get scared. It can very be intimidating.

Writers, if you find yourself looking at these techniques and getting confused don’t worry about it. You’re seeing kicks that are studied between blue (in TKD basic popup kicks, axe kick, crescent kick), brown to red (wheel kick, jump axe kick, jump crescent kick, jump wheel kick, and advanced popups), and black belt (kicks like tornado kick, the 540, and the 720). These are kicks learned two to four years into a student’s training, when they have a strong foundation. Don’t get down on yourself for not being a black belt if you’ve never done martial arts.

Ironically, the best way to train your pen is start with writing the basic kicks and work up. If you can figure out the application for the back kick and the hook kick in a written scene, you’ll begin understanding the wheel kick.

If you want to watch the knockouts in action, here are some videos. (Warning: do not watch any of the following videos if you are uncomfortable with watching real human beings, some of whom are minors get knocked out.)  If you want to watch a lot of these in action then look up videos like The Best Taekowndo Knockouts KO. Or this Tornado Kick KO (360 degree jump roundhouse) from MMA. Lawrence Kenshin did a decent breakdown of these kicks. (Learning the Tornado Kick was how I fractured my tibia when I was twelve.)

-Michi

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