ideal themes

Happy Birthday, Tove Jansson

Born 9.8.1914 in Helsinki, Finland.

Tove Jansson was an incredible artist. She was a multitalented painter, writer and illustrator who created many wonderful pieces of art. Her best-known works are Moomin books and illustrations and comics centered around these characters, but she was also a talented painter with a very keen eye for color and technique. She also wrote many books and stories after finishing Moomin books. Tove Jansson was born under the shadow of WWI and grew up during the Finnish Civil War. When she was a young woman, she had to live through WWII and witness all the horrors of the time. This shaped her into a pacifist with strong anti-violence opinions.

Moomin books containt many precious and timeless ideals. Stories have themes like acceptance and loneliness, love for nature and value of freedom. Instead of giving tired morals, Tove delicately talks about things that are necessary but often forgotten. Every little creature has the right to be angry and without getting angry, you will never get your own face. Family and friends should support and love one another, but this also means letting others explore freely and with knowledge that those at home will not worry over them. Even the coldest Groke can turn warm with kindness. The books are suited for both children and adults, no matter the century or millenium. Moomins have been used as icons for environmental campaigns and to promote children’s well-being. They have evolved from children’s characters into cultrual icons of Finland.

Besides being a genius with many talents, Tove Jansson was known as a brave and caring woman. She had very bold and forward-thinking ideas about gender equality and was critical of the role women were given during 1900s. Tove Jansson was never to give up her art and career to settle down. She also defended the rights of Jewish people under the shadow of WWII and often brought attention to the plight civilians faced during wartime.

Tove Jansson was employed by the satire magazine Garm, for which she drew many sharp political caricatures. In her drawings she often criticized fascism and communism around Europe. She was later quoted to have said that mocking Hitler was one of the most satisfying things she got to do in her career. Her work was so critical about war and political figures of the time that she even faces censorship.

Love of her life was Tuulikki Pietilä. Their relationship laster over half a century. Tove never tried to hide her love, even in a time when homosexuality was a crime and later classified as a mental illness. She rebelled against oppressive systems of her time by living against them every day. She and Tuulikki were devoted to one another and their relationship only ended with Tove’s death in 2001. Tove even brought her lover with her to attend Independence Day celebrations in Presidential Palace (note that same-sex couples have faced opposition as lately as 2010s). They shared their work and dreams, settled on an island together and traveled around the world.

Tove Jansson was an incredible woman and everything she left behind will continue to impact lives of many children and adults for years to come.


Life is a series of closing doors, isn’t it?

Man of Steel changed the way I look at movies, not just superhero movies, but movies in general. It gave me the Superman I’d wanted to see since childhood. A Superman that I not only related to, but could really look up to. He wasn’t just a grinning boy scout with little character depth, he was a Superman.
In a movie that had heart and soul. A movie with pain and love, dark and light. A villain that really felt scary and I couldn’t predict how it was going to end.

And it gave me hope. Not just in my personal life, as I’ve discussed before, but it gave me hope in art. Movies as art. Superhero movies didn’t need to be high-saturated, popcorn movies with nice, neat, closed plots. They could be big, epic, meaningful artistic narratives! Something that reflected how important the mythology of superheroes is to the fans.

And then Batman V Superman came out and enriched everything that Man of Steel established. It built on the foundations and not only gave us a universe where Batman and Wonder Woman can fight alongside Superman, but it gave us some understanding of WHY these heroes do what they do and why they are teaming up. We saw Wonder Woman get slowly dragged back into heroism, and we knew why. She didn’t just suddenly, inexplicably drop out of nowhere onto the roof of a jet and start beating up another hero with absolutely no explanation. She hesitated, she fought her instincts and tried to be impartial, but the hero in her wouldn’t let her. And let’s not get into the extraordinary depth of character and development of Batman in this movie. Because that’s an essay into itself.
And then we saw the sacrifice of the hero who started all this. Whose sacrifice inspired these weathered, wary heroes into action again.
What a beautiful way to end a movie but start another! The dovetailing of this writing is genius.

After this we got Suicide Squad. A bit of a frantic, hectic, off-kilter movie about villains. It did a lot for world building, but most importantly it showed us what kind of people our heroes have faced before, and will face again. It showed us how strong and capable the villains can be, and this added so much to this universe that it is an invaluable movie.

Now, we have Wonder Woman! Adding more exposition to Diana’s motives in the modern day, this beautifully layered movie provided us with the first Wonder Woman movie, and yet but another incredible chapter to the DCEU. Never losing track of the themes and ideals of the shared universe, but maintaining its own unique voice, this movie delivered the finest superhero origin movie to date. While I still personally feel that it shares the stage with Man of Steel in terms of quality, it stands out on its own merits, because it is the first Wonder Woman movie, the first Wonder Woman origin story on the big screen and the first time a superhero movie has had such widespread, universal appeal.
It still considered the sense of realism established in the previous movies, showing the reality of war, a hero that will put the needs of others above her own and it kept a sense of doubt and confusion in the face of responsibility.

These movies have all been amazing in their own ways, and stand out as their own entities whilst keeping the universe cohesive. No other franchise has done this yet.

And it’s far from over.

This November, we get to see another huge milestone as Justice League hits the big screen. And I for one can not wait to see how this builds on what we’ve seen so far, and what will be built upon it.

It is a phenomenal time to be a DC fan, but it’s also a great time to be a movie fan and a superhero fan, too.

Bring it on.

anonymous asked:

why is everyone complaining that Mass Effect Andromeda is "big"? how is that a problem when there's more game to play?

The size is not a problem in itself. The problem is that bioware doesn’t know how to work with “Big”. Hear me out.

So bioware obviously tries to move into the open world direction, with DAI and now comparing MEA to DAI in terms of “BIGGER!!!1”, and I think it’s such a shame, because bioware sucks at open world\sandboxes. I don’t even mean it as an insult, it’s just a plain fact - bioware are it’s best at contained, story-driven, linear structure. Their best games have distinctly different locations each with a gimmick and with a linear plotline that starts at the entry point, motivates your exploration of the location so you can pick up the side quests, ideally has a theme and involves one of your companions and culminates in the final decision. After that, the location is finished. You report the side quests and that’s it, you’ve exhausted all your options, you leave the location and never look back. Well, maybe you return once for plot reasons for 5 minutes, but you don’t engage with it meaningfully. And it’s not a bad thing! This is “40 min TV show episode” kind of structure that can work great and it does in the entire Mass Effect series. The story is simple, usually with one or two twists, but it keeps you engaged because it’s tightly knit and clearly presented, the involvement of your crew members gives you emotional stakes, the distinctly ~weird~ location and NPCs there make you feel like you’re actually seeing different places and seeing different cultures. It’s *fun* and that’s what matters.

But if you take out the location-based plotline and add a lot of empty space\padding to the mix, it all starts falling apart. Because bioware only writes superficial weirdness, this weirdness becomes bland real quick, the gimmick wears off and becomes annoying, NPCs blend in into the endless background, and you go “oh thank GOD it’s over” when you leave the location. Imagine if in ME3 Tuchanka had the size and structure of Hinterlands. The hardcore severe planet would turn into a boring wasteland, instead of epic badasses that represent the spirit of a planet Thresher Maws would turn into a boss fight grind (like dragons in DAI), without your friendship with Wrex the stakes are low, without the linear plot creating AND keeping up dramatic tension, you’d just wander around and randomly stumble onto the cut-scenes.

Bioware thinks that you can just make locations big and take out linear structure and boom, you’ve got yourself a sandbox. But it’s wrong. You can’t just take away the scripted plot-line and NOT replace it with anything. Good open world RPG requires you to make locations not just distinct, but layered, interesting to explore, it adds ties between locations that are meaningful, the quests start in one location and run through multiple of others organically, so you have to travel back and forth and when you revisit them, it doesn’t feel like backtracking. Not everything is played out at the moment you enter the location, some NPCs only become important when you get new quests in other places, so the exploration is dynamic, layered in time. You keep re-discovering things, adding new layers to the context. Bioware just cannot write things like that. They can’t make differences between locations subtle, but meaningful, which is why I literally cannot tell any forest locations in DAI apart, they don’t know how to make quest-lines span between places and be layered in time, they don’t know how to keep players’ attention without a strict narrative tunnel. The only distinct thing between locations is visual design, but even that can’t take you far. There’s a location in DAI that is very visually striking - white snow, red lyrium, black rocks. Beautiful, unusual, interesting. But I wouldn’t be able to remember what happened there with a gun to my head. What was my quest? Idk. There was a dragon I think? And for other locations that don’t have such striking visuals, the situation is even worse.

Take the location with Civil War in DAI (I think it’s Dales? But not sure) I literally cannot remember what were the differences between the sides there. Hell, I can barely remember the sides! It’s the Orlesians and… other Orlesians? But they are called “Free”-something. Why, idk. And there are also the Dalish clan hanging out nearby, but they don’t have anything to do with the Orlesians. Why was I in this location in the first place? I have no idea. To be clear, it’s not because I have shit memory. I have great memory, I can remember meaningful details from the games I played once ten years ago. It’s just DAI didn’t give me anything meaningful to remember. The conflict is not set up, they just let you wander around aimlessly, the sides are both boring and bland, the location is just kind of an open field littered with undead and wolves. When you let players discover different factions just by stumbling onto them without a straightforward narrative, you better fucking make sure they are a) very distinct b)very clear about what their deal is. Show me anyone who can mix up the Legion, NCR and House in FN:V.

Imagine the same location done in a traditional for bioware linear structure. You enter the location and immediately see two groups arguing. Each side has a charismatic leader and these guys are yelling at each other, which gives you exposition. One of them is, like, a well-groomed Orlesian noble and the other one is a rude peasant Robin Hood. You enter a conversation and get more exposition, what their deal is and how they are in conflict. One of your companions support one faction and the other one - another. (idk, Vivienne and Dorian vs Blackwall and Sera, frex) Then both of them invite you to their camps and leave. You have a narrative already. You visit their camps, get to know them. Get some sidequests from both sides. While exploring you meet the Dalish, who are bitter because the Dales were THEIR land and now shems are fighting over it. You do some quests for Dalish. At the mid-point the game makes you choose a side and the last plot-arc is about breaking the resistance of the other side and deciding what to do with them. If you do some side quest for Dalish and pass a Paragon speech check, you can find some holy scripture that Andraste made about Dalish owning the land and you can grant the place to Dalish. That’s it. Yeah, it’s cliched and yeah, it’s cheesy, but it’s clear and it has narrative and stakes. It gives you basic framework for roleplay. Bioware never could write complicated plots, but they don’t need to. The plot doesn’t need to be complicated, it needs to function in the chosen form. If it doesn’t function, then big locations turn into empty spaces with fetch-quests.

Also, being “BIG” was never Mass Effect’s appeal in the first place. People loved it for the tight Star Trek-episode structure with a new planet every hour, weird gimmicky aliens and meaningful interactions with the crew. Not for LotR-style of “3 hours of walking through an empty field”.

Domestic Garden Witch: Green Meets Techno

So maybe you’re a college witch with limited space and money, limited to the one window in your dorm. Or, maybe you’re a witch without extensive backyard space who wants to start up a magical garden. Perhaps you’re a kitchen witch who wants the freshest herbs right at her fingertips.

For many witches, having a garden seems to be a bit of a no-brainer. After all, plants and magic go hand-in-hand. Plus, when thinking of a witch, it’s hard not to think of a cottage in the woods with a little vegetable garden out front. Unfortunately for the majority of us, our cottage in the woods is a tiny flat, and our garden out front is a windowsill with limited space.

This is when it comes time to embrace your craftiness and bring your garden indoors! Not only does it place your garden in a convenient location, it also allows you to freshen the air, recycle what would otherwise harm the earth, and embrace your witchy green thumb!

From the Yard, to the Screen

There is a very real struggle that many my age and younger are dealing with right now. Homes are only getting more expensive, education is doing the same, and incomes simply don’t keep up with the changing markets, regardless of the degrees attached. As such, many students (and even non-students) may not have a yard, a decent window, or a good place to grow plants. Or they may be unfortunate enough to have what my boyfriend calls a “brown thumb” - an inability to grow even the easiest of plants (seriously… he killed an air fern… literally all those things need is a little light, and somehow he couldn’t keep it alive).

Still others may have an issue where they have to consider their personal reserve of energy - their spoons. I don’t talk much about spoonie witchcraft on my blog as a result of inexperience, but there do occasionally come those little projects that I would imagine would be helpful. This is one such project.

I’ve talked about technopaganism before, and the article can be found here, but to go over it briefly, it’s the melding of modern technology with witchcraft in a new form of practice that is gaining popularity. It may be reflected in the use of digital altars, books of shadows that are written up in a word processor, or even in competitive gaming in which a witch might devote her character to a deity as a form of spiritual exercise.

If you’re a technopagan, or a green witch with no space but a love for gaming, there is some hope, in the form of digital gardening. This may sound a little odd or a little weird, but bear with me. It will make sense.

Consider Minecraft. This wildly popular game focuses on surviving in a world made up of blocks, which can be used to build nearly anything the imagination can come up with. From building a replica of Middle Earth or Westeros to recreating a scale model of Stonehenge, it’s a versatile game that I’ve seen used for recreation, therapy, education, and even worship (I’ve shared a blog fairly recently which talked about building shrines in such games for discreet witches or witches who can’t have physical shrines).

In a game such as this, gardening may not be as intensive or reliant on skill as in the real world, but it can be a witchy practice! Consider the colors and types of plants present in the game - can they be devoted to a deity? What might they represent? If the garden is being built around the shrine, what styles, shapes, and layouts would be aesthetically pleasing or particularly ideal for the theme? Will you build a statue of your deity, or recreate symbols to represent your deity or intent?

The reason for why this may be useful to a witch is because even when gaming, intention is a huge part of what makes magic work. And placing blocks can be a meditative and spiritual practice if the intent is there for it.

Minecraft isn’t the only game in which gardening can be devoted to magical practice, but it’s a great example. But other games in which gardening may be pertinent and useful for magical practice may include Farmville, Harvest Moon, Stardew Valley, Terraria, Pokemon, and many more!

If you’re a gamer who wants to have a magical garden but lacks the space, energy, or ability to grow such a garden, and are drawn to this idea, consider how your game of choice can become a vehicle for magical practice!

And May Your Harvests Be Bountiful, digital or otherwise! )O(

Baron Skeleton

I’ve had this idea gestating in my mind for a few years now but I’ve never been able to solidify it beyond a few character ideas, so I’m just going to make a post about it now and see if that helps it coalesce into something more solid.

I really love 80′s cartoon villains - Megatron, Cobra Commander, Skeletor, Mumm-Ra, and all their henchmen.  There’s something so delightful about how they were designed to be menacing and theatrical and yet restrained by the standards of the time from ever being a real threat.  The idea of a skull faced wizard acting like a rebellious and rowdy eight year old is just inherently endearing.

They’ve kind of gone extinct though.  Villains in kids’ shows nowadays tend to be actual threats - even lovable goofs like Adventure Time’s Ice King have some disturbing sides to them.  But I pine for those completely toothless villains of yore, whose day ended a few years before I was born and who I knew from reruns and youtube poops.  Where have all the Skeletors gone?

So I’ve had this pitch in my head for a sort of throwback to those kinds of villains, and I call it Baron Skeleton after the lead bad guy.  Like He-Man and Thundercats, it would be a sort of sci-fi/fantasy mashup without a real identifiable theme, and ideally it would also be designed to be as toyetic as possible - I’d want characters to be intentionally designed to share different body molds ala He-Man figures and Transformers, so that way the theoretical toy company could get as much use out of their toy toolings as possible.  I’d also want to keep to story-telling standards of the time - a character whose toy just came out would have one episode where they’re introduced as SUPER important only to become just another character in the show a few episodes later, stuff like that.  Ideally the show would be just a little aware of this without being too meta.

The big “twist” of Baron Skeleton would be that we’re focusing on the bad guys rather than the heroes.  It’d play on my pet interpretation of 80′s cartoons: that the bad guys are basically theeatrical freaks and geeks, while the good guys are popular kids.  I mean, think about it - 80′s cartoons always stress following rules, obeying authority, being super healthy, and just generally conforming to societal expectations.  80′s heroes want you to fit in rather than stand out - and they’re always attractive, straight laced people.  80′s villains, on the other hand, are surly, pouty, antisocial weirdos who come in all sorts of different shapes.  They have weird obsessions and weirder fashion sense.  It’s basically Goths vs. Preps, and so that would be the overall conflict of Baron Skeleton - antisocial misfits vs. popular comformists.

Our protagonist would be the titular Baron Skeleton, who’s mainly a hybrid of Cobra Commander and Skeletor - i.e. a lanky skeleton man in a vaguely military-ish outfit.  Theatrical and prone to wild mood swings, Baron Skeleton leads the (currently unnamed) bad guy faction, although “leads” might be too strong a term.  He’s less an iron-fisted dictator and more of a short tempered Kermit the Frog, desperately trying to reign in his volatile henchmen while futilely trying to get his own schemes to work.  Like a good villain, he’s too clever by half - i.e. just smart enough to make a truly clever and complex plan, but not smart enough to keep it from falling apart.  He’s also somewhat aware of the flaws of his operation, but not enough to actually fix them.

His number 2 would be Snakeman, a large, muscular henchman with a big snake head on an even bigger, beefier humanoid body.  Snakeman isn’t particularly invested in the “bad guy” thing, and basically uses Baron Skeleton’s schemes as an excuse to stir shit up and have fun.  He often “forgets” (i.e. purposely didn’t listen to) his orders and just makes shit up as he goes along with the hopes of causing as much mischief as possible.  Despite his lax attitude, he deeply cares about Baron Skeleton, and genuinely wants his boss to be happy.  Though Snakeman is one of the reasons the group’s schemes fail more often than not, he’s also often the person who keeps Baron Skeleton and the others from facing serious consequences, and Baron Skeleton considers him his closest friend.

The rest of the cast is still nebulous in my mind.  I’d want there to be one new bad guy (as of the first episode at least) who wants to be an actual villain – i.e. genuinely evil and threatening. This character – let’s call them “Newbie” for now – would be used for exposition in the first season, being the fish out of water who has to be taught how things are run.  Baron Skeleton and Snakeman would always shoot down his suggestions of legitimately evil actions, telling him early on that real villains get killed: “You don’t want things to escalate.  Once you get serious, the Good Guys get serious too, and that’s when the bodies start piling up.  Gotta keep the stakes low if you want to stay in the game long term.”  In the first season finale, Newbie would betray Baron Skeleton by finally pulling off a truly evil scheme and framing Baron Skeleton’s group for it, forcing the Bad Guys to prove they’re actually not that bad.

There would have to be a host of other wacky henchmen too.  I’d want one Starscream-style perpetual traitor who’s always trying to steal Baron Skeleton’s position only to be forgiven and welcomed back into the fold.  There would likewise have to be one slavish loyalist who praises Baron Skeleton’s every action, no matter how stupid or mundane it is. You’d need a mad scientist and/or sorcerer to help make plot devices for the schemes of the week, and maybe a spy-master who’s far too competent to be in Baron Skeleton’s employ but sticks around because they like the low-pressure environment.  It’d also be fun to play with Monsters of the Week and legions of faceless henchmen.

Finally, the show would need a hero team to oppose, which is an essential part of this pitch but one I can’t for the life of me figure out.  80’s heroes are nowhere near as interesting to me as 80’s villains, and while I could probably design a hundred different henchmen for Baron Skeleton’s faction, figuring out even a small core team of heroes is agony for me.  The closest I’ve come to thinking of a coherent theme for them would be a sports-themed team of heroes – it’s Goths vs. Preps after all.

I also think it might be funny to have the setting be vaguely high school themed, with episodes that take basic high school sitcom tropes – the big dance, career aptitude tests, that sort of shit – and blow them out of proportion so they’re completely fantastical in scale.I had some design sketches for a few of these guys ages ago, but god knows where they went.  Maybe I’ll make some more later on – but for now, this is Baron Skeleton.

the-high-bear-of-asgaard  asked:

Could you do Incineroar? I love Litten, but whats keeping me from choosing it is the fact i think It's final stage looks really dumb. Big strong circus cat isnt exactly what I imagined from It's base design.

I agree on Incineroar not looking great, honestly its build bugs me the most because it looks like you can give it a slight nudge n it’ll fall to the floor with ease, there’s no balance! The hand-paws are also creepy, but anyhow, here’s my take on a ideal Incineroar! Tiger themed, of course, keeping the bulky build of Torracat and using its whiskers to convey both stripes and a masked look. The tail was made to a molten whip, since the tail of Litten and Torracat look like fuses and this is essentially a lit fuse! Dex entries include - “By spinning its hot fiery tail it creates rings of fire, as a battle strategy it jumps through these rings to envelop itself in flames to perform a flaming tackle.”“It whips smaller Pokemon into submission for its own entertainment, captured Incineroars also whip their trainers when wanting to be in command or refusing to take orders.”

Hello friends!

It would mean the world to me if you could support my Etsy shop. Even just taking a look or favouriting my shop means so much. I’m trying to earn a little bit of money for university, plus having a project to work on is good for me! 

I sell my handmade watercolour bookmarks and I’ve recently added some mental health themed badges, ideal for if you need a small gift for someone or just want to treat yourself! ✨

Thank you to those of you who choose to support me. 💖


How to handle politics in comics...
  • ...The Right Way: Craft an original story that deals with universal themes and ideals, thus ensuring that the story has a timeless quality and message. (Examples: Jack Kirby's Fourth World, The Dark Knight Returns, Daredevil: God and Country, Avengers: Standoff, The Sinestro Corps War, The Death of Jeanne Dewolfe, Cyclops' entire character arc from Schism up to Death of X)
  • ...The Wrong Way: Blatantly plagiarize real-world events so as to create a hackneyed, possibly distasteful story that will become horribly dated in a few decades when the events and issues are no longer timely. (Examples: Occupy Avengers, Civil War, God Loves Man Kills, Mark Waid's Champions, a depressingly large amount of X-Men stories in general)

Hello lovelies!

Okay so I hit 3.5k and I’m honestly in awe and shock? How the hell? I’m such a stupid account like have you seen some of the shit I think is worthy to post¿? 3.5k is so many people!! Holy!! Shit!!

I’ve decided that I’ll be celebrating by taking playlist requests!

All you have to do is send me a character, ship and an ideal theme- blah blah- and I’ll make a playlist!

Im going to try and get up both Bruised up today and my first chapter of my Beverly series!

Also send through questions, I’ll be doing a Q&A if it doesn’t flop I wish I could do more like actual writing requests but I’m in a bad writers block right now and I’m struggling.

If anyone has any other ideas of how I can give back to all of you, let me know!

Send through your requests & questions!

lemonysnickit  asked:

jonsa wedding planner au if ya feel it

“…and Mason jars are very in right now, especially in these cute rustic weddings, and you can use them for tealights or flowers and all sorts of things,” the wedding planner babbled, looking excited at the prospect.

Val’s phone went off and, with an apologetic look, she stepped outside to take it.

“There’s a minor emergency at the office,” Jon said. “But then, there always is.”

Sansa smiled at him. “No worries,” she said. “You’re both very busy people–which is why I’m here to take care of everything.”

Jon nodded. “Right,” he agreed. “How, erm, did you get into this? Planning weddings?”

Sansa sat back in her chair. “I’ve just always liked it,” she said. “I was one of those girls who had her whole wedding ready to go whenever someone popped the question. I had different types of weddings planned, too, depending on my partner’s personality. I made collages, and then when Pinterest became a thing I made all these boards. I planned my brother’s wedding and my friend’s wedding and another friend, and finally someone suggested I get paid for it.”

Jon glanced at her ring finger. “You’re not married?”

She shook her head. “Nope. Got close one time, but. You know. Things happen.”

Jon nodded. “Would you plan our own wedding or would you go to another wedding planner?”

“I think it would kill me if I didn’t plan my own wedding,” she admitted with a smile. “It’s second nature to me now.”

“Does your ideal wedding have a theme?”

She considered the question. “Not…really,” she said. “But I don’t really know what my ideal wedding would be because I don’t have a person. Weddings–well, the good ones, anyway–are a blend of the two people. So many weddings today are generic and boring–you go to one, you’ve gone to them all. A wedding should feel like it has personality.” She blushed. “Sorry, I know I sound crazy going on about this.”

“No, you don’t,” he said. “It’s cute.” Then it was his turn to blush, because he was pretty sure men who were about to get married shouldn’t call other women cute, especially when they were planning his wedding.

“Sorry,” Val said breathlessly, plopping down in her seat. “Minor emergency. Where were we? Mason jars?”

Sansa leaped right back into her Mason jar spiel as if there hadn’t been an entire conversation in between. Jon could not help thinking that she really was very cute.


Mark your calendars! The event dates for General Danvers Week 2017 have been chosen:

 July 3rd - July 9th

With the prompts scheduled to be revealed on June 17th, that gives you two weeks to work on your creations. Thank you to everyone who signal-boosted the last post and voted!

What’s next? Before we can suggest and vote on our prompts, we’ll need to determine the main theme of our week! The submission box is now officially open to begin submitting your theme suggestions. Theme suggestions will be accepted between now and May 21st (8:00 PM EST).  

We are looking for themes (e.g., “time travel,” “alternate universes,” “tropes & clichés,” etc.) that could overarch throughout the entire week. Ideally, our theme should be something that would be able to hold several prompts. The more general the themes you provide, the easier it will be for everyone to give prompt suggestions. If you still have doubts about what qualifies as a theme, here is a longer and more detailed explanation.

Anyone is allowed to suggest themes, and you may either drop your suggestion in the submission box (if you have a longer list, a link, or a long explanation, this is recommended), or in the ask box (anon is on, so if you don’t have a Tumblr account you can still participate!).

If you are really unsure about the theme you’d like to submit, feel free to add a note after your submission, and we can contact you to discuss it if need be. While you are free to submit anything you like, no harmful/offensive/discriminatory suggestions will be accepted. If you are unsure if your suggestion is appropriate, please feel free to ask.

Please like/share this post to signal boost and spread the word! We’re looking forward to seeing what you come up with!

     amxgii >>>>> petalpyres !

Take Away the Pain Chapter 8

***Hiro Mashima owns all characters!***

Lucy Heartfilia lost her mother at a young age and has been living under her father’s strict household. It is what would be her senior year in high school, and she is finally getting out of the house. Natsu Dragneel has never met the people who live across the street. He’s caught glimpses of the blonde girl throughout his seven years of living there. But finally they meet, and he is shocked when he meets the heiress.Their adventure is beginning, and the pain they will go through is either going to tear them apart, or bring them together.

Rating: M for sexual content and themes

Chapter Rating: T for themes and ideals

Genre: Romance/Fantasy

This will be about 50 chapters long overall and I will continue to link the chapters on here so expect a long list of chapters!

1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50

Keep reading

anonymous asked:

has anyone ever discussed madd + arousal/masturbation? i hope that's not a weird thing to ask, i'm just curious

It’s not a weird question at all, these themes and experiences often get glossed over but they are common.  Sexual arousal is actually one of the first themes originally identified in the 2002 paper which first proposed maladaptive daydreaming as a clinical phenomenon [01]. 

Crosssectionalanalysisoftherespondents’transcriptsyielded9themesclus-tered into 3 metatopics that best captured the fantasizing experience: functions(Disengagement from Stress and Pain by Mood Enhancement and Wish Fulfillment Fantasies; and Companionship, Intimacy and Soothing), themes (Violence; Idealized Self; Power and Control; Captivity; Rescue and Escape; and Sexual Arousal),and dynamics (Onset; and Kinesthetic Elements). 

emphasis mine

This first paper is one of the few times I can think of where MDers have been open about the sexuality of their daydreaming and the only one I can recall which directly references masturbation.  It’s worth noting, too, that these patients were all survivors of severe trauma, how that might impact their intimate fantasies vs MDers with no trauma I can’t say.  Sexually charged daydreaming is not, however, unique to trauma survivors.

I’ll add the relevant bit below, but people sensitive to these topics may want to stop reading now.

Sexual Arousal. For this group, sexuality seemed to be a mixed bag of carnal pleasure, insatiable compulsivity, confusing guilt, and a sense of sad loneliness. Four participants spontaneously reported sexual arousal themes in their daydreaming. Subject 1 said he could fall asleep only after prolonged compulsive fantasy about flirting, courting and seduction of a woman. He would later fold his blanket into an imagined female torso and make love to it. Subject 6, an incest survivor, sheepishly disclosed that she could only be sexually satisfied when she was “exposed to bondage and rape fantasies.” She defined them as “the most efficient nighttime tranquilizers.” Subject 5 admitted he would trade an opportunity to make love with a girlfriend for a lengthy sexual domination fantasy anytime.Subject 2 had the following to say about the topic: After I see an attractive girl on the street I add her to the girl archives in my mind. At home I can spend hours masturbating while fantasizing about making love to her. I do it over and over again, until I have exhausted the thrill. This is a very old habit. It consumes a great deal of my time and energies.