kindness movement

i was re-watching the final agni-kai between zuko and azula and i noticed something

throughout the entire match, zuko and azula are throwing straightforward, linear attacks at one another

and they deflect with the same kind of movement

but then when zuko does his firespin breakdance thing, its in no way linear, its completely circular

up until that point, theyd been doing classical firebending movements, but this one isnt really seen in firebending. but it IS seen in airbending

point is, zuko was learning from aang at the same time aang was learning from zuko

What is autism?

Autism is a natural variation of human neurology which is categorized as a developmental disability. About 1% of the worlds population is autistic. Autism is a lifelong condition meaning that autistic people are born autistic and that they will die autistic. You cannot “catch autism” or “become autistic” like you can risk becoming mentally or physically ill - neither vaccines or heavy metals or gluten will make you autistic if you aren’t born with it. You also can’t cure autism or recover from it - but all autistic people can live fulfilling, happy lives with the right accommodations so an autism diagnosis isn’t the death sentence that many people make it out to be. Autism isn’t a diagnosis which can be clearly separated from who you are and how you see the world - it affects every aspect about of how you think about, experience and interact with the world around you. There are many different aspects of being autistic which makes it hard to summarize the condition, but I’ll do my best to introduce you to some of the common autistic traits and experiences in this post.

  • Sensory processing. Autistic people’s sensory processing is different from most people’s sensory processing. This means that autistic people may be over- or undersensitive to different sensory input. This means that we may have trouble with sounds, touches, smells, tastes, etc that most people can easily tolerate or block out or that we may seek out loud music, blinking lights, bright colors, spicy food, strong smells and activities which provide physical activity and deep pressure. Many autistic people lack the filter that most people have which makes them able to block out background sounds, meaning that the ticking of a clock, the buzzing from a lamp or two people having a conversation nearby might make us unable to focus on what we’re supposed to be focusing on. This means that many autistic people will have trouble focusing in situations with lots of sensory input, for example situations where many people are gathered together, and that we are more easily overwhelmed and stressed out by different sensory input than allistic (non-autistc) people. 
  • Stimming. Stimming is short for self-stimulatory behavior, meaning a behavior which is meant to stimulate one of your senses. Some common stims are rocking back and forth, bouncing your legs or feet, hand flapping, hand wringing and repeating words and sentences, but a stim can be any kind of repeated movement or action which stimulates one of your senses. Stimming can thus be many different things - you can stim by smelling, touching, watching, moving, tasting and listening. The reason why autistic people stim is tied up in the fact that autistic people’s sensory processing tend to be atypical - when there’s a lot of overwhelming, stressing sensory input, providing your own repeated sensory input by listening to a song on repeat or rocking back or forth or smelling something you like the smell of may help you focus and calm down. Autistic people also stim to express emotions - it’s a natural part of our body language just like smiling or frowning is a natural part of most people’s body language. We may jump up and down and flap our hands when excited where most people would simply smile, or we may rock back and forth and press our hands against our faces where other people would cry. That being said, an autistic person doesn’t need a certain, deep reason for stimming - we often do it simply because it’s fun and because it feels good. 
  • Shutdowns and meltdowns. Shutdowns and meltdowns are both responses to extreme distress - they’re often caused by unpleasant, overwhelming sensory input that the autistic person in question is unable to escape, but they can also be caused by strong negative emotions. A meltdown is an outward reaction to said distress where a shutdown is an inwards reaction. An autistic person having a meltdown is a person who has reached a point where they are no longer in control of their own body - they’re experiencing an flight or fight response, so to say. An autistic person may scream, lash out, cry, smash things and run away during a meltdown. Shutdowns are another possible response to a similar situation - during those, the autistic person may become unresponsive, locked in place, unable to talk, etc. You should never get mad at autistic people or hold them responsible for having meltdowns and shutdowns - they’ve reached a place where they’re so distressed that they’re losing control of themselves and instead of distressing them further, you should help them escape or resolve what’s causing the distress - after you have given them plenty of time to calm down and recover, that is.
  • Trouble with non-verbal communication such as body language, facial expressions and tone of voice. Autism is a disability which affects communication and the ability to socialize, meaning that autistic people may have trouble reading, using and comprehending body language, facial expressions and tone of voice just like they may have trouble learning, conforming to and applying social rules. We may not be able to take a hint that someone’s not interested in talking to us just like we may not notice when someone’s interested in us romantically or sexually. We have trouble noticing when other people are bored or tired or sad or angry and we might thus often come across as uncaring or annoying in social situations. Our trouble with reading other people and seeing the nuance in their body language, facial expressions and tone of voice also means that many autistic people have trouble grasping sarcasm, irony and metaphors. 
  • Trouble with words and speech. Most autistic people have some degree of trouble with expressing their thoughts and opinions through spoken words.This is because most of us don’t naturally think in words - we may experience, think about and process the world around us in pictures or sensory experiences and we may thus have trouble transforming those input and experiences into words. We may also have trouble with the process of speaking, not because there’s something physically wrong with us but because we can have trouble with making our throats and mouths pronounce the words or because we may have trouble with going from thinking a word to succeeding with the process of actually saying it out loud. It’s common for autistic people to have periods where they aren’t able to speak - we call it going nonverbal - and some autistic people can’t speak at all. That doesn’t mean that they can’t think or communicate, though - they may instead communicate via written words, text to speech apps, facilitated typing, sign language, picture boards, etc.
  • Executive dysfunction. Executive functioning is what allows us to go from thinking about or wanting to do something to actually doing it, it’s what makes us able to keep the different steps required to complete a task straight in our heads and it’s what makes us able to plan and focus on different tasks. Autistic people often have trouble with executive functioning which makes many everyday tasks that most people can just do without thinking twice about it really hard. Imagine that you want to do laundry but your brain doesn’t automatically come up with the steps required to complete the task - take the laundry basket to the washing machine, open the washing machine, put clothes into the washing machine, add soap, etc - instead you’re just standing there, knowing that you somehow have to go from dirty laundry to clean clothes without knowing how to go about it. This is a problem for many autistic people which makes many everyday tasks hard or impossible to do without help. We may need someone to prompt us to do what we need to do or we may need someone to talk us through the steps or we may need visual or written instructions which illustrate the steps required to complete a certain task. Executive dysfunction is the main reason why many autistic people have trouble with basic, everyday tasks that most people their age can easily do without help.
  • Special interests. Many autistic people have a topic or a thing that they’re deeply, passionately interested in. Some autistic people compare having a special interest to being in love - it’s what your mind drifts to when there’s nothing else to occupy it, it’s the only thing you want to talk about, it’s the first thing you think of when you wake up in the morning and it’s the last thing you think of before you fall asleep. This intense level of interest and passion often allows autistic people to excel in their areas of interest even when they may have trouble with basic everyday tasks. Some autistic people have special interests that lasts a life time, other people experience that their special interests change every couple years or maybe every couple months - or in some cases, every couple weeks. Some autistic people have one special interest at a time, other autistic people have many special interests. 
  • Routines. Since the world is often very chaotic and confusing for autistic people due to our atypical sensory processing and our struggles with executive dysfunction and social interaction, many autistic people rely on routines to create a sense of order in a confusing and chaotic world. We usually like to do the same things in the exact same way every day and if something breaks our routine or if something unexpected happens - or if somebody suggests an impulsive trip to the beach on a day where we hadn’t expected to do anything but the usual - it may result in shutdowns or meltdowns. If you want an autistic person to break or change their routine it’s recommended that you warn them in good time and that you give them plenty of time to prepare and adjust.
  • Unique points of view and different ways of thinking. Due to the fact that autistic people experience the world so differently from how most people experience it, we see the world from a different angle - often allowing us to come up with ideas or thoughts or input or solutions that you wouldn’t get anywhere else. Autistic people often have unique points of view and unusual ways or thinking and learning and this is often a strength - as we say in the autistic community, we are different, not less. 

I’ve now summarized some of the more common autistic traits and I hope that this post gave you a better understanding of what autism is and what it means to be autistic. Feel free to reblog and share this post far and wide if you found it helpful or educational.

4

I’ve been thinking about this game. Personally to me it represents a lot of lost potential - it’s a great concept but it’s brought down by a less than stellar execution. The cartoon designs look more like stickers than anything, just barely resembling a stereotype of a stereotype of the 1920′s-30′s cartoon style. While I don’t like complaining about people’s choices in design and art, I guess the theme is one that I’m rather passionate about, and a little bit of research from the developers would bring the game to a much greater level of quality than it is at the moment. The monsters in the game are also just unimaginably lame, and to me represent just plain blowing off the original idea in favor of more “serious” horror.

(Continued under a readmore because I say a lot; tl;dr I talk more about where the game went wrong in my opinion and how I would recommend changing it.)

Keep reading

I just called Netflix Germany and asked why Sense8 got cancelled. The guy on the phone told me the official reason they at customer service have to tell people was that the story had been told/come to and end (which is bullshit of course! WTF Netflix???). He himself said that he doesn’t know really, there are lots of factors playing into these decisions (I guess we already know the reasons were not enough viewers - bc Netflix did shitty advertising for s2 - and the show being too expensive, but I thought it wouldn’t hurt asking).

He sent me an email with the link to the suggestion page which I filled out again with 3 times “Sense8 season 3″ (I had already done that, idek if it counts anymore). The guy on the phone said they do listen to this feedback (but idk, what else is he supposed to say).

I told him I cancelled my Netflix subscription yesterday because of the cancellation and that I want them to know that that was the reason.

He said they have been receiving a lot of calls about Sense8 since the cancellation and that he heard that there was some kind of online movement where people get told to call the hotlines. They are noticing! And I’m talking about Germany, where Netflix isn’t even that popular yet.

So if you haven’t called the Netflix hotline yet, please do!

United States: 1 (866) 579-7172

Canada: 866-579-7115

Colombia: 01-800-755-0114

México: 01800-265-0161

España: 900866616

Argentina: 0800-444-2169

Panamá: +1 (408) 600-1721

Brazil: 0-800-086-4041

United Kingdom: 0800-096-6379

Germany: 0800-724-0963

France: +1-800-585-7265

Italy: 800-784-308

The Netherlands: 0800-022-5173

Australia: 1800-071-578

Norway: 800 17 530

Yuri on Ice interview translation - CREA 2017/03 (p34-35)

Second part of the YOI interviews featured on CREA. As for the one with Kubo, more than “interviews” they are like “mini articles” that incorporate what the interviewed people said. The interviews are with Kenji Miyamoto (choreographer), Eiji Abiko & Junpei Tatenaka (figure skating animators), Yuuko Sagiri (original costume designer), Keisuke Tominaga (music producer).

Random note: thanks to this magazine I was finally able to know that Sagiri’s name is “Yuuko”. When I translated her interview on Pash I did lots of research but wasn’t able to find out the pronunciation so I used Yuiko because that was what came out searching for the name alone, but now it’s confirmed that it’s Yuuko so as soon as I have time I’ll edit that interview to fix it. I swear all magazines should be obliged to provide the pronunciation of names, because sometimes it’s really hard to find out how the kanji are pronounced when it’s not famous people with Wikipedia pages and such…

By the way, the issue of Pash coming out today (Feb. 10th) has an article I was really looking forward to (the second part of Kubo’s detailed commentary on each episode), so I’ll probably spend the night translating it when I get home from work. Also because I want to post it before the YOI all night event on Saturday (I’m going to the live viewing).

***If you wish to share this translation please do it by reblogging or posting a link to it***

***Re-translating into other languages is ok but please mention that this post is the source***


The reality as expressed by 5 people who created “Yuri on Ice”

Reality #2: Choreography x Kenji Miyamoto
“The footage taken with the camcorder was the key to create realistic and powerful anime scenes”

Profile: From Hyogo prefecture. After retiring from competitive ice dance in 2006 he started working as a choreographer and commentator. With director Sayo Yamamoto’s “ENDLESS NIGHT” for the first time he was involved in creating figure skating choreographies for an anime.

The choreographies for all characters’ programs were created by choreographer Kenji Miyamoto. He created them integrating the music with the information he received from director Yamamoto and Kubo regarding the characters and their programs. What was different than usual is that the songs for the FS were 4 minutes long instead of 4:30 minutes.
“In the anime characters need less strokes to speed up, so it’s possible to use less ‘transitions’, the movements connecting different techniques. I cut down on those and made the programs more compact.”
Miyamoto was filmed with 4 fixed cameras and 2 portable camcorders as he danced all the programs, then the footage was edited into a multiframe video based on which the animated figure skating scenes were created.
“I believe that the footage taken with the portable camcorder, that filmed me up close, is what made it possible to create realistic and powerful tournament scenes.”
After watching the finished anime, Miyamoto commented that the characters’ monologues during their performances are realistic.
“When you are performing lots of things are whirling around inside your head. In my case it wasn’t words but still pictures, like photographs. I was happy that they expressed the athletes’ feelings.”


Reality #3: Animation x Junpei Tatenaka & Eiji Abiko
“The performances look realistic thanks to Miyamoto-sensei’s choreographies”

Profile: Animators working for the anime production company MAPPA. Specialized in sports and action scenes. They both created animation for director Sayo Yamamoto’s “ENDLESS NIGHT”.

Animation of the figure skating scenes was created by action specialists Junpei Tatenaka and Eiji Abiko. “It’s the first time that we digitally create 2D pictures after deciding the camerawork. It was very difficult because we had to figure out how to do everything”.
Tatenaka, who was already a fan of figure skating, says: “For the moments I believed to be the ‘highlights’ of a performance I would add 1-2 extra stills. This way, I was able to draw out a little what in the live footage only lasted an instant.” They actually made jumps much higher than they are in real life.
“While being aware that real skaters wouldn’t jump that high, I still wanted the scenes to be striking, therefore I was always looking for a good balance between realism and what could be allowed in animation.” (Abiko)
They both agree that Miyamoto’s choreography footage was the most important factor that allowed them to create realistic performance scenes.
“When there was a key point in the music, Miyamoto-sensei would pose with all of his body creating a beautiful line, from his fingertips to the tips of his toes. It was very easy to draw.” (Tatenaka)


Reality #4: Costumes x Yuuko Sagiri
“I think the only difference is that there were no budget restrictions (LOL)”

Profile: Ballroom dancing costume designer working for the ballet & dance supplies maker Chacott. She has designed figure skating costumes for athletes such as Nobunari Oda and Akiko Suzuki.

Yuuko Sagiri, designer of the athletes’ costumes, created the designs giving importance to functionality that would improve a skater’s performance and to elements that would make the character’s personality stand out, just like she does for real costumes. She chose materials, cuttings and decorations that would actually be employed in costumes used for real performances.
“Normally I objectively watch an athlete’s past performances to understand their level and what kind of movements they are skilled at, and this is then reflected in the design. This time I based the design on the characters’ setting materials, the information I received from the director and the choreography footage by Miyamoto-sensei. I think the only difference is that there were no budget restrictions (LOL).”
Regarding Yuuri’s costume, she mentions that she wanted to reflect the fact that he is psychologically weak and gains weight easily.
“I added shining decorations on his chest so that his face would look bright even when he is tense. The cuts on the waist are to make him look slim.”
Actually, she also designed a costume for Yurio’s exhibition. Sagiri said that she created the design thinking of what “Yurio would really want to wear”. We’d definitely like to see him skate with that costume!


Reality #5: Music x Keisuke Tominaga
“I added melody to the beautiful lyrics that is ‘Yuri on Ice’”

Profile: From Kanagawa prefecture. Music producer. He founded PIANO INC. in 2012 and is the current representative director. His main works include the Pocari Sweat 2016 commercial “Kimi no Yume wa, Boku no Yume.”, the TV anime “Zankyou no Terror”, etc.

When creating the music for this show, music producer Keisuke Tominaga constantly asked himself whether it was music you could dance to.
“I would move my hands, feet, my whole body, sometimes even checking the rhythm like a conductor or a dancer. Figure skating has many elements that resemble ballet, so to express the elegant movements of the body I used many tunes in triple time like waltz and bolero.”
Most of the classical and orchestra tracks were created by Taku Matsushiba, while the vocal tracks and modern band songs by Tarou Umebayashi. They worked on the music as a team, always communicating with each other.
“The world created by Kubo-san and director Yamamoto was like realistic and beautiful ‘lyrics’, and I feel that our role was to create a ‘melody’ for those lyrics. In fact, when I joined together Yuuri’s FS song “Yuri on ICE” and Victor’s recorded voice for the first time, the lines sounded just like the words of a song, and I can’t describe how moved I was. I believe that this strong, deep expression that you would not be able to obtain with music alone is what realistically affects the viewers.”


Bonus in case you haven’t seen it already: Sagiri’s design for Yurio’s exhibition program.

So, @witches-ofcolor and I were talking about how we feel (and others) that the natural hair community has pretty much forgotten that type 4 (especially 4c) hair exists. Type 4 people aren’t being as praised and recognized in the natural hair community as we should despite the fact that the natural hair movement was kind of made for us.

Type four girls/boys are the ones who were supposed to be uplifted by the movement and encouraged and people tend to forget we exist.

Even worse, people (even in the natural hair community) act like having type 4 hair especially 4c hair is a bad thing. So many people don’t go natural because they fear they’re gonna have type 4 hair.

So…that said, we think there needs to be a day to appreciate people with type 4 hair. The natural hair community has done such a bad job at it as it is, even natural hair product companies ignore type 4 people, so we need a day to ourselves.

So on July 1st 2017, we are going to be hosting a little event in appreciation for Type 4 hair. It’s simple, if you have type 4 hair, then just post a picture of yourself (or submit to this blog), and we’ll reblog it. The day will be tagged #naturalhair day, so make sure you tag that.

This way, there will be some well needed recognition for type 4 people.

So please, reblog this post, and spread the word. Because Type 4 hair is so underappreciated and I think a day like this will show people just how amazing their hair is.

If you have any questions please ask!

I’ll probably make more promos later on! So follow this blog for updates or just track #naturalhair day, to keep up with updates! Thanks!

Mind Bending

Shiro and Lance had been taken by surprise while on a diplomatic mission.
They hadn’t expected any problems on what was meant to be a peaceful planet, so they were dressed in their casual clothing.
Without their weapons or armour the two Paladins were captured by the waiting Galra without much resistance.
——————————-
Hours later Lance woke up chained to the wall with dried blood plastered to the side of his face.
Judging from how his vision swam and the intense pain behind his eyes, it was a safe bet that he had a concussion.
Lance vaguely registered someone calling his name, but it sounded like they were talking through water.

“Lance! Come on Kiddo.”
Lance looked up in the direction of the voice to see a black blob talking to him.
It took him a minuet to realise the blob must of been Shiro.
“Shiro?” Lance mumbled the movement causing his to moan in pain.
“Yeah bud I’m here. Do you remember where we are?” Shiro asked, he sounded panicked but Lance couldn’t figure out why.
“Castle?”
Shiro cursed softly under his breath. “No lance. Look we’ve been captured by the Galra. I don’t know if they got the rest of the team but I need you to try and stay awake. Ok bud?”
Lance didn’t know if he nodded or not. But he must of made some kind of movement because his head was spinning and dark spots were dancing across his vision.
“Hurts” Lance wimmpered.
“I know Bud… I’ll get you out of here I promise.”
Just then the cell door opened and two large Galra walked in.
Shiro instantly started thrashing about yelling at them.
Lance could tell that Shiro was trying to gain their attention. He was protecting him.
And Lance wasn’t going to let him do that.
Growing up Lance had always been flexible. If he hadn’t of gone to the Garrison he had always wanted to be a gymnast. It was like flying without a plane.
Even through his concussed haze Lance was able to remember how to dislocate his thumbs and pull them out of the cuffs.
Lance was sure it would hurt when he was a bit more coherent. Bit for now he had to save Shiro.
The Galra were so focused on the Black Paladin, that they didn’t notice Lance until after he grabbed the blaster from one and shot the other.
The other Galra turned and Lance fired again, however his vision was swimming so much that his aim was off and only grazed their shoulder.
The Galra grabbed Lance by the throats and slammed him against the wall causing Lance to cry out in pain.
He could see Shiro’s mouth moving. Maybe calling his name, maybe cursing the Galra that kept hitting Lance against the hard metal wall to get Lance to let go.
Lance knew he was losing consciousness.
It was so hard to keep his mind focused.
His eyes landed on the chains holding Shiro up.
He only had one chance.
Lance bent his arm until he could feel it almost popping out of his socket as he lined up the shot.
He took a breath in and out.
Then fired.
Lance didn’t know if he hit the chains.
But judging from how the Galra dropped him to the ground and the muffled sounds of fighting Shiro was free.
Lance felt his eyes droop closed as Shiro’s face came into focus.
“Lance! Lance please you have to stay awake!”
“S…orry” Lance mumbled as his eyes slid shut and he fell into the blissful abyss of unconsciousness.
——————————
Lance fell out of the healing pod into the waiting arms of Shiro.
“Hey Lance, how you feeling?” He asked looking him over concern clear on his face.
“Fine I guess… what happened?” Lance asked rubbing his head.
“We were captured by the Galra and you got a pretty nasty concussion.”
Lance winced in memory “oh yeah, how did we get out?”
Shiro smiled as he helped Lance sit down on the couch in the infirmary.
“It was all you, I didn’t think anyone could bend like that, let alone make that kind of a shot even without a concussion. You really are amazing…” Shiro blushed “and way more flexible then I ever hoped to imagine.”
Lance smirked “I would be happy to show you any time.” He winked and laughed as the leader of Voltron was left a spluttering blushing mess.

Masterpost: Sensory differences

If you know a bit about autism, or have been following this blog for some time, you must be aware that one of the autistic traits which has the most consequences on our daily lives is our sensory differences. They have an impact on all spheres of our lives: on what we can and cannot do, on where we can and cannot go, on what we can eat, wear, listen to, on our ways to feel good and on what makes us feel bad.

Such a wide subject definitely warrants a masterpost. So, here we go!

First, let’s take a look at the human sensory system, to understand the different areas in which there can be differences. It’s actually more complicated than the traditional five senses! Our sensory system is divided into three parts:

  • Exteroception : sensing what comes from the environment outside your body.
  • Interoception : sensing the internal physiological condition of your body
  • Proprioception : sensing the position your limbs and body are in

These three main areas encompass different senses (note that this is one model and others exist):

  • Exteroception: sight, hearing, smell, taste, touch, but also thermoception (sensation of heat/cold) and nociception (sensation of pain)
  • Interoception: nociception (internal pain), feelings of hunger, lack of oxygen, thirst, need to pee, as well as monitoring of the respiratory rate and heart rate.
  • Proprioception: the kinesthetic sense (knowledge of the movement and relative positions of your body parts) and the vestibular sense (knowledge of body movement, direction and acceleration)


For all of these senses, autistic people can have them work typically, be hyposensitive (less sensitive than most people), be hypersensitive (more sensitive than most people) or have sensory processing differences which do not fall under the hypo/hyper system.

The clinical term which encompasses these differences is “Sensory Processing Disorder”. One can have SPD without being autistic, but all or almost all autistic people have SPD.

It should be noted, however, that some autistic people don’t like to think of it as a disorder and prefer simply talking about sensory processing differences.

Something very important to understand is that hypersensitivity and hyposensitivity CAN coexist in any one person’s sensory system. For example, they might be hypersensitive to smell and hyposensitive to touch. They can also be hyper/hypo sensitive to only one aspect of one sense (for instance, pressure or texture or bright lights or sweet tastes). They can also be sometimes hyposensitive to something, and sometimes hypersensitive to it.

Being hypersensitive to a stimulus and being exposed to it can cause what is called “sensory overload”, which usually translates to pain, discomfort, and impaired cognitive functions (in other words, trouble thinking properly). If pushed further (very intense stimuli or very long exposition), it can lead to a shutdown or meltdown.

Being hyposensitive to something and lacking stimulation can translate to restlessness, discomfort, and even pain, as well as an intense craving for the stimuli.


Here are some examples of what hypersensitivity to different senses can translate to, on a behavioral and subjective level:

  • Sight: The person wears sunglasses, maybe even indoors. They avoid places with fluorescent lightning, blinking lightning or too bright lightning. They dislike looking at brightly colored surfaces. They may have trouble with visually cluttered spaces, such as crowds and supermarkets. They may find any kind of flickering or movement around them painful to see.

  • Hearing: They may hear sounds no one else can hear (and some have been tested to hear outside the normal human range). They may have to wear headphones/ear defenders in noisy places. They may avoid crowds and events with lots of people/loud music/shouting. They may have difficulty with the noise of the vacuum, of the construction work on the other side of the street, of the clock ticking in the next room. They may develop tinnitus eventually.

  • Smell: They’ll probably dislike places with strong smells such as perfume shops, farms, or crowded public transportation. They may need to wash themselves, their clothes and their sheet very often to keep body odors to a minimum. They may not tolerate scented soap, shampoo or deodorant (and it’s sometimes difficult to find an unscented one!). They may struggle with the smell of food in general, or with particular smells.

  • Taste: They may be very picky eaters, only tolerating a couple of very bland-tasting food such as mashed potatoes or pasta. They may have difficulty having diverse enough diets with all the nutrients they need. They may always eat the exact same thing.

  • Touch: They may have trouble finding clothing with a texture that they can tolerate. They may need to cut all the tags off their clothing. They may absolutely hate anyone touching them. They may be ok with firm touch, but find light brushy touches painful. They may have trouble wearing specific items of clothing, such as socks/shoes, headphones or hats. They may hate people touching their hair, or find brushing their hair very difficult. They may find brushing their teeth nearly impossible because of the scratching sensation. They may have trouble with the texture of many foods, and be a picky eater because of that.

  • Thermoception: They may be very sensitive to cold, and always wearing loads of clothing and turning the heating up even when other people don’t think it’s that cold. They may be very sensitive to heat, finding summer very hard to cope with, especially if they don’t have access to AC. They may be hyper-aware of tiny changes in temperature, feeling cold when it is dropping and hot when it is rising regardless of the actual temperature.

  • Nociception: They may be more sensitive to pain than most people, and find very painful what most people would shrug off. (They’re not being a drama queen! They really do feel more pain!)

  • Vestibular sense: They may get motion sickness very easily.


And here are some examples for hyposensitivity:

  • Sight: The person may have trouble finding things in visually crowded environments. They may enjoy looking at bright colored lights or at objects in motion (spinning top/twirling fingers…)

  • Hearing: They may not notice being called or being talked to, especially when focused. They may enjoy listening to very loud music, singing, or making lots of noises.

  • Smell: They may not notice smells which other people do. They may enjoy strong smells such as perfume, essential oils or body odor. They may enjoy sniffing a favorite blanket, a significant other, a pet, or anything they like.

  • Taste: They may be able to ingest an impressive amount of spicy food, and may crave strong tasting food (pepper, lemon, salt, sugar…).

  • Touch: They may love rubbing/touching favorite textures, rubbing their hands together… They may love and crave deep pressure, such as having heavy weights on top of them.

  • Thermoception: They may be outside in winter with just a T-shirt, or not be bothered by the heat in summer and even wear a sweater. They may enjoy touching very hot things such as radiators or very hot water, or very cold things like ice cubes or snow.

  • Nociception: They may be less sensitive to pain than most people and not notice it when they’ve been hurt.

  • Vestibular sense: They may love roller coasters, boat rides when there’s a lot of waves… They may never get motion sickness of any sort. They may spend time rocking or like to chill upside down.

  • Kinesthetic sense: They may be very clumsy since they have a poor sense of the position of their body in space. They may stumble a lot and be generally bad at sports. They may have trouble with fine motor skills such as handwriting or sewing. They may enjoy doing repetitive motions such as hand flapping.

  • Interoception: They may have trouble noticing  when they are hungry, thirsty, tired, or when they need to go to the bathroom. They may need to set alarms or to have self-care at set times as part of their routine.


These are of course only examples and hyper or hyposensitivity can express themselves in as many ways are there are people who experience them.

Here are some examples of other sensory differences autistic people can experience:

  • Synesthesia seems more frequent among autistic people than in the general population. It is defined as a transfer from one sensory modality to another: for example, seeing sounds or hearing tastes. It can also mean associating colors or personalities to numbers/letters. In autistic people specifically, it can be a very positive thing (you can now stim with two senses at the same time!) or something painful (these bright lights are awful, well now they’re harsh noises too).

  • We often struggle with processing sensory information, especially speech, which can mean we can have a lot of trouble understanding what people say, might take a lot of time to process speech (which results in conversations such as” “Hey, will you get me this thing please?” “What?” “I said, will-” “Oh yeah, sure”), and might need subtitles to be able to understand movies. Processing information from two different senses at a time can also be difficult, which often translates as “I can either look at the images or understand what’s being said”. This is one of the causes of our struggle with eye contact.

That’s all for today. We hope this helped. We are currently preparing a masterpost on stimming which will be quite related to this one. Happy writing!

5

TV TROPES »  dance of romance:  This often pops up during high school dances and fancy parties, the kind with hooped skirts and masks. For some reason, waltzing with a friend, or friend-of-a-friend, always winds up with one or both participants acquiring (or realizing) feelings of love towards the other, as though it were some kind of movement-driven truth/love spell.

I finally got around to getting the movements written down.. unfortunately there is never a clear picture of what the 4th movement symbols look like and the 5th movement is never given any symbols. And I’m not entirely sure if I have the 3rd movement symbols in the correct order.. but here they are!! @the-invisible-self @theoanetflix @theoatheories

anonymous asked:

You know how Winn fanboys over superman can you do a prompt of Alex fangirling over Wonder Woman. I think I'd be interesting to see cool Alex freaking and also Wonder Woman is so worthy.

“So technically, she’s not an alien,” Maggie read through the file in the middle of the DEO command center. She dropped the page she was looking at. “But she is super strong and has weapons that are obviously not of this world.” She looked over at Alex who was distracted by her favorite alien gun in pieces on the table. She had a soldering iron in one hand and some kind of alien version in her other hand.

Maggie looked toward the entrance to the DEO when the door opened. She heard Kara talking and knew their special guest with the mystery file had arrive.

“So Kal-El is your cousin?” an elegant voice asked that was both powerful and comforting.

“Yeah,” Kara smiled. “My little baby cousin.”

“Alex,” Maggie poked Alex’s arm.

“Hold on,” Alex grumbled. “Can’t believe it got smashed.”

Maggie didn’t look away from their guest as she hit Alex with the back of her hand. “Alex, look.”

“One sec.”

“Alex!” Maggie finally moved her hand up Alex’s head, her hand patting Alex’s face. “Alex, look.”

“What?” Alex looked up from her beloved gun to the approaching group. At first all she saw was J’onn and Kara, then she saw her. The light coming in the glass door lit up their visitor like a halo, making her face seem like a dream. A smile lit up her face as she stepped forward out of the light and Alex’s eyes adjusted.

“You’re Wonder Woman,” Alex blurted out. The tools in her hand clattered onto the table and she walked quickly around the table.

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Practical Magic: Circle Casting

If you’re brand new to witchcraft, you’re probably seeing this phrase left and right: casting the circle, or circle casting. For some, it seems fairly obvious, because casting circles is often represented in pop culture, from the Devil’s Traps in Supernatural to the circle of brooms in Practical Magic. 

However, what purpose does casting a circle serve? How do you cast a circle? Why does it have to be a circle and not, say, a square? And do I always need to cast a circle when working magick?

Well, we’ll take this in small bits!

Why should I cast a circle?

A circle serves several different purposes in witchcraft. For some, it’s a means of protection. To others, it’s a means of magnifying ritual energy. For still others, it encourages slipping into meditative consciousness. Whatever the reasons for the tradition, it remains a rather good way of getting the spell started.

In terms of protection, the circle acts sort of like a bubble. After all, it’s not just a cylindrical wall. When a witch casts the circle, he or she is envisioning the energy rising up from where it had been cast on the floor and forming a dome over the ritual space, and below the floor to encase the space in a bubble of intent. For many witches, this forms a sort of shield from outside spiritual influences, and to enter the circle after it’s been cast would require cutting a doorway into it.

As you cast your spell or work your rite, the energy you send out interacts with your altar, your tools, yourself, and your ritual space. The circle acts sort of like a can of soda that’s been shaken up. It holds in all of that energy, allowing it to increase in concentration and potency, allowing it to continuously interact with all ritual components, including the witch casting it. When the rite is done and the circle is opened, it sends all of that energy out into the world with extra force and intent, allowing it to more effectively do as the witch desires. This is particularly useful for rites and spells intended for someone else, or for spells intended to cause large changes.

Furthermore, casting a circle is usually the first or second act done in a spell - often a witch will cleanse a ritual space by asperging or smoke cleansing before casting the circle. As a result, casting the circle is an ideal start to a rite because it begins to set you into the state of mind you need for spellwork. By channeling intent and starting up the circle, you get your magical energy moving so that by the time the ritual starts, you’re already warmed up (like an athlete taking a couple of laps around the track so she can be warmed up and ready to go for practice or for the game). 

Why does it need to be a circle instead of another shape?

This largely is rooted in tradition. If you really feel that a different shape is more sacred than a circle, you’re welcome to use that instead in your practice - some cultures believed in triangles being the shape of perfection. However, in most cultures and beliefs, the circle is a rather sacred shape. We see it everywhere, the only shape that can truly be called perfect - no corners, no sharp edges, no beginnings, no endings. It is a symbol of eternity, and reflects the shape of Mother Moon and Father Sun.

The circle also has another impact in witchcraft in that it can be seen as a fertility symbol - representing the full womb. 

When casting a spell and beginning with a circle, you’re creating a sphere of energy - a magical manifestation of the principle of “as above, so below.” In a sense, you’re not casting a circle, but instead casting a sphere. It allows you to encompass your ritual space in a way where the energy can flow smoothly and freely like water. In general, other shapes don’t allow this kind of movement. Just like in Feng Shui, corners collect energy, prohibiting it from moving freely and causing it to grow stale and potentially sour into negative energy. Without the corners, you don’t have to worry about stale energy.

Do I always need to cast a circle in order to work magick?

The simple answer is no. The more accurate answer is that it largely depends upon the tradition you follow and what brand of magick you work. There are witches out there who will absolutely refuse to cast any kind of magic without the protection of the circle. Meanwhile, there are witches out there who only cast the circle for esbats and Sabbats. What feels best for you should be what dictates how frequently you cast your circles.

In my case, I always cast a circle when I am doing a full rite. Since many of my spells are done on the fly (intuition is key for me, so I don’t always write out elaborate spells), I don’t cast a circle for every working I do. Instead, with some spells I make use of circle imagery in order to provide the same effect - the pentacle is basically a mini circle. If you’ve seen the picture I showed of the protection altar I made for a friend of mine, you would notice that I have the pentacle there, but on either side of the pentacle are crystals pointing outward - through the use of imagery, and by using the crystals to project the energy, I’ve managed to cast my circle in the process of casting the spell.

When I’m working in my kitchen, I never cast full ritual circles - the pots and pans provide the shape, and I can cast the circles in the bottoms of those utensils if I need to empower the food.

I do, however, recommend casting circles any time you wish to work with spirits or any time you perform divination or healing spells. This is as much for empowerment as it is for protection.

How do I cast a circle?

Casting a circle can be as elaborate or as easy as you feel it needs to be. It can make use of actually drawing a circle on the floor, or it can be entirely energetic and felt. Ultimately, like any aspect of magick, the circle should be cast in the way that you feel it should be. The guidelines I give here are exactly that: guidelines. Work with them however you feel works best for you!

Step One: Cleanse your space

Cleansing your ritual space is necessary for any magick, depending  upon your craft. When doing a ritual spell, I always cleanse with sage smoke or asperge with holy water. When you feel your ritual space is cleansed of all negativity, you’re ready to begin the casting of the circle.

In my practice, I go around the circle a total of three times. The first time is when cleansing the space. In addition to cleansing the room, I cleanse the circle in a clockwise direction, stopping briefly at each cardinal point to allow the smoke to linger in the space. For me, this helps begin the process of casting, and enhances the visualization.

Step Two: Physical Representation (If Any)

I don’t often draw a circle on the floor. This is largely because most of my magic is intuitive. However, when working with the coven, we sometimes do lay out a circle depending upon the rite we’re working. Especially for new witches who struggle with visualization, laying out a circle can be very nifty and helpful. As such, if you’re new to witchcraft, I do recommend laying out a circle if you feel it helps. If you’re still in the broom closet and want to cast a circle discreetly, you may have to rely upon visualization alone.

Regardless, there are a couple of ways you can lay out your physical circle. The first is to only provide representations at the Corners, or Cardinal Points - North, East, South, and West. If laying out the circle is ritualized for you, it is often recommended to start in the East and move clockwise around the circle. When providing only representations at the Corners, you can either place candles in each direction, or you can provide something that represents the element associated with it (a feather for air at the east, a candle for fire at the south, a glass of water at the west, and a jar of salt for earth at the north, for instance). My coven has considered casting spells at the beach, and we all loved the idea of taking tiki torches and setting one up in each corner, lighting them as we greet each guardian.

The other way of laying a physical circle is to actually draw out the whole circle in some way. If you’re at the beach or in an area where you can draw a circle in the earth, you’re set. But other times, you may be in an area where there’s a bit of foliage, or you’re indoors and don’t have the luxury of scratching a circle into your apartment’s carpet. Depending on what kind of surface you’re using, you can pour salt around the ritual space as a circle, or you can use a protection powder (such as ground eggshells, or ground cinnamon). If laying down something that’s granulated or powdered is a bad idea, because carpets, some witches will use ribbon instead.

One of my favorite moments with my coven was when we had cast a circle on a hill for a Sabbat rite. The hill was rather overgrown, and we were working in a small, grassy clearing. Since the rite was for Imbolc, we had decided that spring flowers would be beautiful. So we took flowers and laid them out in a circle around our ritual space.

Whatever method you use, it is often easier to lay out the physical circle before casting it spiritually.

Step Three: Greeting the Quarters

The second pass around the circle is done as a means of welcoming the Quarters. If your tradition does not have guardians at the cardinal points, you may substitute as needed (welcoming the Faeries, or welcoming deity, for example) or you may omit this step entirely.

Starting at whatever direction is traditional for you (I always start in the north, but many witches prefer to start in the east), greet the guardian, welcoming it to the circle. I do this with an invocation and with the ringing of a bell. Something to the effect of:

I welcome the element of Earth to the North, that it strengthen the circle.

Or

I welcome the Guardian of the North, that it may bear witness to my work. Come in peace and love, so mote it be!

You would move in a clockwise direction around the circle, stopping at each cardinal point and welcoming its guardian or spirit in turn.

Once done, return to the altar.

Step Four: Casting the Circle

My third pass around the circle is the actual casting of it on a spiritual level. Depending upon your tradition, you would do this with a staff, sword, athame, or wand. My personal tradition is flexible - cast it with your hand if you feel that is more effective. I do, however, often cast the circle with a wand - the quartz in my wand helps to empower the circle, and I love encouraging that as much as possible.

With whatever implement you prefer in your casting hand (some traditions emphasize casting hands, others don’t; in general, your casting hand is your dominant hand or whatever hand you use to write with most often; if you’re ambidextrous, this could be either hand), start with the point you began at. Point the implement toward the floor at that point (physical circles help with this - point at the border you’ve created) and begin moving clockwise about the circle, envisioning your energy flowing outward from you, through your implement/fingertips, to the floor and creating a barrier.

Personally, I always tend to see energy as being like slow, fire-like mist that glows blue. I see it coming outward from my heart, traveling down my arm, through the wand (glowing brighter as it passes through each crystal) and then passing onto the ground where it ignites like a little wall of fire. Every witch sees it differently. That’s just how I visualize it.

Some witches will see the circle forming a sphere on its own. Great! If you feel you need to shape the sphere yourself, you can do so. Once you’ve cast the circle, go back to the altar and lift the energy upward from the floor until it closes above your head, creating a dome, and then push it downward in the same manner so that the sphere encloses the space below ground.

Visualization is key.

Congratulations! You’ve cast your circle. Some traditions will mark this in the ritual format: “Here is the border where the circle is cast none but love may enter, none but love may leave” or “The circle is cast in the presence of Goddess and God, so mote it be!”

When doing a simple spell and casting a circle for it, I acknowledge the casting quietly before setting to my work.

In Conclusion…

As you can see, casting a circle is something that can be very elaborate or very simple. It can be required for all workings or it can only be required for some. I feel that the way you cast your circle is often deeply personal. For that reason, in the steps I gave as an example above are only some of the key parts of how I cast the circle without revealing any personal details of what I do for it when not working with the coven.

Every tradition, every path, every witch casts circles differently. If you are starting out as a witch, I greatly encourage you to create your own, personalized method of casting the circle. If you keep a Book of Shadows (as most witches do), the way you cast your circle should be one of the first things that you write down in it.

All that said, may all your circles be unbroken!

Blessed Be! )O(

Hasty Decisions

Dean Winchester x Reader

1600 Words (sorry, this was supposed to be a drabble.)

Requested by @winchester-writes from the fluff/angst drabble prompt list. She picked #59: “Don’t you think you’ve done enough?” with Dean. 

HERE is the list of prompts picked from

HERE is the list of prompts completed (bottom of the list)

With gravel digging through your jeans, into your knees, you continued to kneel as tears poured down your cheeks, landing in the dust covered rocks. Your back ached from leaned forward for so long, but that didn’t matter. None of the pain you felt right now mattered.

Your lungs still ached for breath, your breath caught on a sob. It was torture, and you didn’t care. All that mattered was the scene that still haunted your vision, and the heartache that went with it.

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Major CLUE

Guys I just saw a little bit of the entertainment live cast and they mentioned something that clicked something in my head. It is about that Toby and ‘Spencer’ Scene at the cabin. Spencer walks in and looks through the room very carefully almost like she is investigating! We all have seen this kind of movement before!!! With Mary Drake!! When Mary visited Spencer for the first time at the Hasting’s house, they had a small talk and she looked through the room the same exact way. 😱 I feel like that somehow proofs the Twincer theory. What do you guys think??? 

 P.S. I might add the gifs later on if I can find them

Gifs from @iwasbuildingitforyou and @prettylittleliarsxxxx

Voltron Season 4

A continuation of this! Because I can’t get these ideas out of my head, but I haven’t actually gotten around to writing any of it yet. 

I wrote my version for season 3, so now I’ma just keep eventually going through all 6 seasons, lol. Which means we’re getting into my personal headcanon territory as well as original ideas, so read at your own risk (people who have read Serendipitous Fate know what we’re in for here).

SO ANYWAY! The team is all back together following season 3 and so we’ve got to change our direction a bit. The characters that got the most focus in season 3 were Hunk, Lance, and Keith, with a bit of Allura and Pidge on the side. So season four is going to revolve more generally around Shiro, Allura, and Pidge, with the other three doing things more subtlety in the background. What does this do? Well, mostly it allows for a way to address the issues between Keith and Lance without making them center stage. Hunk—following his development in season 3 and his want to keep the team together—will act as a kind of middle man as these two get their shit together in the background of the main narrative, as I think Hunk has mainly been only in Lance’s corner previously.  

So, the season will open up following the battle with the Galra. Everyone is finally back together and with the stress of the situation no longer weighing on them, the actions they took last season will begin to trickle in. There will be implications that everyone is basically caught up on what everyone else was doing, so we don’t have to view that summary. Keith and Lance will, at some point early on, address the rift they created at the beginning of season 3 with apologies and the decision to try and listen/understand one another better. It will be kind of a sweet moment, but then be interrupted by Hunk or Pidge and it won’t last. Why? Because Keith and Lance, though they be trying, will still struggle to get along and so we can’t have the moment be too heavy. Lance is aware of his insecurities and that he projects those onto Keith, and Keith is aware that his tendency to go off on his own and make solo decisions tends to grate on the others. They both struggle to control these things however, and so still argue, but are making clear attempts to get along better. Hunk, now feeling more comfortable in his position as the rock and the one bringing others together, is less dependent on Lance for validation and making efforts to get to know Keith as well, which results in him making a good middle man between the two when they fight and a good voice of reason in pointing out the mistakes both are making. This is kind of their status quo throughout the whole season and we see in the background as they make slow steps toward better relations with one another, like gradual building blocks. This also makes a better opening for Keith to connect with them, as Hunk taking a more active role opens doors to Keith that weren’t there previously. It’s also important to note that, as a result of season 3, Keith is now also making better efforts to connect with the other paladins just generally.

So that’s the background story. Up front we have Shiro, Allura, and Pidge. Shiro has been trapped in the astral plane, basically, and as a result, was both kind of helpless as well as able to better recall all of what happened when he was captured. Not in the strictest sense, but more like the effects of the astral plane (which we will learn more about later) have made things more accessible to him. Which means Shiro is going to be suffering more heavily from PTSD with more frequent flashbacks to his time as a prisoner. Which is important because it will not only help us gleam more of his character, but of the Galra as a whole. As well as their technology and the effects if has.

During this beginning time, we’re also going to be getting hints of Allura learning more about her magical abilities and what that means/the connotations that come along with having the ability to use magic (there’s a lot of negative stigma). This was something that was kind of ignored in season 3 because, well, Allura was ignoring it, but because of some battle or rescue, it comes to the forefront and Allura has to confess that she has these abilities and that she basically doesn’t know how to use/manage them.

The driving plot point for the beginning of the season, however, will be Pidge and her father. Her father (his name is Sam I think?) explains that after Matt was injured by Shiro, he was sent to the same work camp and they were reunited. Gradually, rumors of Voltron came in and out with prisoners and Matt was able to, as a result of Shiro’s sacrifice for him, inspire a revolt within the work camp. They managed to escape and basically started a kind of underground resistance movement of their own, where they flew around to prison camps and started freeing others, mostly in attempts to find Shiro on Matt’s end.

Sam and Matt got separated at some point, however, and that was when Keith found Sam and brought him back to the Castle of Lions. The team, probably in episode 1, decides that locating and forming an alliance with this resistance movement, which Sam explains has become quite organized, is a good move to make. So they set their sights on that, which Pidge is grateful for because of her brother, obv. It’s in the following character building/filler eps that we get the Shiro flashbacks and the Allura magic issues, probably while they’re answering distress calls and learning more about the resistance.

Lotor is also causing problems. He’s abandoned his battle, which basically makes him a traitor, and so he can’t return to the Galra. Yet, for how much he hates his father and the Galra, he still wants to be a part of them (it’s his home, after all) and so we get a little bit of Zuko behavior in which Lotor basically harasses team Voltron every once in a while. This is also what leads to Allura’s magic outbreak, as Lotor is also a magic user and it’s him that somehow inspires her own magic (likely during battle) to show itself. In this way, Allura and Lotor become very clear foils for one another (more so than the obvious already makes them). Basically Lotor figures that if he can capture Voltron, he can regain his standing in the Galra empire and the luxuries that come with it.

So all these stories are kind of working together, unlike in my season 3 where everyone’s arc was very clearly divided (symbolism!). So we’re into episode 3 or 4 when they manage to come across some of this organized resistance that Sam spoke of. Matt’s not with them, but they raise some issues of their own in how they’re dealing with the situation. Maybe they’re trying to recuse some prisoners and are a little dramatic about how the sacrifice of a few to save many is worth it and Shiro and Allura have to kind of step in and be like, no, that’s not how this needs to work. Maybe Rolo and Nyma are there and it’s through them, because they’re more willing to listen to team Voltron, that they get through to the resistance that they need to correct how they’re doing things if they want to do things “right.” They end up saving everyone, of course, but both Pidge and Sam are uncomfortable with how the resistance seems to be functioning. Especially since Matt was supposed to be in charge (maybe there’s a nice Shiro comforting Pidge moment).

So we let that plot point lie for a little while and turn our focus back to Shiro. A lot of what inspired Matt to start the resistance was Shiro’s actions, and so The Champion has kind of become a beacon of hope/inspiration/hero to the resistance, thus making Shiro feel guilty for the relative mess it’s kind of become as a result of what is interpreted as his brutal actions. He also feels guilty over the fact that team Voltron fell apart while he was gone, so he’s just generally down on himself. He’s had more and more of his memories as The Champion coming back and he’s more and more displeased with what he’s finding out he did. Turns out he was actually pretty brutal in some respects, even if it was just to survive, and so some of what the resistance thinks of him is justified. Basically this episode will lead to Shiro being more introspective about what happened—as painful as that may be—which leads to considerations about his arm and its mysteries.

The Galra technology is something that takes the life force of other living things and turns it into fuel (sounds like FF7), so it’s logical to assume that Shiro’s arm, to a certain extent, is infused with this life force to function. As it turns out, it’s his arm that acts as the key to the astral plane and is what allows him to access it (what Hagger meant when she said he could have been the most powerful weapon she’d ever made). He probably finds this out during some kind of tense situation in which he disappears by accident and then reappears again.

Which leads to Allura and Coran explaining what, exactly, the astral plane is (probably in a following episode). Turns out it’s kind of like another dimension where quintessence shifts in and out with the death and creation of planets/life/etc. It’s also where magic is said to come from, as those who use magic have a link to the astral plane (which is kind of why it’s frowned upon). However, magic users can’t access the astral plane directly as Shiro can, which is why he’s so vital. It’s one thing for one’s “essence”—as Shiro and Zarkon had done in the past—to shift between realms, and quite another to be able to physically go there, as Shiro can do.

Allura determines that Shiro’s ability must have been a rare breakthrough for Haggar and is why he’s considered so dangerous. Someone with direct access to the astral plane could, logically, have unimaginable power. Good thing Shiro doesn’t want unimaginable power, unlike certain villains who are probably recovered following season 2’s finale.

In this way, however, Allura and Shiro’s stories begin to overlap a bit, though that fact won’t become totally clear till later seasons. Lotor comes back into the picture, probably, and ends up taking on Allura one on one or something. We learn some about their past together—how they probably grew up together or something and how Lotor turned evil alongside his father. He likely taunts Allura for her weakness, as they’re battling using magic and she’s at a clear disadvantage due to lack of training. And while I’m all for Allura being able to take care of herself, I do want Shiro to step in here and redirect Lotor’s power to the astral plane with his arm. Which likely shocks Lotor and sends him fleeing, again (until next time, hu hu hu, team rocket style).

Maybe we’ll get a heart to heart between Shiro and Allura at the end, where Allura expresses her sorrow at her abilities as well as her weakness in using them properly, and Shiro tells her something about how it’s not the power itself that is evil, but what she chooses to do with it, just as he’s turned his curse of an arm into something useful, or how Keith uses being Galra to their advantage. Which helps her put a more positive spin on her situation and shows that, as a result of using his arm for good, Shiro is dealing with his own issues.  

Next episode (we’re probably into the later side of the season by this point), we’re back on focus with Pidge and Sam. But the Blade of Marmora is back as well and they’re pissed because the resistance isn’t tactful at all and they think they’re making things worse all around. Which puts some tension on Voltron as they do have alliances with both factions. It quickly begins to escalate, as Sam—despite having grievances with how the resistance is functioning—is willing to defend it, and so there’s some arguing to be had between him and Kolivan. The Castle of Lions is already headed to the resistance’s home base (it moves all the time, which is why Sam didn’t know where it was), and so they calm Kolivan a bit by promising to talk to the resistance leader about what’s happening. They think the leader is Matt.

Well, they’re wrong. When they get to the resistance’s base, they aren’t greeted warmly. They’re actually attacked and asked to leave. When hailed to speak with the group on the ship, it’s made clear by some alien dude (who’s apparently in charge) that they’re just fine without Voltron and could care less about the alliance made previously with the other chunk of resistance members. They’re convinced they can deal with Zarkon on their own. Sam makes it quite clear that a lot of members of the resistance don’t agree with this stance and that leadership appears to have been taken over by a group of extremists set on destroying as much of the Galra as possible without much consideration for how many lives they actually save. He probably knows the leader alian dude due to previous problems caused within the resistance or something.

So, obviously, this is not good. The resistance doesn’t want anything to do with Voltron and so it’s become dangerous to approach. But the base will be moving soon and Pidge doesn’t want to lose it, not so long as there’s a chance that her brother is aboard. Thus, we get Pidge sneaking out in order to then sneak aboard the base and search for her brother. She gets caught, however, by Keith, who quickly learns of her plan. It’s at this point that he makes it clear he’s going with her, so we get some Keith and Pidge bonding time. He probably explains that he understands why she has to do what she is—he did the same for Shiro in season 3—but that he learned from experience that going off alone isn’t the best option. Pidge agrees and they set out together in the green lion (because invisibility). They probably also share in some discourse about why Keith isn’t angry she’s more focused on her family than the big picture, and Keith admits that maybe they’re not as different as he initially claimed. Shiro is like a brother to him, like Matt is Pidge’s brother, and so he’s more sympathetic to her situation now that he’s basically done the same thing she’s aiming to do. He just doesn’t want her to make the same mistakes he did. It’s all very touching, blah, blah.

Anyway, they sneak into the base, there’s some tip-toeing around, and they eventually find Matt. He’s not exactly a prisoner, but he certainly doesn’t have the freedom he did when he was leading the resistance. He was basically booted from being leader because the extremists said he wasn’t acting decisively enough, as “The Champion” would have done. And while Matt admits that he wants to find Shiro, he’s not quite in line with what the new leadership has in mind for getting rid of the Galra and finding Shiro, who they basically want to be their leader once they find him. Pidge explains that Shiro is with them—that he’s a paladin of Voltron with her—and that he wouldn’t agree with what the resistance was doing either (which Matt obviously knows). Keith soon interrupts the reunion, explaining that if they’re going to get Matt aboard the Castle of Lions, they’d better leave soon.

Matt objects, however. He can’t leave because all his work and research is aboard the resistance base. He explains that he’s working on a project that will make it possible to intercept satellite waves all over the universe and broadcast messages, giving him a way to communicate with potential allies as well as warn ignorant planets (like Earth) about the threat of the Galra. He’s also planned to use it to find Shiro. And seeing as this is a pretty important project, Keith and Pidge ultimately end up leaving without him, much to Pidge’s distress. She’s afraid that if her brother stays, he’ll eventually be put in danger by the extremists. And so she and Keith sneak into a control room where she downloads all the resistance intel before they escape back onto the Green lion.

Shiro is not pleased once he finds out what they’ve done, but the intel does prove valuable. Not only does it further illuminate just how much the extremists worship Shiro (much to his discomfort), but it also reveals a plan within which the resistance plans to rally their forces and take their base directly to Zarkon in a move that is both deadly and direct, just as “The Champion would do.” Clearly, team Voltron knows this is a suicide mission—the resistance has no idea what they’re up against and aren’t nearly big enough to take on Zarkon alone. Many lives that could otherwise be useful will be lost to a leader that is too disillusioned by power to know what he’s doing.

Which means it’s time to Voltron to step in, which the Blade of Marmora is more than happy about. Upon Voltron approaching the resistance base, however, they’re attacked (as expected). They have the aid of the Blade of Marmora, however, who agreed to sneak into the base and capture the leader while Voltron provided a distraction. Naturally, however, things don’t go as planned and Voltron, the Castle of Lions, and the Blade of Marmora end up in an all-out firefight with the Resistance.

And things only go from bad to worse when, lo and behold, Lotor shows up too. There’s a reason he knew where they were, I just haven’t thought about it yet. Anyway, he shows up and sets his sights on getting to Allura, who he views as Voltron’s biggest weakness—put her in danger and Voltron comes running. It’s important to note that he and his magic have been bothering the team for the past two seasons, so he’s a pretty dangerous/annoying threat.

So everyone’s focus is scattered, things look shitty, Lotor is being a dick. Maybe this is a three episode finale or something, or maybe only two. Either way, this ep ends with everything in disarray, Lotor probably aboard the Castle of Lions, and at the very last minute, a giant Galra force shows up (probably Lotor gave them a clue or something). Things only go from bad to worse.

Final episode. Voltron has been separated. Keith is with Pidge aboard the resistance’s ship looking for Matt. Lance and Hunk are on the battlefield. And because it’s the season finale and everyone deserves their moment, we get to really see why Hunk and Lance work so well together. Lance uses what he learned in season three to inspire the resistance—maybe against their leader’s orders—to side with Voltron and the Blade of Marmora against the Galra (who are attacking by now), while Hunk—being an awesome lieutenant—keeps it all together and organized. They’re the ones that kind of deal with the battle.

Shiro has gone back to the Castle of Lions upon learning from Coran that Lotor is aboard. We’ve seen by now that Lotor and Allura are facing off again, but know that Allura can’t really compete. Shiro knows this as well and also knows he’s the only one that can stop Lotor. Which is why he’s going back. There might be a bit of time where he notes that Lance is doing well at being in charge while he’s gone, or maybe it was at Lance’s encouragement that he go back to help Allura in the first place. But it’s a very small piece of development.

Meanwhile, Pidge and Keith are still aboard the resistance’s ship. They meet up with the Blade members who were there and make a plan. Basically Pidge goes alone to find Matt while Keith goes with the other Blade members to find the leader. Pidge finds Matt, but he still refuses to leave, even at the threat of the ship being potentially destroyed. Which infuriates Pidge and they get into an argument in which Matt accuses her of not seeing the big picture. The argument escalates, Pidge makes it clear to Matt just how much she does understand/how much she’s grown. He’s surprised and we get a more blatant reference to all the development Pidge has had. Matt agrees to go with her, despite how unfortunate it is that he has to leave his research, and they make an epic escape in which Pidge does some awesome, smart, impressive things.

Keith, meanwhile, is fighting through the ship with the few blade members to the leader. They get there, but it proves challenging. The leader alien is no one to take lightly and Keith eventually ends up in a desperate situation (after a sick display of his combat prowess, of course). Which when, out of nowhere, a kind of wormhole/portal opens up and out comes the Galra Keith saved inside the weblum in season 2. It’s also the same teacher type that Lance met during season 3, but only the viewers know this, not the characters. The mentor didn’t come with Lance to save the Castle of Lions in season 3, because reasons, and so no one but Lance knows them, which is why this miscommunication works.

They basically come in and disarm (kill? Or is that too much?) the leader, saving Keith. There’s an important moment where Keith loudly questions the person, wanting to know who they are, but they’re still masked and refuse to answer. Instead, they both get distracted with what’s going on outside the ship’s windshield. Namely, with Lance, Hunk, and the Castle of Lions.

Hunk and Lance are still out fighting, leading the charge against the Galra, but something happens and both Hunk and Lance know that the castle—which is too busy with Lotor to be focused on the battle—is in danger. So they head in to protect it.

Aboard the Castle of Lions, Shiro has reached Allura and Lotor, probably in the control room. Coran has probably been injured/disabled. Sam too maybe. Allura and Lotor are struggling against one another’s magic. There’s lighting, it’s intense. Shiro tries to step in the same way he had before, but Lotor is ready for him this time and manages to keep him at bay/blast him back/injure him before he can intercept the magic and divert it to the astral plane.

Allura is on her own and, while she’s doing a good job of staying on her feet and fighting back, it’s clearly inevitable that she’ll go down. There’s probably some words shared between her and Lotor that make her look like a boss going down, as she should. Shiro, meanwhile, is struggling to crawl back toward the fray. He can’t really get to Lotor, but he gets to Allura. Just as she’s about to go down, he touches her—maybe he gets to his feet and manages to place his robot arm on her shoulder or arm.

Which is when things get interesting. Together—with Allura’s power and Shiro’s ability to access the astral plane—they become a sort of unstoppable force of power. There’s a very impressive display of Allura’s power, maybe some glowiness, and Lotor basically doesn’t stand a chance against her with Shiro’s support. In fact, Lotor tries to escape, but Allura’s power overwhelms him and keeps him prisoner. All the magic is sucked right out of him and he ends up passing out right there in the castle.

Both Shiro and Allura are weakened by the exchange as well, but they don’t have time to be thinking about it, as things outside the castle have gotten worse. Maybe the castle jolts to the side or something and they look out to see that the yellow lion has just pushed them out of the way of a tractor beam (after all, the black lion was seen going into the Castle of Lions, so why not take the whole thing?). Lance is trying to distract the main ship, while the Blade of Marmora and the resistance beat back the Galra forces.

Keith is still watching from the resistance ship, as the timeline makes it so it’s only been moments since the leader was disarmed.

Pidge and Matt are in the green lion, headed in to help, but they’re too far away to do much.

Lance, in his efforts to distract the main ship, gets caught in the tractor beam intended for the Castle of Lions. Hunk, who’s the closest lion, tries to get to him, but he’s too slow. In Lance’s attempts to protect the Castle of Lions, he’s kidnapped by the Galra, who know they’re losing. Basically, the commander has settled for one lion and manages to escape as soon as Lance is on board.

We’re left floating in the silence of space, all the members of Voltron shocked and horrified to realize what’s happened. Especially Shiro, who gets the last scene. He knows what’s in store for those captured by the Galra, after all, and his fear and horror is the last thing seen before credits role.  

Originally posted by littlemisspaladin